Lava

Lava (pronounced lah-vuh or lav-uh)

(1) The molten, fluid rock that issues from a volcano or volcanic vent (sometimes accumulating (occasionally permanently) in a volcano’s “lava lake”.

(2) The rock formed when this solidifies, occurring in many varieties differing greatly in structure and constitution.

(3) In fashion, as “lava dress” (sometimes volcano dress), a long, flowing gown, classically in orange and black fabric, styled to recall a vertiginous lava flow.

(4) A shade of red which tends to orange, recalling the color of red-hot, molten lava.

(5) As Lava Lamp, the trademarked name of a electric decorative lamp made of a transparent, (usually tapered) cylinder containing a liquid in which a colored wax (or wax-like substance) is stimulated by the heat of the light bulb to change into randomly separating, seemingly luminous shapes which constantly rise and descend.

1740–1750: From the Italian lava (molten rock issuing from a volcano), from the Neapolitan or Calabrian dialectal lava (avalanche, torrent or stream; downpour overflowing the streets).  The original use in Italian was to describe flash flood rivulets after downpours and only later to the streams of molten rock from Mount Vesuvius.  The once commonly supposed link with the Latin lavāre (to wash) (from the primitive Indo-European root leue- (to wash) was based on the idea of “a liquid flowing” but is now thought one of those creations of the medieval imagination and it’s just as unlikely there’s was any relationship with the Arabic لابة‎ (lāba) (black volcanic rock).  Lava is also wholly unrelated to larva (an early stage of growth for some insects and amphibians) which was from the Latin larva (ghost-like, masked) which may have been from the Etruscan Lār (Etruscan praenomen; titulary god) which appeared usually as Lares (guardian deities).  The alternative etymology is from the Latin labes (sliding down, falling), which influenced lābī (to slide, fall or slip) (a labina an “avalanche or landslide”).  The only adjective in modern use is lavalike (or lava-like).  The old adjectives lavatic (1805), lavic (1822) & laval (1883) all fell into disuse by the twentieth century (although their occasional revival in the technical literature would not be unsurprising) and lavaesque seems never to have been coined.  The palindromic Laval did endure in France as both a locality name and surname and is remembered because of Pierre Laval (1883–1945), Prime Minister of France 1931-1932, 1935-1936 & de facto prime minister in the Vichy Government 1942-1944.  He was executed by a French firing squad in 1945.  Lava is a noun and the obsolete lavatic, lavic & lavalike were adjectives; the noun plural is lavas.

Lindsay Lohan in Pucci triangle lava-print bikini, The Bahamas, May 2007.

The terms lava and magma (from the Ancient Greek μάγμα (mágma) (paste)) are sometimes used interchangeably but to geologists and volcanologists the distinction is that Magma is molten rock which exists beneath a planet’s surface and become lava only when it flows from a volcano or volcanic vent.  Magma thus does not always become lava, sometimes cooling and solidifying as rock beneath the surface and sometimes collecting in a magma chamber.  A magma chamber differs from a lava lake in that the pleasingly alliterative latter describes the (usually large) large pool of molten lava that forms in a volcanic crater (although volcanologists do use the term also of lava which “sticks” to a volcano’s surface and doesn’t flow further.  They also in some cases call the extrusive igneous rock formed when it hardens and cools “lava” although this is not in general use, laypeople associating both “magma” and “lava” with the material in its molten state.

Lava lake, Mount Erebus, Antarctica.  Some 60 m (200 feet) in diameter, it sits within a small pit crater within the post-caldera summit and is phonolite in composition.  It may or may not remain a permanent feature.

The rock formations created by cooled magma at Mount Erebus proved especially interesting to those researching the history of the Earth’s magnetic field.  Geophysicist Dr Catherine Constable (b 1958) was studying the data used to refine a model explaining the mechanism of the earth’s occasional magnetic field reverses (from the familiar north & south polarity to the reverse where they swap) and found lava to be a substance keeping a perfect recorder of the field.  All magmas contain enough iron-rich minerals to detect the field and these align themselves toward the field as the lava freezes. As a result, the magnetic field at that moment is recorded: set in time and set in stone.  Over geological time, quite what the frequency (or the rapidity) of the shift isn’t clear and while studies suggest historically there’s be a swap every few hundred thousand years, it’s been almost a million years since the last so while one “might” be (over)due, Dr Constable says there’s no available evidence one is in progress or even immanent.

Catriona Gray (b 1994; Miss Universe 2018) in lava dress by Filipino designer Mak Tumang which used a image of lava flowing down the portrait of the Mayon Volcano rendered, in Swarovski crystals, Bangkok’s Impact Arena, Thailand, December 2018 (left) and lava flow on Tungurahua volcano, Huambalo, Ecuador (right).

Catriona Gray on the catwalk, lava flowing.

Lava cup-cakes

Lava cakes can pay tributes to volcanologists in different ways.  They can feature a magna chamber which, upon slicing can feed a lava flow or they can formed with an exposed crater in which sits a lava lake.  Professional chefs can produce the effects with room-temperature “lava” but usually these are for display and the cakes work best with hot, melted chocolate and obsessives use a variety of ingredients (peanut butter, raspberries, orange colored icing et al) to attempt to emulate the variegated colors of the real stuff.  They work best with dark chocolate but sweeter types can be used (or a blend).  Lava cakes can be made at larger scales but the laws of physics (both thermal and structural) mean full-sized constructions can be challenging (and messy) so most produce lava cup-cakes.  Because, in a sense, lava cakes are a kind of civil engineering, some very complex recipes have been created but the following will make 6-8 cup-cakes (depending on the size of the muffin tins) and it has the virtue of simplicity:

Ingredients

4 tablespoons of unsalted butter at room temperature (plus some with which to grease the muffin tray).

A third of a cup of granulated sugar (plus some to sprinkle in the muffin tray).

3 large eggs.

A third of a cup of all-purpose flour.

A quarter teaspoon of salt.

8 ounces of dark chocolate, melted (for best results, delay the melt process until ready to blend (step (8) below).

6-8 squares (from the standard blocks) of dark chocolate.

Icing (confectioners') sugar, for dusting.

Whipped cream or ice cream, for serving (optional).

Fruit for serving (optional and most choose a red or orange variety).

Instructions

(1) Preheat oven to 400°F (205°C).

(2) Grease the cups of muffin tray with butter, ensuring the coasting is light and consistent.

(3) Sprinkle some granulated sugar over the muffin tray and ensure each has buttered cup has a consistent coating.  Shake off any excess grains.

(4) Spoon some granulated sugar into each cup, swirling to make sure the cup is completely lined.

(5) Blend the butter and granulated sugar until the mix is creamy.

(6) To this mix, as the eggs, one at a time, blending them in after each addition.

(7) To this mix, beat in flour and salt (on a low speed) until combined.

(8) To this mix, add the molten chocolate, and beat until combined.  Don’t be off-put if the mix seems either more or less viscous that you might expect.

(9) Pour mix into the greased cups. Fill only to half-way.

(10) In the centre of each cup, place one of the chocolate squares.

(11) Add the remaining mix to each cup but, because the mix will expand, don’t fill higher than three-quarters.

(12) Put tray into the heated oven, baking until the middle of the cakes no longer jiggle (should be no more than 8-12 minutes and if left too long, they’ll cease to be lava cup-cakes and become chocolate cup-cakes).  Because there’s some risk of spillage, place baking paper underneath the tray.

(13) Remove tray from oven and allow it to sit for 7-8 minutes.

(14) Up turn tray on a plate or other suitable flat surface and remove cup-cakes so the conical aspect resembles volcano.

(15) Dust with the icing (confectioner's) sugar and serve with vanilla ice cream or whipped cream, adding some sort of fruit if desired.  Upon being sliced, the magma should ooze out, lava-like.

The Lava Lamp

The decorative lava lamp was invented in 1963 by Edward Craven Walker (1918-2000), a Word War II (1939-1945) RAF pilot who was inspired by a rigged-up egg-timer he saw in a pub, the device made with oil and water in a bottle.  Oil and water being two immiscible (unable to mix) fluids, the time worked by shaking the bottle, the egg deemed to be ready when the resulting blobs of oil had re-coagulated.  Knowing the world was well-supplied with cheap, reliable egg-timers, Craven saw little point in “making a better mousetrap” but he found the behavior of the blobs a pleasing piece of art and in his garage experimented with different fluids until he found a pleasing combination which produced just the effect he’d envisaged.  The characteristic shape of the lamp came about because the one seen in the pub used a standard cocktail shaker and the container in which Craven undertook his early research was an orange-squash bottle which was made in a similar shape; it proved ideal.  They work by the heat-soak from the incandescent light-bulb heating up the blobs, lowering both their density and the liquid's surface tension.  As the warmed blobs rise, they cool, lose buoyancy thus descend to the base where a wire with an active current breaks their surface tension, inducing re-coagulation.

Although associated with psychedelia, as well as lurid colors (the range expanded since the introduction of LEDs), lava lamps with plain black blobs in clear fluid are available.

The first lava lamp patent (Lava Lamp is a registered trademark in some jurisdictions) was applied for in 1963 and they were first displayed in 1965.  Very popular in the early-mid 1970s, by the 1980s the fad had passed, not because of the popular association of them with stoners imagined sitting staring at one for hours while the Grateful Dead played on the turntable, endlessly on repeat but because they’d come to be thought of as plastic kitsch.  However, they never quite went away and while there are spikes in demand (associated usually with some appearance in some prominent piece of popular culture), there is clearly a constant demand for those who just like the look while others furnish according to retro schemes or like the odd ironic piece among their conspicuous good taste.

Kitsch

Kitsch (pronounced kich)

(1) Something though tawdry in design or appearance; an object created to appeal to popular sentiment or undiscriminating tastes, especially if cheap (and thus thought a vulgarity).

(2) Art, decorative objects and other forms of representation of dubious artistic or aesthetic value (many consider this definition too wide).

1926: From the German kitsch (literally “gaudy, trash”), from the dialectal kitschen (to coat; to smear) which in the nineteenth century was used (as a German word) in English in art criticism describe a work as “something thrown together”.  Among “progressive” critics, there was a revival in the 1930s to contrast anything thought conservative or derivative with the avant garde.  The adjective kitchy was first noted in 1965 though it may earlier have been in oral use; the noun kitchiness soon followed. Camp is sometimes used as a synonym and the two can be interchangeable but the core point of camp is that it attributes seriousness to the trivial and trivializes the serious.  Technically, the comparative is kitscher and the superlative kitschest but the more general kitschy is much more common.  The alternative spelling kitch is simply a mistake and was originally 1920s slang for “kitchen” the colloquial shortening dating from 1919.  Kitsch & kitchiness are nouns, kitschify, kitschifying & kitschified are verbs and kitschy is an adjective; the noun plural is kitsch (especially collectively) or kitsches.  Kitschesque is non-standard.

Kitsch can become ironic.  Lava lamps were in the 1970s briefly fashionable as symbols of the modern but were soon re-classified kitsch.  In the twenty-first century, such was the demand that re-creations of the originals became available, bought because they were so kitsch.

For something that lacks and exact definition, kitsch is probably surprisingly well-understood as a concept although not all would agree on what objects are kitsch and what are not.  Nor does is there always a sense about it of a self-imposed exclusionary rule; there are many who cherish objects they happily acknowledge are kitsch.  As a general principle, kitsch is used to describe art, objects or designs thought to be in poor taste or overly sentimental.  Objects condemned as kitsch are often mass-produced, clichéd, gaudy (the term “bling” might have been invented for the kitsch) or cheap imitations of something.  It can take some skill to adopt the approach but other items which can compliments such a thing include rotary dial phones and three ceramic ducks flying up the wall (although when lava lamps were in vogue, lava lamp buyers probably already thought the kitsch.

Lindsay Lohan: Prom Queen scene in Mean Girls (2004).  If rendered in precious metal and studded with diamonds a tiara is not kitsch but something which is the same design but made with anodized plastic and acrylic Rhinestones certainly is.

Führer kitsch: A painting attributed to Adolf Hitler.

The Nazi regime devoted much attention to spectacle and representational architecture and art was a particular interest of Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945).  Hitler in his early adulthood had been a working artist, earning a modest living from his brush while living in Vienna in the years before World War I (1914-1918) and his landscapes and buildings were, if lifeless and uninspired, competent enough to attract buyers.  He was rejected by the academy because he could never master a depiction of the human form, his faces especially lacking, something which has always intrigued psychoanalysts, professional and amateur.  Still, while his mind was completely closed to any art of which he didn’t approve, he was genuinely knowledgeable about many schools of art and better than many he knew what was kitsch.  However, the nature of the “Führer state” meant he had to see much of it because the personality cult built around him encouraged a deluge of Hitler themed pictures, statuettes, lampshades, bedspreads, cigarette lighters and dozens of other items.  A non-smoker, he ordered a crackdown on things like ashtrays but generally the flow of kitsch continued unabated until the demands of the wartime economy prevailed.  In the Berghof, his alpine headquarters on the Bavarian Obersalzberg near Berchtesgaden, there were constant deliveries of things likes cushions embroidered with swastikas in which would now be called designer colors and more than one of his contemporaries in their memoirs recorded that the gifs sometimes would be accompanied by suggestive photographs and offers of marriage.  Truly that was “working towards the Führer”.

Führer kitsch: A painting attributed to Adolf Hitler.

Hitler dutifully acknowledged the many paintings which were little more than regime propaganda although the only works for which he showed any real enthusiasm were those which truly he found beautiful.  However, he knew there was a place for the kitsch… for others.  In July 1939, while being shown around an exhibition staged in Munich called the “Day of German Art”, he complained to the curator that some German artist were not on display and after being told they were “in the cellar”, demanded to know why.  The only one with sufficient strength of character to answer was Frau Gerhardine "Gerdy" Troost (1904–2003), the widow of the Nazi’s first court architect Paul Troost (1878–1934) and one of a handful of women with whom Hitler was prepared to discuss anything substantive.  “Because it’s kitsch” she answered.  Hitler sacked the curatorial committee and appointed his photographer to supervise the exhibition and the depictions of farm-workers in the field and heroic nude warriors returned.

Kitsch: One knows it when one sees it.

What is kitsch will be obvious to some while others will remain oblivious and the disagreements will happen not only at the margins.  Although there will be sensitive souls appalled at the notion, it really is something wholly subjective and the only useful guide is probably to borrow and adapt the threshold test for obscenity coined by Justice Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) in Jacobellis v Ohio (1964):

I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description and perhaps I could never succeed in intelligibly doing so. But I know it when I see it…

Kitsch also has a history also of becoming something else.  As recently as the 1970s, tea-towels, placemats, oven mitts, serving trays and plenty else was available in the West adorned with depictions of indigenous peoples, often as racist tropes or featuring the appropriation of culturally sensitive symbols.  These are now regarded as kitsch only historically and have been re-classified as examples variously (depending on the content) of cultural insensitivity or blatant racism.

Conglomerate & Agglomerate

Conglomerate (pronounced kuhn-glom-er-it or kuhng-glom-er-it (noun & adjective) and kuhn-glom-uh-reyt or kuhng-glom-uh-reyt (verb))

(1) Anything composed of heterogeneous materials or elements; mass.

(2) A corporation consisting of a number of subsidiary companies or divisions in a variety of unrelated industries, usually as a result of merger or acquisition.

(3) A coarse-grained sedimentary rock consisting of round rock fragments cemented together by hardened silt, clay, calcium carbonate, or a similar material. The fragments (clasts) have a diameter of at least 2 mm (0.08 inches), vary in composition and origin, and may include pebbles, cobbles, boulders, or fossilized seashells. Conglomerates often form through the transportation and deposition of sediments by streams, alluvial fans, and glaciers.

(4) Gathered into a rounded mass; consisting of parts so gathered; clustered.

(5) Consisting of heterogeneous parts or elements.

(6) Of or relating to a corporate conglomerate.

(7) In geology, of the nature of a conglomerate.

(8) To bring together into a cohering mass.

(9) To gather into a ball or rounded mass.

1565–1575: From the Latin conglomerātus, past participle of conglomerāre (to roll-up), from glomerāre (to wind into a ball), the construct being con- + glomer- (stem of glomus) (ball of yarn or thread) + -ātus (-ate).  The prefix con- was from the Middle English con-, from the Latin con-, from the preposition cum (with), from the Old Latin com, from the Proto-Italic kom, from the primitive Indo- European ḱóm (next to, at, with, along).  It was cognate with the Proto-Germanic ga- (co-), the Proto-Slavic sъ(n) (with) and the Proto-Germanic hansō.  It was used with certain words to add a notion similar to those conveyed by with, together, or jointly or with certain words to intensify their meaning and, later, to indicate being made from or bringing together of several objects.  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  Related forms include conglomeratic, conglomeritic, conglomerated, conglomerating, conglomerateur, conglomeration & conglomeratize.

Agglomerate (pronounced uh-glom-uh-reyt (adjective & noun) and uh-glom-er-it (noun))

(1) To collect or gather into a cluster or mass.

(2) Gathered together into a cluster or mass.

(3) In botany, crowded into a dense cluster, but not cohering.

(4) In geology, a mass of angular volcanic fragments united by heat; distinguished from conglomerate.

(5) In meteorology, an ice-cover of floe formed by the freezing together of various forms of ice.

1675-1685: From the Latin agglomerātus, past participle of agglomerāre, the construct being ad- (to) + -glomerāre (to wind or add into a ball), from glomus (a ball; a mass), from globus (genitive glomeris), (a ball of yarn) of uncertain origin.  Related forms are the adjective agglomerative, the nouns agglomerator & agglomeration and the verbs (used with or without object), agglomerated & agglomerating.  The intransitive sense "grow into a mass" dates from 1730.

Conglomerate rocks are those compose of mostly rounded, gravel-size clasts, a matrix of finer grained sediments, such as sand, silt or compressed clay filling the gaps between the clasts, the form held together with calcium carbonate, iron oxide, silica, or hardened clay which acts as a natural cement.

Agglomerate rocks are large, coarse fragments associated with the lava flow ejected during explosive volcanic eruptions.  Although they resemble sedimentary conglomerates, agglomerates consist almost wholly of angular or rounded lava fragments of varying size and shape. Fragments are usually poorly sorted in a matrix, or appear in a mix of volcanic dust or ash that has turned to stone.

An agglomeration of Lindsay Lohan magazine covers.

Implosion & Explosion

Implosion (pronoubced im-ploh-zhuhn)

(1) The act of imploding; a bursting inward (opposite of explosion).

(2) In phonetics, the occlusive phase of stop consonants; the nasal release heard in the common pronunciation of eaten, sudden, or mitten, in which the vowel of the final syllable is greatly reduced.

(3) The ingressive release of a suction stop.

(4) In clinical psychiatry, a type of behavior therapy in which the patient is repeatedly subjected to anxiety-arousing stimuli while the therapist attempts to extinguish the patient's anxiety and anxious behavior and replace them with more appropriate responses.

1829: The construct (modelled on explosion) was im- + (ex)plosion.  The im- prefix was from the Latin im-, an assimilated form of in- and used to express negation (not).  The prefix -in is quirky because it can act either to negate or intensify.  The general rule is that when pre-pended to a noun or adjective, it reinforces the quality signified and when pre-pended to an adjective, it negates the meaning, the latter mostly in words borrowed from French.  The Latin prefix in- was from the Proto-Italic en-, from the primitive Indo-European n̥- (not), the zero-grade form of the negative particle ne (not) and was akin to ne-, nē & nī.  In Modern English it is from the Middle English in-, from Old English in- (in, into), from the Proto-Germanic in, from the primitive Indo-European en.  Plosion was a word from the jargon of phonetics meaning the pronunciation of a consonant characterized by completely blocking the flow of air through the mouth and was a derivative of explosion, first coming into use in 1915–20 as a shortened form of explosion.  Implosion, coined as an opposite of explosion, was first published the Westminster Review in 1829.  There was a technical need for the word because, in popular use, many chemical reactions which resembled explosions were described thus, even though, as in the case of a mixture of hydrogen and oxygen, instead of an enlargement of bulk, a positive quantity, the result was is a negative one, tending towards a vacuum.

OceanGate’s diagram of Titan.

In response to the questions raised after it was confirmed OceanGate's Titan submersible had suffered a catastrophic implosion event, US Navy sources commented on the process:  When a submarine collapses (implodes), the hull material moves inward at a speed of around 1500 mph (2400 km/h) or 2200 feet (670 m) per second and the time required for a complete collapse is about 1 millisecond.  Typically, the human brain responds instinctively to stimulus at about 25 milliseconds and those with untypically fast reaction responses can begin to act at around 150 milliseconds.  The atmosphere inside a submarine contains a relatively high concentration of hydrocarbon vapors and this contributes to the space behaving something like the compression cycle in a very large diesel engine: The air auto-ignites and an explosion follows the initial rapid implosion.  A human in these circumstances is transformed into large blobs of fats and these the extreme temperature incinerates and turns to ash in little more than a second.  Navy sources also expressed scepticism at the desirability of constructing a hull from a mixture of materials (titanium and carbon-fibre) in vessels operating at depths where the pressure is extreme (where the wreck of the Titanic lies it’s some 400 times that which prevails at sea level).  The argument is that wherever the two materials meet is the point at which, over time, a weakness is most likely to form.  Because the Titan's tubular hull was made from carbon fibre, it's thought that rather than behaving like the metals used in submarine construction, it would to some extent fragment although the nature of the disintegration won't be known until the wreckage is examined.

Engineers however noted the consequences of the explosion (for both machine and people) could differ greatly from the historic experiences of such events at depth because they all involved vessels made from metal which tends to retain its inherent integrity, even as the structural integrity of the construction fails.  Additionally, many of the previous examples were spherical so the internal forces were equalized for the split-second during the critical event whereas Titan was tubular with what would, under the stresses imposed, become detachable titanium end-caps.  Titan's hull was built from carbon-fibre which, under the specific pressure encountered would have behaved differently from metal and may have fragmented.  The physics of all of this means the temperatures and dynamic forces experienced within Titan in that split-second may have been very different from the models generated by historic experience but until the wreckage and any human remains are examined, the details of the brief event will remain unclear.  The incident however is anyway likely to discourage the use of carbon-fibre hulls in submersibles but whether it has any implications for use in aviation will be interesting.  Building the fuselages of passenger airliners from carbon-fibre has many advantages and the stresses imposed are very different to those at depth but there is no real-world data to assess how the material will behave over the decades the airframes may operate.        

Historically, the difference between a “submersible” and a “submarine” was that a submersible was a vessel which operated usually on the surface but was able to submerge for short periods for purposes such as launching attacks on other vessels or attempting to avoid detection while a submarine was able to operate underwater for extended periods.  The definitions were (more or less) formalized after 1945 when “true” submarines were developed, rendering obsolete the traditional submersibles which gained their name as a clipping of “submersible boat”.  When nuclear propulsion was adopted, the duration of the craft was extended further, the primary limitation being the volume of food able to be stored.

The definitions have shifted somewhat although traces of the older distinctions remain.  For practical purposes, a submarine is a large, complex vessel able to undertake independent and extended underwater operations and although most associated with navies, there are many civilian operators of submarines.  In recent decades, submersibles have no longer been designed for sustained surface use (although some of the recent creations by drug smugglers appear to be exactly that) and are dedicated to and optimized for the undersea environment.  They can be just about any type of vehicle or apparatus capable of operating underwater, crewed or un-crewed and in an array of sizes and configurations for use in fields such as scientific research, exploration or underwater photography.

Implosions: Implosions do occasionally afflict storage tanks and the Mythbusters television series (past masters at explosions, on this one episode they forsook blowing stuff up and imploded something instead) attempted to create the conditions which “naturally” would provoke the phenomenon.  It proved difficult and the implosion eventually was induced by artificially reducing the internal pressure.

Explosion (pronounced ik-sploh-zhuhn)

(1) An act or instance of exploding; a violent release of energy resulting from a rapid chemical or nuclear reaction, especially one that produces a shock wave, loud noise, heat, and light (or the noise itself).

(2) A sudden, rapid, or great increase.

1615-1625: From the French explosion, from the Latin explōsiōnis, a genitive form of explōsio, from explōdo (I drive out by clapping) from explōdere (to explode), the construct being ex- (the prefix from Middle English from words borrowed from Middle French from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out). It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изу (izu) (out), and the Russian из (iz) (from, out of)) + plōdo (I clap or I strike).  The figurative of "going off with violence and noise" is from 1660s and some sources insist the sense of "rapid increase or development" wasn’t noted until 1953 when it came to be used in commerce (describing both the extraordinary proliferation of consumer products in what would later come to be known as the “affluent society” and spikes in demand).  In the mid 1940s, the US conducted a number of nuclear weapon tests at Bikini Atoll in the South Pacific and when asked about his choice of “bikini” as the name for the fetching swimwear he trademarked (patent #19431) in 1946, the designer is reported to have at the time remarked he expected an "explosive commercial and cultural reaction" as dramatic as one of the Pentagon’s A-bombs.  The figurative use thus dates from at least the 1940s and it would seem at least plausible that in that vein the word had been used for a long time, centuries of wars exposing millions to explosions surely likely to have inspired the linguistic imagination.

In Ancient Rome, at the conclusion of a play, the actors would turn to the audience and command plaudite! (literally "clap your hands!); that's the source of the English plaudits (a mark or expression of applause; praise bestowed) and of the idea of the plausible (something to be applauded).  However, if the performance was a dud, the audience would explodo (the construct being ex- (out) + plaudo (clap), the idea being the actors is the dreadful performance would be "clapped off then stage" and as late as the seventeenth century the phrase persisted, surviving reports from critics recording "the crowd exploded him off the stage".  Indeed, even now, phrases like "the theory has long been exploded" are still sometimes seen although whether the writer has in mind the idea or "clapped away" or "blown up" may be uncertain. 

Figurative use: Lindsay Lohan with former special friend Samantha Ronson, the photograph taken in Mexico and dating from October 2008.

In figurative use, "implosion" and "explosion" frequently are used to describe different events or phenomena, the former often related to sudden and dramatic changes and while the latter can be used in this way, implosions can be imagined as gradual things which unfold over a long time, sometimes even years.  That said, there are some “explosions” which are regarded so only because of their peculiar context, such as the “Cambrian explosion” which was sudden and dramatic only against the measure of the evolutionary history of life on Earth.  The Cambrian Period, while a relatively brief period in the planet's four and a half billion years-odd of existence still encompassed in excess of forty million years (circa 540-485 million years ago).  During this time, there was a remarkable diversification and proliferation of complex multi-cellular life forms in the oceans and it was “explosive” in the sense nothing like it had happened before and in evolutionary terms, the appearance and diversification of an array of complex organisms (including the first appearance of animal groups or phyla which remain extant) was rapid indeed.  Still, that sort of figurative use of “explosion” tends to be restricted to evolutionary biologists and their ilk and it’s more familiar when used to describe something short & sharp like the rapid acceleration of a running back on the football field.  That would be over in seconds but in sport, something like the innings of a cricketer might be called “explosive” even if it unfolds over an hour or more.  It’s all a matter of context and literal explosions tend by their nature to be fast, brief events.

Just about any dictionary would define an explosion as something like “a rapid and forceful outward expansion or release of energy”, conveying the idea of something bursting forth or erupting with great intensity, impact, or noise and that’s familiar from the event associated with impacts, bombs and even volcanic eruptions which, although they can last for weeks are really only an explosion of short duration, following by consequential events like mud or lava flows which can last weeks.  However, far away (and long ago by the time we find out), there are explosions which are on such a scale they can take months.  There are lots of stars and sometimes, they explode.  In a sense, nothing lasts forever, yet at the same time, matter is, in one form or another, eternal.  Explosions are part of this process.  Quite how many stars exist is unknown and given we can observe only part of the universe, any estimate beyond a certain point is meaningless although, given calculations based on observable data suggest that there are at hundreds of billions of galaxies, each of which probably contains millions or billions of stars.  So, estimates (guesses) vary but the fact 1 septillion (1 followed by 24 zeros) is thought credible is interesting, not for the specific value it represents but because it means whatever might be the answer, it’s a very big number.  The time it takes for a star to explode depends on the type of star and the point it’s reached in its evolution but the two most significant types of stellar explosions are (1) supernovae and (2) stellar novae.  The mechanics and time absorbed by each in their explosions varies greatly.

A supernova is a powerful and catastrophic explosion which occurs at the end of the life of a massive star (or in a binary star system) and it can take (as seen from Earth) from a few weeks to several months.  As a prelude, over millions of years, the star will undergoes various stages of nuclear burning and fusion, culminating eventually in a catastrophic collapse and explosion.  Less energetic is a stellar novae which occurs in binary systems where a white dwarf star accretes matter from its companion star.  The accumulation of matter on the surface of the dwarf can lead to a sudden and rapid release of energy, resulting in a nova explosion.  Novae typically brighten over a short period, reaching peak brightness in a matter of days or weeks, after which they gradually fade away over several months.  Not all stars end with an explosion.  Less massive bodies (like our Sun) don’t explode but kind of fade away through a process cosmologists call stellar evolution, expanding into red giants, shedding their outer layers, eventually to be become white dwarfs on the path to dark, dead obscurity.  Back on Earth, the figurative use extends from a rapid increase in popularity of someone or something to sudden outbreaks of violence by individuals or entire societies and something said or done which might induce either of the latter can be said to be “potentially explosive”.

Conversely, “implosion” is used figuratively to describe an internal collapse or inward sinking, rather than an outward burst although the latter may be consequent upon the former.  It’s suggestive of a situation or event where there is (suddenly or gradually) failure, disintegration, or decline, typically accompanied by a loss of control or power and implosions are often associated with the gradual accumulation of pressures or internal forces that eventually lead to a collapse or breakdown.  Individuals, institutions or societies may be said to have imploded because they lacked the strength, internal cohesion or resources to resist pressures which may be externally imposed, generated internally or a combination of both.  However, although both explosion and (probably more frequently) implosion are among the general population commonly used terms when discussing aspects of metal health (usually of others), they’re officially not part of the lexicon of clinicians or other professionals in the field.  It may be that the words are sometimes in their thoughts when faming a diagnosis but neither appears in the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) which for decades has provided a standardized classification and criteria for diagnosing mental disorders.

An explosion: A simulation of the detonation of the Soviet Union’s AN602 Царь-бо́мба (Tsar Bomba), a thermonuclear gravity bomb which was the most powerful nuclear weapon yet built (as far as is known) or tested.  It was detonated on 30 October 1961 on a remote island in the Barents sea and the Russian claim of a yield equivalent to 50 megatons of TNT is now generally accepted (the contemporary US estimate of 57-60 was based on more remote observations).

Heaven & Hell

Heaven (pronounced hev-uhn)

(1) In theology, the abode of God, the angels, and the spirits of the righteous after death; the place or state of existence of the blessed after the mortal life.

(2) The celestial powers; God (initial capital letter and often in the plural).

(3) A metonym for God.

(4) In architecture, as heavens (used with a singular verb), a wooden roof or canopy over the outer stage of Elizabethan theatres.

(5) In poetic and (mostly historic) scientific & legal use, often in the plural, the sky, firmament, or expanse of space surrounding the earth, including the moon, Sun, planets & stars.

(6) A place or state of supreme happiness, often expressed as “heaven on earth”.

(7) A component of expression (variously singular & plural), used in exclamatory phrases of surprise, exasperation, emphasis etc.

(8) In mythology, a place, such as Elysium or Valhalla, to which those who have died in the gods' favour are brought, there eternally to dwell in happiness.

Pre 900: From the Middle English heven, hevin, heuen & hewin (heaven, sky), from the Old English heofon (home of God (and earlier) the visible sky, firmament), probably from the Proto-Germanic hibin (heaven, sky), a dissimilation of himin and source also of the Middle Low German heven, the Old Saxon heban, the Old Swedish himin, the Low German heben, the Old Norse himinn, the Old Danish himæn, the Gothic himins, the Old Frisian himul, the Scots heaven & hewin, the Dutch hemel and the German Himmel (heaven, sky).  The mysterious Proto-Germanic hibin (which existed also as hebn) is of uncertain and disputed origin.  It was cognate with and possibly the rare Icelandic and Old Norse hifinn (heaven, sky), which may be dissimilated forms of the Germanic root was more familiar in the Old Norse himinn (heaven, sky).  Among etymologists, the most popular alternative root is the Proto-Germanic himinaz (cover, cloud cover, firmament, sky).  A now archaic alternative spelling (in both sacred and secular writing) which persisted in poetry into the twentieth century because of the rhythmic advantages was heav'n.

Stairway to Heaven, sculpture by David McCracken, Bondi, Sydney, Australia.

From the late fourteenth century, the word in English assumed the meaning "a heavenly place; a state of bliss”.  The plural use in sense of "sky" may have emerged from a simple habit of use influenced by other words although a link has been suggested with the Ptolemaic theory of space as composed of many spheres.  It had also been used in the same sense in the singular in Biblical language, as a translation of Hebrew plural shamayim.  The earliest adjectival sense “heaven-sent” is attested from the 1640s.

Hell (pronounced hel)

(1) In theology, the place or state of eternal punishment of the wicked after death; the abode of evil and condemned spirits; Gehenna or Tartarus.  The ruler of hell is said often to be Satan; the Devil.

(2) Any place or state of torment or misery; something that causes torment or misery.

(3) The powers of evil.

(4) The abode of the dead; Sheol or Hades.

(5) Extreme disorder or confusion; chaos.

(6) In informal use, something remarkable of its kind (as in “one hell of a…”).

(7) A receptacle into which a tailor throws scraps and off-cuts (a practice in many industries).  In commercial printing, as the hellbox, a box into which a printer throws discarded type.

(8) A general purpose utterance of in swearing or for emphasis, now generally regarded as not actually obscene; used as an intensifier to express surprise, anger, impatience etc; an general intensifier in many phrases.

(9) A gambling house or booth in which bets are placed (archaic).

(10) In metal-working, to add luster to, burnish silver or gold (now rare).

Pre 900: From the Middle English, from the Old English hel & hell (nether world, abode of the dead, infernal regions, place of torment for the wicked after death), it was cognate with the Old High German hella & hellia (source of the Modern German Hölle), the Icelandic hella (to pour), the Norwegian helle (to pour), the Swedish hälla (to pour), the Old Norse hel & hella and the Gothic halja.  It was related to the Old English helan (to cover, hide) and to hull.  The Old English gained hel & hell from the Proto-Germanic haljō (the underworld) & halija (one who covers up or hides something), the source also of the Old Frisian helle, the Old Saxon hellia, the Dutch hel, the Old Norse hel, the German Hölle & the Gothic halja (hell).  The meaning in the early Germanic languages was derived from the sense of a "concealed place", hence the Old Norse hellir meaning "cave or cavern", from the primitive Indo-European root kel (to cover, conceal, save).  In sacred art, hell, whether frozen or afire, is almost always depicted as a cavernous place.

The English traditions of use may have been influenced by Norse mythology and the Proto-Germanic forms.  In the Norse myths, Halija (one who covers up or hides something) was the name of the daughter of Loki who rules over the evil dead in Niflheim, the lowest of all worlds (nifl "mist") and it was not uncommon for pagan concepts and traditions to be grafted onto Christian rituals and idiom.  Hell was used figuratively to describe a state of misery or bad experience (of which there must have been many in the Middle Ages) since the late fourteenth century and as an expression of disgust by the 1670s.  In eighteenth century England, there were a number of Hellfire Clubs, places where members of the elite could indulge their immoral proclivities.  They were said to attract many politicians.

Lindsay Lohan at a promotion for John John "Made in Heaven" jeans, Rua Oscar Freire, Sao Paulo, Brazil, March 2013.

It proved adaptable in the English vernacular.  To have all hell break loose is from circa 1600; to hell in a handbasket is attested by 1867 (an in a context implying earlier use) although it may simply have been derivative of to heaven in a handbasket from 1853 which was a happy phrase implying an easy passage to a nice place.  Hell or high water from 1874 seems to have been a variation of the earlier between the devil and the deep blue sea and the first recorded instance of wishing someone would go to hell seems to have been in Shakespeare’s Merchant of Venice although it’s hard to believe it hadn’t before then been a familiar oral form and one with which the bard may well have been acquainted.  The snowflake’s (later snowball's) chance in hell meaning "no chance" is from 1931 and till hell freezes over meaning "never" is documented from 1832.  To do something just for the hell of it is from 1921, to ride (a horse) hell for leather is from 1889 and hell on wheels was noted (in the US) first in 1843, a reference to the river steamboats which, for propulsion, used large wheels rather than propellers and gained a general popularity after 1869 after it was used in reference to the temporary vice-ridden towns established along the path of the US transcontinental railroad.  Unrelated to this was the earlier (1580s) Scottish hell-wain (a phantom wagon seen in the sky at night).

What happens to snowflakes and snowballs in hell is interesting.  In the writings drawn from the Abrahamic traditions of Judaism, Christianity and Islam, hell is certainly a hot place, the “fire and brimstone” of the New Testament used in the US as a description of a certain type of preacher.  However, in the Divine Comedy (1320), Dante Alighieri (circa 1265–1321) located hell in Earth’s innermost core and he wrote of its characteristics in ways consistent with Aristotelian dynamics; it was mostly hot and fiery but in some places frozen and immobile:

When we were down in that ditch’s darkness, well below the giant’s feet, my gaze still drawn by the wall above us, I heard a voice say: ‘Watch where you walk. Step so as not to tread upon our heads, the heads of wretched, weary brothers.’ At that I turned to look about. Under my feet I saw a lake so frozen that it seemed more glass than water. Never in winter did the Austrian Danube nor the far-off Don, under its frigid sky, cover their currents with so thick a veil as I saw there.

This prison of ice is reserved for a variety of different species of traitors. Depending on the severity of their offense, they may only be frozen from the waist down; or, they may be completely immersed.

A vision of Hell: Pandæmonium (1841) by John Martin (1789–1854).

Dante lists the intricate layers of location for the punishment of sinners and evildoers and while some are hot, the ninth and innermost circle, reserved for the worst of the worst, is icy cold.  Dante goes further, noting that even within the ninth circle, there are gradations, the worst and coldest spot kept for Judas Iscariot.  A colder conception of hell than that familiar from scripture but the idea of a cold hell exists also in Buddhism and some Christian texts of the first millennium.  Dante’s marvelous work was however for centuries neglected and others took the chance to make sure the Biblical stories held sway, John Milton (1608-1674) in Paradise Lost (1667-1674) having the last word, convincing all that Hell was no place for snowflakes.  So today it remains.

“At once, as far as Angel’s ken, he views

The dismal situation waste and wild.

A dungeon horrible, on all sides round,

As one great furnace flamed; yet from those flames

No light; but rather darkness visible

Served only to discover sights of woe,

Regions of sorrow, doleful shades, where peace

And rest can never dwell, hope never comes

That comes to all, but torture without end

Still urges, and a fiery deluge, fed

With ever-burning sulphur unconsumed.”

For those wondering about the fate of certain friends and family members or contemplating their own eternal fate, Dante’s Lonely Planet Guide to Hell summarizes the nine circles thus:

(1) Limbo: The first circle of Hell is Limbo, where the souls of the unbaptized and virtuous pagans reside; while there are no actual punishments, those in Limbo are forever denied the joy of God's presence.  Limbo, frankly, was a bit of a fudge, concocted by medieval theologians as a work-around to avoid the worst injustices of strict Christian rules (notably the souls of the stillborn being sent to Hell on the basis of being unbaptized).  Still it was orthodox Christian thought in Dante’s time and although in subsequent centuries there was much debate, it never went away.  Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022), no stranger to dancing on the head of a pin, seemed both to clarify and cloud the waters by saying limbo was only ever “medieval conjecture” and given there is no explicit answer from Scripture, people seem still free to make of it what they will.

(2) Lust: The second circle is for the lustful.  They are punished by being blown around in a violent storm, symbolizing their lack of self-control.  Perhaps surprisingly, given the fixation many modern denominations seem to have upon anything to do with sex, historically the Christian churches regarded lust usually as the “least to be condemned” of the seven deadly sins, the basis of that, as Saint Thomas Aquinas (1225–1274) pointed out: it was a sin “of the flesh and not the soul” and thus both understandable and forgivable as would one forgive one’s pet cat for eating the meat; it’s just what cats do.  Lust (sometimes expressed as “lechery) included not only fornication but also rape, adultery and “unnatural acts upon beasts of the field” so it was an uncharacteristically generous view from the pulpit.  Of course, given the well-documented predilection of priests, bishops and the odd pope to lustful ways, the relaxed view may have been corporate self-interest.

(3) Gluttony: The third circle is for the gluttonous. They are forced to lie in a vile slush of filth, symbolizing the garbage of their excessive consumption.  Theologians had a broader view of gluttony than is now current in that they were thinking also in terms of social justice; one person’s excessive consumption meant there were others who went hungry.  Some also explored aspects of gluttony as an example of “the idolatry of food” and thus a violation of one of the Ten Commandments.  One improbable supporter of this was Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) who re-purposed the notion in his forlorn attempt to convince Italians it was time to re-create the Roman Empire, lambasting his countrymen for “…following the French into the decadence of elevating cooking to high art while letting the blade of the sword fall to rust.”

(4) Greed: The fourth circle is for the greedy. They are divided into two groups and forced to push heavy weights, symbolizing their excessive desire for material wealth.  Again it’s linked to worship of a “false idol”, the “worship of money” being the “root of all evil” long accepted as orthodox Christian theology (often acknowledged rather than practiced) although the distinction seems lost in many of the modern evangelical congregations (notably those which sing, clap and strum guitars) where it’s made clear McMansions, surf-skis and a big TV in as many rooms as possible is most Godly.

(5) Wrath: The fifth circle is for the wrathful. They are submerged in the river Styx and must fight each other on the surface.  Wrath does seem a curious basis on which to be condemned to Hell, if only because if too rigorously enforced there would be few not damned.  The point seemed to be that the Christian message was not that one should never feel anger (indeed the Church would clarify this by saying mere anger was “neutral”) but that one should “practice Christian charity” and never allow wrathful thoughts to lead to the harming of one’s neighbour. 

(6) Heresy: The sixth circle is for the heretics. They are trapped in flaming tombs, symbolizing their rejection of God's love.  Heresy really is about as bad as it gets because it means one has disagreed with what the priest says and that means defying the pope who, as the “Vicar of Christ on Earth” is uniquely able to express the thoughts of God.  So, what the pope says goes which is why he is “infallible” in such matters; the internal logic is perfect.  While wrathful souls may end up in the fifth circle, a wrathful God is going to punish heretics by sending them for eternity to the sixth: “Vengeance is Mine” said the Lord.

(7) Violence: The seventh circle is divided into three rings, each for a different type of violence: against others, against oneself, and against God. The punishments include being boiled in blood, being transformed into trees and bushes, and being chased and mauled by dogs with sharp teeth.  It’s been hard for critics to resist the feeling Dante enjoyed writing of the sufferings in the seventh circle more than any other, possibly because of the exalted positions many of the victims enjoyed during however many of their four score & ten they managed.  The sanction of violence against self (suicide & attempted suicide) entered the criminal law systems in many jurisdictions and it’s only in recent decades that in some places it has been reclassified from crime to health condition of some type.

(8) Fraud: The eighth circle is for the fraudulent. It is divided into ten bolgias (from the Italian bolgia used here in the sense of “ditch”), each for a different type of fraud. The punishments include being whipped by demons, being immersed in excrement, and being transformed into reptiles.  In the matter of fraud, Dante casts a wider net than the offence captures in the modern imagination where it ranges from shop-lifting to Bernie Madoff’s (1938–2021) Ponzi scheme.  Instead of involving just financial matters, Dante encompasses fraud in a kind of omnibus bill which captures sins as diverse as those who corrupt others with flattery, those who seduce the innocent with lies and deception, those who practice magic & sorcery, those who corrupt the truth by the pedalling of fake news as well as, most obviously, thieves.

(9) Treachery: The ninth circle is for the treacherous. It is divided into four rounds, each for a different type of treachery. The punishments include being frozen in ice, being gnawed on by a three-headed demon, and being devoured by Lucifer himself.  Dante makes clear the sin of treachery is the worst of all and because there’s obviously some overlap with the offences which justify being sent to the other eight, the ninth is reserved for the worst of the worst.  Interestingly, the ninth circle is the part of Hell Dante describes as an icy, frozen place, something usually ignored in pop-culture, film-makers and Satanists staging their video clips almost always preferring fire, molten lava and red-hot pokers.  It could though be worse still because in the centre of Hell sits miserably the Devil, cast there for committing the ultimate sin: his personal treachery against God which saw him forever banished from Heaven.

Benedict XVI looking for Cardinal George Pell (1941-2023).  Canto XVIII, part of the eighth circle of Hell, in Divine Comedy (circa 1494), illustrated by Sandro Botticelli (Alessandro di Mariano di Vanni Filipepi; circa 1445–1510).

Cuius est solum, eius est usque ad coelum et ad inferos

The legal doctrine cuius est solum, eius est usque ad coelum et ad inferos (whoever's is the soil, it is theirs all the way to Heaven and all the way to Hell) is a historic principle of property law which holds the owner of a piece of land enjoys rights not just to the defined soil but to the air above (stretching to Heavens, ie to infinity) and what lay below (as far as Hell, ie all the way down); the legal shorthand is ad coelum.  Developments in technology, such as radio waves and flight, have much modified the doctrine but it continues, with limitations, to operate.  Some of the airspace above a piece of land can be recognized as a property right and as something therefore transferable but the right does not extend far, a position modified also in international law as long ago as the 1950s to accommodate the implication of satellites and, later, space flight, realizing the implications of discussions which had been going on since the advent of flight.  The rights to ownership of what lies below the soil and even the right to deny access to others now varies between jurisdictions but has long since ceased to be absolute.

Although there are no specific references in the record, it may be the origin of the maxim lies in in Roman or Jewish law, or at least customary practice.  The earliest surviving mention in English law is recorded in Bury v Pope (1587) Cro Eliz 118, [1653] EngR 382, (1653) Cro Eliz 118, (1653) 78 ER 375 (B), the Chief Justice, Sir Edward Coke (1552–1634), holding “the earth hath in law a great extent upwards, not only of water as hath been said, but of aire, and all other things even up to heaven, for cujus est solum ejus est usque ad coelum, as it is holden.”, finding for a plaintiff seeking to erect a structure which would block to his neighbor’s window the light which had fallen there for thirty years.  Even then however, limits were noted, Sir Edward saying ad coelum might be defeated if a claim for a right in conflict could be found to have existed prior to 1189, the significance of the date being the beginning of the reign of King Richard I (1157–1199; King of England 1189-1199) and, mentioned here as a legal fiction, the end point of time immemorial.

English law seems to have picked it up from the writings of thirteenth century Italian jurist Accursius (circa 1182–1263), and is said to have been used in common law during the reign of Edward I (1239–1307; King of England 1272- 1307) and the legal framework (air above and ground below) was defined by William Blackstone in his treatise Commentaries on the Laws of England (1766).

Land hath also, in its legal signification, an indefinite extent, upwards as well as downwards. Cujus est solum, ejus est usque ad coelum, is the maxim of the law, upwards; therefore no man may erect any building, or the like, to overhang another's land: and, downwards, whatever is in a direct line between the surface of any land, and the center of the earth, belongs to the owner of the surface; as is every day's experience in the mining countries. So that the word "land" includes not only the face of the earth, but every thing under it, or over it. And therefore if a man grants all his lands, he grants thereby all his mines of metal and other fossils, his woods, his waters, and his houses, as well as his fields and meadows.

Heaven and Hell: Google and Bing

In a study hardly scientific but with a consistent methodology, a Google search for Heaven yielded 1.1 billion results and one for Hell, 784 million.  The same search using Microsoft’s Bing engine delivered 51.4 million hits for Heaven and 48.9 million for Hell.  Noting the method in the search engines' algorithm which underpins how results are delivered, this suggests 58.82% of Google’s users favor God and 41.18% prefer the Devil while Microsoft’s users are more evenly divided, 51.25% being godly and 48.75% Satanists.  Given the state of the world, both God and Satan might have hoped for better numbers but the results are unlikely greatly to have surprised either and it seems to confirm what Google have long said: Use Bing and burn in Hell.