Lichtdom

Lichtdom (pronounced lish-dumm)

A visual technique using light to emulate large-scale architecture.

1934: The construct of the German Lichtdom was licht + dom (literally “cathedral of light”).  Licht (variously light, effortless, freely, easy, free; luminous; eye, clear, sparse, bright, light, shiny, light colored; distinct, plain, obvious, explicit, lucid, straightforward) was from the Middle High German lieht and the Middle German līcht), from the Old High German lioht, from the Old Saxon lioht, from the Proto-West Germanic leuht, from the Proto-Germanic leuhtą, from the primitive Indo-European lewktom.  The descendants include the Dutch licht and the English light.  The obsolete alternative spelling was Liecht.  The colloquial uses include describing candles and (in hunting), the eye of (especially ground) game.  The usual plural is Lichter but Lichte operates as a plural when speaking of candles.  Dom (cathedral; church; big church building; dome, cupola) was from the French dôme, from the Italian duomo, from the Latin domus (ecclesiae (literally “house (of the church)”)), a calque of the Ancient Greek οἶκος τῆς ἐκκλησίας (oîkos tês ekklēsías).

Nuremberg Rally, 1934.

Of all that was designed by Albert Speer (1905-1981; Hitler’s court architect 1934-1942), little was built and less remains.  Although he would later admit the monumentalism of the Nazi architectural plans was a mistake, his apologia was always tinged with the regret that in the years to come, all he was likely to be remembered for was his “immaterial lightshow”, used as a dramatic backdrop for the party rallies held at the Zeppelinfeld stadium in Nuremberg.  Compared with what, had things worked out, he’d have been able to render in steel, concrete, marble and granite, Lichtdom (cathedral of light) was of course ephemeral but it’s undeniably memorable.  Speer created the effect by placing the Luftwaffe’s (the German air force) entire stock (152) of 1500 mm (60 inch) searchlights around the stadium’s perimeter and maximized the exposure of the design by insisting as many events as possible be conducted in darkness, the other advantage being the lighting disguised the paunchiness of the assembled Nazis, many of whom were flabbier than the party’s lean, Nordic ideal, something which anyway was suspect, one joke spread by the famously cynical Berlin natives noting that empirically a better description of the Nazi ideal was "as blonde as Hitler, as fit as Göring, as tall as Goebbels and as sane as Hess".

Nuremberg Rally, 1936.

Few were unimpressed.  Sir Neville Henderson (1882-1942; UK ambassador to Germany 1937-1939), the UK’s admittedly impressionable ambassador described the ethereal atmosphere as “…both solemn and beautiful… like being in a cathedral of ice.”  History though has preferred “cathedral of light” and brief views are captured in Hans Weidemann’s (1904-1975) Festliches Nürnberg (Festival of Nuremberg; a 1937 propaganda film chronicling the 1936 and 1937 events) which is mercifully shorter than Leni Riefenstahl’s (1902–2003) better-known works although the poor quality of the film stock used can only hint at the majesty achieved but the use of Richard Wagner's (1813-1883) Die Meistersinger von Nürnberg (1868) as a musical accompaniment helps.  Riefenstahl actually claimed she suggested the idea to Speer and a much better record exists in her film Olympia (1938) which documented the 1936 Summer Olympics at which the technique was also used.  Architects had of course for millennia been interested in light but apart from those responsible for the placement of stained glass windows and other specialties, mostly they were concerned with function rather than anything representational.  It was the advances the nineteenth century in the availability and luminosity of artificial light which allowed them to use light as an aesthetic element not limited by the time of day and thus the angle of the sun.

Speer had plenty of time to reflect on the past while serving the twenty years in Berlin’s Spandau prison for war crimes and crimes against humanity, a sentence he was lucky to receive.  His interest in light persisted and with unrestricted access to the FRG’s (the Federal Republic of Germany, the old West Germany) technical libraries, he assembled close to a thousand pages of notes for a planned book on the history of the window in European buildings, musing on variables such as the cost and availability of glass at different times in different places, the shifting cost of the labor of glaziers & carpenters and market interventions such as England’s notorious “window tax” which resulted in some strange looking structures.  Ever drawn to the mathematics he’d in his youth intended to study until forced to follow his father into architecture, he pondered the calculations which might produce the changes in “what value a square meter of light had at different periods” and what this might reveal beyond the actual buildings.

It was a shame the book was never written.  He recalled also the effects he applied to the German pavilion he built for the Paris World’s Fair in 1937, bathing it at night with “…skilfully arranged spotlights.  The result was to make the architecture of the building emerge sharply outlined against the night, and at the same time to make it unreal... a combination of architecture and light.”  It was at the Paris event the German and Soviet pavilions sat directly opposed, something of a harbinger and deliberately so.  He was nostalgic too about the Lichtdom, thinking it recalled “a fabulous setting, like one of the imaginary crystal palaces of the Middle Ages” although wryly he would note history would remember his contributions to his profession only for the ephemeral, the “…idea that the most successful architectural creation of my life is a chimera, an immaterial phenomenon.”  Surprisingly, for someone who planned the great city of Germania (the planned re-building of Berlin) with its monumental structures, the news that all that remained in the city of his designs were a handful of lampposts (which stand to this day) seemed something almost amusing.  In all his post-war writings, although there’s much rejection as “a failure” of the plan of Germania and the rest of the “neo-Classical on a grand scale” which characterized Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) vision of representational architecture, it’s not hard to detect twinges of regret for the unbuilt and sometimes he admitted it.  As he was contemplating a return to the drawing board upon his impending release, he noted: “Although I have had enough of monumental architecture and turn my mind deliberately to utilitarian buildings, it sometimes comes hard for me to bid goodbye to my dreams of having a place in the history of architecture. How will I feel when I am asked to design a gymnasium, a relay station, or a department store after I planned the biggest domed hall in the world?  Hitler once said to my wife: ‘I am assigning tasks to your husband such as have not been given for four thousand years. He will erect buildings for eternity!’  And now gyms!”  As things transpired, not even a gym was built and he instead wrote his history in text.  Of that piece of curated architecture, some were fooled and some not.

Tribute in Light annual commemoration, New York.

Dramatic though it was, the exact effect Speer achieved in the 1930s is so tainted by its association with the Nazis that few have attempted to recycle the motif although one pop-star used the effect as a visual backdrop in 1976 when he was going through a right-wing phase which he chose later not to mention.  Isolated or clustered beams are however often used and one display is an annual “Tribute in Light” to commemorate the 9/11 attacks on the World Trade Center and the Pentagon.  It demonstrates the way the play of light can be used; depending on conditions, the light can bounce off the clouds, creating a very different effect than that afforded by a clear sky and it’s possible to render in those clouds a virtual oculus.

Tribute in Light annual commemoration, New York: The oculus effect.  Note the circling birds.

One problem with high intensity light the Tribute in Light has high-lighted is the way temporarily it messes each year with the migration of hundreds of thousands of songbirds.  The memorial uses 88 focused spotlights, the beams of which reach some 6¼ miles (10 km) into the sky and are visible from as far away as sixty miles (100 km).  Traditionally, the display was illuminated from dusk to dawn but of late it’s been switched off for twenty minute intervals in deference to the songbirds which in mid-September make their long flight from their breeding grounds in Canada's boreal forests to their winter homes in the southern US, Mexico, and Central & South America.  They fly mostly by night and it’s thought they’ve evolved to navigate by the stars but, unfortunately, are much attracted to light.  The Tribute in Light having more light than anything else at altitude, the display seems to confuse the birds and it was noted the death toll from birds crashing into New York windows increased every 9/11.  Observers found there was also an element of sound involved, the birds in the light issuing the call associated with distress, this tending to draw more songbirds to the light.

Tribute in Light annual commemoration, New York: Songbirds caught in the light.

Researchers used radar to quantify the effect.  Typically, the skies within a ¼ mile (400 m) of the un-illumined memorial contained around 500 birds but when lit, within 20 minutes, there were almost 16,000.  Extrapolating the data, it was estimated some 1.1 million migrating songbirds had been affected between 2008-2016, even accounting for the lights since 2009 having been shut-off for twenty minutes whenever volunteers count more than 1,000 birds in the beams.  It’s thought the death–toll from birds crashing into buildings is relatively low but there’s concern also the creatures are compelled to expend energy when circling the site, burning up vital energy needed for their long flights.  Shutting off the lights is thought to allow the birds to re-focus on their guiding stars to find their bearings and continue the migration south.  Bird lovers would prefer searchlights not be used at all and some sites have agreed not to use them during the migration season but there’s obviously much sensitivity around the 9/11 commemoration.  Human development of the built environment has for a long time influenced the migration path, the radar data confirming birds disproportionately choose to fly over cities, the researchers referring to the “almost magnetic pull of birds to light.”  We need to remember that it’s their planet too.

Fragment from Olympia (1938) with Lichtdom.

Ephemeral

Ephemeral (pronounced ih-fem-er-uhl)

(1) Lasting a very short time; short-lived; transitory.

(2) In biology, a short-lived organism (usually defined as a life-span less then twenty-four hours) as with some flowers, insects, and microscopic life.

(3) In geology, pertaining to a usually dry body of water which fills for brief periods during and after rain.

1560s: From the New Latin ephemerus from the Ancient Greek ἐφήμερος (ephḗmeros), the more common form of ἐφημέριος (ephēmérios) (of, for, or during the day, living or lasting but for a day, short-lived, temporary), the construct being ἐπί (epí) (on) + ἡμέρα (hēméra) (day).  Originally from the medicine of antiquity as a descriptor of diseases and life-spans (lasting but one day), the extended sense of "transitory" is from the 1630s.  The evocative phrase from the Medieval Latin, memento mori, translates as "remember that you will die".  Synonyms are: short-lived, fleeting, transitory, short, temporary, brief, fugitive, transient, volatile, episodic, evanescent, flitting, impermanent and fugacious.  Ephemeral is a noun & adjective, ephemerality is a noun, ephemerally is an adverb and ephemeric is an adjective; the noun plural is ephemerals.  An ephemeron (ephemera the plural) is "a temporary thing"

Ephemeral art

Ephemeral art, as a defined movement, dates from the work of the Fluxus group in the 1960s.  Originally a platform created to disseminate political messages and critiques of materialist capitalism, the genre developed from the merely ephemeral to the concept of auto-destructive art in which objects existed only for the purpose of their own destruction.  It was perhaps the purest and most original art of the high cold war.

Recreation of Gustav Metzger's auto-destructive installation (1960), exhibition Art and the Sixties: This was Tomorrow, Tate Gallery 2004.

John Sharkey (1936-2004) and Gustav Metzger (1926–2017) were most influential in the development of Auto-Destructive Art and best remembered for the Destruction in Art Symposium in 1966 although the first public demonstration of Metzger’s concepts was at the Temple Gallery, London, in June 1960.  Metzger preferred to describe auto-destructive art as “a public art for industrial societies” and for the installation used in 1960, he hid himself behind a pane of glass covered with a white nylon sheet.  As the exhibition began, he used a brush to apply a hydrochloric acid solution to the fabric and as the material dissolved, creating a swirling, glue-like coating on the glass, he slowly became visible through the holes.  The presentation also included waste in plastic bags and models for auto-destructive sculptures. The work was re-created in 2004 by the Tate Gallery for the exhibition Art and the Sixties: This was Tomorrow.

Table (circa 1958), one of Gustav Metzger’s non-ephemeral works.

Metzger’s had first discussed his concept of auto-destructive art in a manifesto issued in November 1959.  In this statement, he emphasized how the most robust, and apparently durable, mechanically-manufactured objects (and those in which he though society was vesting a dangerous faith) ultimately would degrade and eventually disappear, a process which humans might delay but not prevent.  A second volume of his manifesto followed the next March in which he elaborated, explaining that auto-destructive art existed to highlight society’s obsession with destruction and the damaging effects of machinery on human life.  Although he didn’t reference it, there were elements in the manifestos which echoed the warnings of the dangers inherent in an uncritical faith in technology made by Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) in his final address to the court at the end of the Nuremberg trial.  As well as carrying an anti-capitalist and anti-consumerist message, in the context of the early years of the Cold War the anti-nuclear tone of Metzger’s auto-destructive art was blatant.  His views never changed but, after taking the concept to a natural conclusion of public interest, his work assumed more conventional forms although the political agenda remained, addressing the troubles in Northern Ireland, the Israel-Palestinian conflict, terrorism and climate change.

Photographers can emulate ephemerality even without post-production editing by using light to "overwhelm" the focus: This is a three-frame spread of Lindsay Lohan being photographed at the point of photoflash.

Albert Speer and the permanence of the ephemeral

Nuremberg Rally, 1934.

Of all that was designed by Albert Speer (1905-1981; Hitler’s court architect 1934-1942), little was built and less remains.  Although he would later admit the monometalism of the Nazi architectural plans was a mistake, his apologia was always tinged with the regret that in the years to come, all he was likely to be remembered for was his “immaterial lightshow”, used as a dramatic backdrop for the party rallies held at the Zeppelinfeld stadium in Nuremberg.  Compared with what, had things worked out, he’d have been able to render in steel, concrete, marble and granite, Lichtdom (cathedral of light) was of course ephemeral but it’s undeniably memorable.  Speer created the effect by placing the Luftwaffe’s (the German air force) entire stock (152) of 1500 mm (60 inch) searchlights around the stadium’s perimeter and maximized the exposure of the design by insisting as many events as possible be conducted in darkness, the other advantage being the lighting disguised the paunchiness of the assembled Nazis, many of whom were flabbier than the party’s lean, Nordic ideal, something which anyway was suspect, one joke spread by the famously cynical Berlin natives noting that empirically a better description of the Nazi ideal was "as blonde as Hitler, as fit as Göring, as tall as Goebbels and as sane as Hess".

Nuremberg Rally, 1936.

Few though were unimpressed by Lichdom.  Sir Neville Henderson (1882-1942; UK ambassador to Germany 1937-1939), the UK’s admittedly impressionable ambassador described the ethereal atmosphere as “…both solemn and beautiful… like being in a cathedral of ice.”  History though has preferred “cathedral of light” and brief views are captured in Hans Weidemann’s (1904-1975) Festliches Nürnberg (Festival of Nuremberg; a 1937 propaganda film chronicling the 1936 and 1937 events) which is mercifully shorter than Leni Riefenstahl’s (1902–2003) better-known works although the poor quality of the film stock used can only hint at the majesty achieved but the use of Richard Wagner's (1813-1883) Die Meistersinger von Nürnberg (1868) as a musical accompaniment helps.  Riefenstahl actually claimed she suggested the idea of the searchlights to Speer and a much better record exists in her film Olympia (1938) which documented the 1936 Summer Olympics at which the technique was also used.  Architects had of course for millennia been interested in light but apart from those responsible for the placement of stained glass windows and other specialties, mostly they were concerned with function rather than anything representational.  It was the advances the nineteenth century in the availability and luminosity of artificial light which allowed them to use light as an aesthetic element not limited by the time of day and thus the angle of the sun.

Speer had plenty of time to reflect on the past while serving the twenty years in Berlin’s Spandau prison for war crimes and crimes against humanity, a sentence he was lucky to receive.  His interest in light persisted and with unrestricted access to the FRG’s (the Federal Republic of Germany, the old West Germany) technical libraries, he assembled close to a thousand pages of notes for a planned book on the history of the window in European buildings, musing on variables such as the cost and availability of glass at different times in different places, the shifting cost of the labor of glaziers & carpenters and market interventions such as England’s notorious “window tax” which resulted in some strange looking structures.  Ever drawn to the mathematics he’d in his youth intended to study until forced to follow his father into architecture, he pondered the calculations which might produce the changes in “what value a square meter of light had at different periods” and what this might reveal beyond the actual buildings.

It was a shame the book was never written.  He recalled also the effects he applied to the German pavilion he built for the Paris World’s Fair in 1937, bathing it at night with “…skilfully arranged spotlights.  The result was to make the architecture of the building emerge sharply outlined against the night, and at the same time to make it unreal... a combination of architecture and light.”  It was at the Paris event the German and Soviet pavilions sat directly opposed, something of a harbinger and deliberately so.  He was nostalgic too about the Lichtdom, thinking it recalled “a fabulous setting, like one of the imaginary crystal palaces of the Middle Ages” although wryly he would note history would remember his contributions to his profession only for the ephemeral, the “…idea that the most successful architectural creation of my life is a chimera, an immaterial phenomenon.”  Surprisingly, for someone who planned the great city of Germania (the planned re-building of Berlin) with its monumental structures, the news that all that remained in the city of his designs were a handful of lampposts (which stand to this day) seemed something almost amusing.  In all his post-war writings, although there’s much rejection as “a failure” of the plan of Germania and the rest of the “neo-Classical on a grand scale” which characterized Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) vision of representational architecture, it’s not hard to detect twinges of regret for the unbuilt and sometimes he admitted it.  As he was contemplating a return to the drawing board upon his impending release, he noted: “Although I have had enough of monumental architecture and turn my mind deliberately to utilitarian buildings, it sometimes comes hard for me to bid goodbye to my dreams of having a place in the history of architecture. How will I feel when I am asked to design a gymnasium, a relay station, or a department store after I planned the biggest domed hall in the world?  Hitler once said to my wife: ‘I am assigning tasks to your husband such as have not been given for four thousand years. He will erect buildings for eternity!’  And now gyms!”  As things transpired, not even a gym was built and he instead wrote his history in text.  Of that piece of curated architecture, some were fooled and some not.

Spot

Spot (pronounced spot)

(1) A rounded mark or stain made by foreign matter, as mud, blood, paint, ink etc; a blot or speck, differing usually in colour or texture from its surroundings.

(2) A small blemish, mole, or lesion on the skin or other surface (popularly associated with pimple, zits, blackheads etc).

(3) A small, circumscribed mark caused by disease, allergic reaction, decay, etc.

(4) A comparatively small, usually roundish, part of a surface differing from the rest in color, texture, character etc.

(5) A place or locality (used also in the plural, often to describe places of entertainment, sightseeing locations, historic sites etc and also used of things like parking spots).

(6) In organisational structures, a specific position in a sequence or hierarchy.

(7) In playing cards, one of various traditional, geometric drawings of a club, diamond, heart, or spade indicating suit and value.

(8) A pip, as on dice or dominoes.

(9) In slang, a piece of paper money (5 spot=$5 etc).

(10) As a clipping of “spot illustration”, a small drawing, usually black and white, appearing within or accompanying a text.

(11) A small quantity of anything.

(12) In ichthyology, a small croaker (Leiostomus xanthurus) with a black spot behind the shoulders and fifteen oblique dark bars on the sides, the habitat of which is the US east coast; the southern redfish, or red horse (Sciaenops ocellatus), which has a spot on each side at the base of the tai; both popular as food fish.

(13) As a clipping of “spot market”, the informal terms for commodities (grain, oil, wool et al) sold for immediate delivery and payment at a price quoted at the point of sale.

(14) A slang term for a spotlight.

(15) To stain or mark with spots:

(16) In dry cleaning, to remove a spot or spots from clothing, prior to processing.

(17) In any context, to make a spot; to become spotted.

(18) In the military (often as target spotter or spotting), law enforcement or among criminals etc, to serve or act as a spotter.

(19) In billiards, a clipping of “spot ball” the white ball that is distinguished from the plain by a mark or spot; the player using this ball.

(20) To look out for and note; to observe or perceive suddenly, especially under difficult circumstances; to discern.

(21) In informal use (US) in some games and sports, to yield an advantage or concession to one's opponent.

(22) In zoology, a term used to describe various dot-like patterns (ladybirds, leopards et al) seen on the skin, wings, coats etc of some animals.

(23) In sports, an official determination of placement (where a referee or umpire places a ball, sets the point at which a penalty kick is to be taken etc).

(24) In broadcasting (radio & television), brief advertisement or program segment.

(25) In gymnastics, dance & weightlifting, one who spots (supports or assists a manoeuvre, or is prepared to assist if safety dictates); a spotter.

(26) A variety of the common domestic pigeon, so called from a spot on its head just above the beak.

(27) In the jargon of financial trading, the decimal point (used to ensure no ambiguities in oral exchanges).

(28) In physics, a dissipative soliton (a stable solitary localized structure that arises in nonlinear spatially extended dissipative systems due to mechanisms of self-organization); known also as a pulse.

(29) In slang (US), to loan a small amount of money to someone.

(30) In analogue & digital photograph editing, to remove minor flaws.

(31) In ballet, to keep the head and eyes pointing in a single direction while turning.

(32) To cut or chip timber in preparation for hewing.

(33) In naval aviation, to position an aircraft on the deck of an aircraft carrier ready for launch by catapult.

(34) In rail transport, to position a locomotive or car at a predetermined point (typically for loading or unloading).

1150-1200: From the Middle English spot & spotte (a moral blemish), partially from the Middle Dutch spotte (spot, speck, mark), and partially a merging with the Middle English splot, from the Old English splott (spot, speck, plot of land).  It was cognate with the East Frisian spot (speck), the North Frisian spot (speck, piece of ground), the Low German spot (speck) and the Old Norse spotti (small piece) and the Norwegian spot (spot, small piece of land); it was related also to splotch.  Describing originally some flaw of character, the idea of a “speck, stain left by something on a surface” emerged in the mid-fourteenth century, picked up from the Old English splott.  The late Middle English verb spotten (to stain, mark) was a derivative of the noun.  Variations of the form are common in Germanic languages but the nature of the spread and evolution remains murky.  From the early fourteenth century it was used to describe “a patch or mark on the fur of an animal while the sense of a “particular place, small extent of space (on a body, etc”) dated from the late 1300s, the general figurative use "a blemish, defect, distinguishing mark emerging at the same time, concurrent with the now familiar use to refer to pimple, zips etc, soon to be celebrated in the medical literature as “an eruption on the skin”.  The adjective spotless was from the late fourteenth century spotless (without flaw or blemish; pure).  The adjective spotty was from the mid-fourteenth century spotti, (marked with spots (of the skin, etc)) and it entered figurative use in the sense of “unsteady, irregular, uneven, without unity” in 1932.  Spot is a noun, verb & adjective, spotter & spotlessness are nouns, spotlike, spotless’ spotty & spottable are adjectives, spotting & spots are nouns & verbs, spotlessly is an adverb and spotted is a verb & adjective; the noun plural is spots.

The early nineteenth century use of “spotty” in art criticism was originally a critique and unrelated either to the later technique of divisionism (sometimes called chromoluminarism), most associated with Neo-Impressionist painting and defined by the colors being separated into individual dots or daubs or the “dot paintings” associated with some forms of Indigenous Australian art.  The meaning “short interval in a radio broadcast for an advertisement or announcement” dates from 1937, an extension of the earlier use in live theatre to describe “an act's position on a bill”, noted since as surprisingly late 1923.  Although it’s likely to have been longer in oral use, in 1901 it noted in the US as a term for a prison sentence (5 spot=5 years etc).

1971 Ford Mustang Boss 351.  Even when standing still the thing undeniably had a presence but the sheer volume of the rear coachwork created blind spots and the dramatic roofline (said to be highly aerodynamic) restricted rearward visibility, the glass close to horizontal.

The term “blind spot” began in optics in 1864 describing a “spot within one's range of vision but where one cannot see” which in 1872 was described scientifically as “the point on the retina insensitive to light (where the optic nerve enters the eye”.  The figurative use (of moral, intellectual matters etc) dates from 1907 while the literal (a field of vision blocked by some fixed object) was used by 1912, originally of those suffered by omnibus drivers and later it became familiar when describing defects in the visibility offered by the design of early automobiles.  Dating from 1888, “hot spot” was originally a term from dermatology which referred to the focal point of a skin irritation and was literal, the temperature at the (usually reddish) site slightly higher.  In 1931 it was use of “nightclubs or other entertainment venues" (which after 1936 were “nightspots” generally) while it came into use in fire-fighting in 1938 after research indicated the most effective way to prevent spread or lower intensity was to find the points of highest temperature.  It 1941, it came to be applied to “a place of international conflict”.  The famous g spot (also a g-spot and short for Gräfenberg spot, named for German gynecologist Ernst Gräfenberg (1881-1957)) entered English in 1981 although the doctor had described it in a paper published in 1950 but similar finding are in documents dating back centuries.  He also developed the intra-uterine device (IUD) but despite these notable contributions to science he died in obscurity.

The noun spotter (one who makes spots; one who observes things for some purpose) was first used in 1876 as a slang for “a detective”, picking up from the verb in the secondary sense of “catch with the eye” and by 1903 it was used in the general sense of a “look-out”, adopted with apparently equal enthusiasm by police and criminals alike.  It was a designated position in hunting and target practice by 1893 but the military appear not to have picked it up until the World War I (1914-1918) although such tasks had existed for centuries, pre-dating even artillery, batteries of archers supported by an observer who reported their accuracy of fire.  In the navy, they were also called “sighters” and the use of “spotter” for this purpose has even extended to electronic hardware.  The sunspot in 1818 was again from dermatology and referred to “a spot on the skin caused by exposure to the Sun”, the term picked up in 1849 by the early heliophysicists to describe the “spots on the surface of the Sun”.

Spotlights (actually anti-aircraft searchlights) used to create the Lichtdom (literally "Cathedral of Light") effect at the Nazi's Nuremberg Rallies during the 1930s.

The spotlight (source of artificial light casting a narrow, relatively intense beam) was first described in 1904 as a piece of theatrical equipment with the figurative sense dating from 1916 where it could carry either negative or positive connotations (unlike the companion “limelight” which was always positive).  The military did use the term spotlight but the “searchlight” was a more frequent entry in lists of materiel.  The hobby (which for some seems either a calling or obsession) of train-spotting was first documented in 1959 (the train spotter having been mentioned the previous year) and referred to those who observed, collected and collated the numbers of railway locomotives, one’s status in the field determined by the number of unique entries in one’s list.  The habit caught on and there are also car spotters, truck spotters, bus spotters and plane spotters, the last once causing an international incident when a group were arrested outside a Greek military airfield by police who confiscated their notebooks and cameras, accusing them of spying.  The matter was resolved.

Hitting the spot: Crooked Hillary Clinton enjoys a shot of Crown Royal Bourbon Whiskey, Bronko's restaurant, Crown Point, Indiana, Saturday 12 April, 2008.

In idiomatic use, the phrase “hit the spot” (satisfy, be what is required) was first document in 1857 while the companion “spot on” doesn’t seem to have been used until 1920.  Earlier, “on the spot” by the 1670s meant “at once, without moving or delay” and a decade later “in the precise place and time” hence to be “on the spot” implied one “doing just what is right and needed”, a form noted since 1884.  The term “man on the spot” assumed some importance in diplomatic and military chains of command in the times before modes of communications were global, convenient and real-time, a recognition the one best equipped to make a decision was “the man on the spot”; then all certainly were men.  To “put someone on the spot” or “leave them in “a bit of a spot (or a “tight spot”)” was to “place them in a difficult situation”, use dating from 1928 and 1929 respectively.  The “spot check” (an inspection of a sample chosen at random) was first described (though doubtless a long-established practice) in 1933 and was used as a verb by 1944.  The term “sweet spot” is a mid-twentieth century formation which means “the optimal point and is used to describe (1) in acoustics the point of optimal sound delivered by the positioning of speakers, (2) in economics the optional outcome in a cost-benefit analysis, (3) in sporting equipment the location on a tennis racquet, baseball bat etc which produces the most satisfactory effect on the ball, (4) in phonetics the state of harmonic resonance in the larynx which produces the perfect sound and (5) as a euphemistic, the clitoris, G-spot or other source of sexual pleasure.  Generally, it’s used to mean “any ideal location or situation.

In zoology, the nomenclature can mislead non-specialists: The black spotted estuary cod (left) is a fish with black spots whereas the black spotted pond turtle  (right) is a black amphibian with white spots.

Spot in its original sense a taint, stigma, stain or blemish on the character of a person is still used to suggest some moral flaw and is related to “can’t change one’s spots” & “a leopard can’t change its spots”, the implication being character flaws are inherent.  A “weak spot” is a specific deficiency and a “soft spot” is a “particular sympathetic affection or weakness for a person or thing” which should not be confused with the “soft underbelly”; such is a vulnerability.  To “hit the spot” is an acknowledgement a need has perfectly be satisfied (typically used to mean hunger has been sated or thirst quenched.  In the matter of the weather, if it’s “just spotting”, the rain is light.  A “black spot” is something bad or dangerous while a “bright spot” is a highlight or something positive in a sea of bad news.  The use of the phrase “X marks the spot” has expanded somewhat but originally meant “one will find what one is looking for under an obvious sign”.  Spotted fever was a term for a number of tropical diseases (the reference to the symptoms which appeared on the skin) dating from the 1640s.  The spotted dick (suet pudding with currants and raisins) appeared in recipe books in 1849 although the date of its creation is uncertain.

Spotted dick (sometimes known as spotted richard) with custard.

In June 2018, it was reported the Strangers' Dining Room the UK’s House of Commons in Westminster had changed the name of “Spotted Dick” to “Spotted Richard” although in other parts of the country, the suet & dried fruit sponge dessert remained on sale under the traditional name.  Derided by many as “wokeness” or “political correctness gone mad” the restaurant staff confirmed the change had been made in case anyone found the conjunction of spotted and dick “confronting”.  There’s no suggestion any complaints had been received which might have prompted the change but ideas soon flowed about the way people might be protected from other culinary micro-aggressions: Apple crumble was thought to be potentially offensive to those diagnosed with anxiety disorders so it might better be called apple support while the extra virgin olive oil offered with breads could be triggering for the Incels (involuntary celibate men).  Perhaps such oil could be labelled young because one certainly doesn’t wish to trigger the Incels.  The sight of Cock-a-leekie soup on a menu would be challenging for both the incontinent and those recovering from certain STIs (sexually transmitted infections which were once known as STDs (sexually transmitted diseases and before that venereal disease (VD)) so it would be better to play it straight and re-brand as chicken & leek soup.  It wasn’t until the 1970s VD began to be replaced by STD (VD thought to have to have gained too many specific associations) but fortunately for AT&T, in 1951 they renamed their STD (Subscriber Toll Dialing) service to DDD (Direct Distance Dialing), apparently for no better reason than the alliterative appeal although it's possible they just wanted to avoid mentioning “toll” with all that implies.  Many countries in the English-speaking world continued to use STD for the phone calls, even after the public health specialists had re-purposed the initialization.

Famous for his sartorial daring: Tennis player Roger Federer (b 1981), Wimbledon, July 2023.

A long-standing orthodoxy in fashion is (1) stripes and spots should never be mixed, (2) either should be worn only with a solid and (3) there's the added caveat care should be taken with color choices.  However, neither all stripes nor all spots are created equal; dimensionality matters so if small enough and in the right color combination, either can for these purposes work as solids and thus be available for mix & match.  To illustrate the technique, style guru Elisabeth McKnight explains pattern mixing with polka dots:

(1) Pick a color palette: Black and white is an easy starter palette, but even if adding color, stick to only a few.  Find patterns with the same colors in them or keep it easy by mixing colors of the same tone together (pastels with pastels or jewel tones with jewel tones, for example).

(2) Mix patterns of different scales: Pair a small print with a large and avoid prints of the same size. If using only one print (like a tiny polka dot skirt) with a very small print, essentially it acts as a neutral.  So, when wearing polka dots and stripes together, ensure dots are small if the stripes are bold.  Alternatively, if the print of the stripe is small, it can be paired with bigger dots.  As a rule of thumb, use the “ten foot rule”.  At that distance, to the naked eye, the fabric with small dots or strips should be had to distinguish from a solid.

(3) Mix textures for added dimension: Although it can be a dramatic look, especially with statements like red or purple, interest can be added if different fabrics are used for top and bottom garments.

How it's done: Lindsay Lohan demonstrates how spots and stripes work best with solids.