Monitor

Monitor (pronounced mon-i-ter)

(1) A student appointed to assist in the conduct of a class or school, as to help take attendance or keep order (largely obsolete).

(2) A person appointed to supervise students, applicants, etc., taking an examination, chiefly to prevent cheating; proctor.

(3) A person who admonishes, especially with reference to conduct.

(4) Something that serves to remind or give warning.

(5) A device or arrangement for observing, detecting, or recording the operation of a machine or system, especially an automatic control system.

(6) An instrument for detecting dangerous gases, radiation, etc.

(7) A receiving apparatus used in a control room, especially to provide a steady check of the quality of an audio or video transmission.

(8) A similar apparatus placed in various parts of a studio so that an audience can watch a recorded portion of a show, the performer can see the various segments of a program, etc.

(9) Any such receiving apparatus used in a closed-circuit system, as in an operating room.

(10) The screen component of a computer, especially a free-standing screen.

(11) In early computing, a control program which handled the primitive file-loading, essentially a precursor to operating systems.

(12) A type of armored warship of very low freeboard, having one or more turrets and used for coastal defense (now obsolete).

(13) In architecture, a raised construction straddling the ridge of a roof and having windows or louvers for lighting or ventilating a building, as a factory or warehouse.

(14) An articulated mounting for a nozzle, usually mechanically operated, which permits a stream of water to be played in any desired direction, as in firefighting or hydraulic mining (also called giant).

(15) Any of various large predatory lizards of the genus Varanus and family Varanidae, of Africa, southern Asia, the East Indies, and Australia, fabled to give warning of the presence of crocodiles.

(16)  To listen to or observe something.

(17) In Engineering, a tool holder, as for a lathe, shaped like a low turret, and capable of being revolved on a vertical pivot so as to bring the several tools successively into position.

1540-1550: From the Latin monitor (one who warns) from perfect passive participle monitus (warning) from the verb monēre (to remind, bring to (one's) recollection, tell (of); admonish, advise, warn, instruct, teach) from the primitive Indo-European moneie- (to make think of, remind), source also of the Sanskrit manayati (to honor, respect) and the Old Avestan manaiia- (making think), a suffixed (causative) form of the root men- (to think), source also of the Latin memini (I remember, I am mindful of) & mens (mind).  The notion was "one who or that which warns of faults or informs of duties".

The first use in English was to describe a "senior pupil at a school charged with keeping order" (vaguely analogous with the block kapo in a concentration camp), from the Latin monitor (one who reminds, admonishes, or checks," also "an overseer, instructor, guide, teacher).  The lizard picked up the name in 1826 because of the fable in which it was said to give warnings of Nile crocodiles.  The squat, slow-moving ironclad warship was first used in 1862 during the US Civil War, the name chosen by the inventor, Swedish-born U.S. engineer John Ericsson (1803-1889), because it was meant to "admonish" (in the sense of the senior pupil at a school) the Confederate leaders in the U.S. Civil War.

Use in broadcasting dates from 1924 when it meant "a device to continuously check on the technical quality of a radio transmission signals" and it was borrowed in 1931 during the development of early television broadcasts to describe "a TV screen displaying the picture from a particular camera."  It soon came to mean electronic screens of any type.  The general sense of monitoring stuff emerged in 1944 to describe certain wartime intelligence operations.  Interestingly, as early as 1918 the romantic poet John Keats (1795-1821) used it in the sense of "to guide".

Lindsay Lohan wearing court-mandated ankle monitor.  Strangely, despite attaching around the ankle, these are more frequently called bracelets than anklets.

Chanel Ankle Bags, Spring 2007 collection (left) and companion boot (right).

In one of several examples of the Lohanic influence on fashion and design, in their Spring 2007 collection, Chanel included a range of ankle bags.  Functional to the extent of affording the wearing a hands-free experience and storage for perhaps a lipstick, gloss and credit card (and the modern young spinster should seldom need more), the range was said quickly to "sell-out" although the concept hasn't been seen in subsequent collections so analysts of such things should make of that what they will.  Chanel offered the same idea in a boot, a design actually borrowed from the military although they tended to be more commodious and, being often used by aircrew, easily accessible while in a seated position, the sealable flap on the outer calf, close to the knee.

The Monitors

Monitors were curious looking, relatively small warships which, while neither fast nor heavily armored, carried disproportionately large guns, sometimes a single barrel as large as eighteen inches (460mm).  First used in the US Civil War, they saw service in several navies during both world wars and some were built by the US Navy as late as the 1960s to support costal operations in the Vietnam War.  Essentially a floating gun platform, they could be used only in shallow waters and were thus restricted to river and coastal duties where they were used as shore bombardment vessels.  Monitors have the distinction of firing heavier shells than other warships.

HMS Marshall Ney (1915-1957)

The Royal Navy has a sense of history and maintains in the service a great veneration for her most illustrious ships, names like Dreadnought, Victory & Vanguard often re-used on newer vessels to maintain the links with a history which dates back almost five-hundred years.  One ship not often mentioned in the annals is HMS Marshal Ney, laid down in 1915 as the first of two monitors of her class.  Designed to use 15 inch (380 mm) guns with mounts and turrets which became available when the Admiralty opted to reconfigure the battleships Renown and Repulse as battle cruisers, Marshal Ney and her sister ship Marshal Soult were named in recognition of historically unusual situation of the French being allies rather than enemies.  Built with the same armor as earlier monitors which mounted 12 inch (300 mm) guns, the original plan had been also to use the same well-regarded and reliable engines but an unfortunate decision was taken to use some diesel engines which were otherwise unallocated.  In short order, HMS Marshal Ney would come to be known as “the worst ship in the navy”.

The Vickers engines in the Marshal Soult, though underpowered, were reliable but those in her sister ship, built by the German company of MAN were a disaster, the problems thought a consequence of it being impossible in wartime to employ the German technicians experienced in servicing them or obtain the spare parts needed to fix them.  On the rare occasions the engines successfully started, they rarely ran for long without something “blowing up” and the engineers reports make clear, this expression was literal rather than used in the figurative sense often heard in engine rooms, pieces of shrapnel flying around with disturbing frequency.  Remarkably, there were only minor injuries.  As a result, the navy removed the big gun and installed it on the better performing monitor HMS Terror though in one of the coincidences of war, one of its barrels was on HMS Repulse when she was sunk by the Japanese in 1941.  The Admiralty re-armed the Marshal Ney, firstly with a single 9.2 inch (235 mm) gun and later, six with 6-inch (150 mm) bores but made no attempt to replace the engines, using the ship instead as a floating gun platform in the Channel, towed from port to port as required.  Despite being “the worst ship in the navy”, HMS Marshal Ney had a longer life on the active register than many more storied warships.  After the First World War, she became first a depot vessel and later an accommodation ship, renamed three times between 1922-1947, becoming successively Vivid, Drake and Alaunia II.  She was decommissioned in 1957 and sold for scrap, something which many sailors believed she'd been from the day she was launched.

Acephalous

Acephalous (pronounced ey-sef-uh-luhs)

(1) In zoology, a creature without a head or lacking a distinct head (applied to bivalve mollusks).

(2) In the social sciences, political science & sociology, a system of organisation in a society with no centralized authority (without a leader or ruler), where power is in some way distributed among all or some of the members of the community.

(3) In medicine, as (1) acephalia, a birth defect in which the head is wholly or substantially missing & (2), the congenital lack of a head (especially in a parasitic twin).

(4) In engineering, an internal combustion piston engine without a cylinder head.

(5) In botany, a plant having the style spring from the base, instead of from the apex (as is the case in certain ovaries).

(6) In information & communications technology (ICT), a class of hardware and software (variously headless browser, headless computer, headless server etc) assembled lacking some feature or object analogous with a “head” or “high-level” component.

(7) In prosody, deficient in the beginning, as a line of poetry that is missing its expected opening syllable.

(8) In literature, a manuscript lacking the first portion of the text.

1725-1735: From French acéphale (the construct being acéphal(e) + -ous), from the Medieval Latin acephalous, from the Ancient Greek ἀκέφαλος (aképhalos) (headless), the construct being ἀ- (a-) (not) + κεφαλή (kephalḗ) (head), thus synchronically: a- +‎ -cephalous.  The translingual prefix a- was from the Ancient Greek ἀ- (a-) (not, without) and in English was used to form taxonomic names indicating a lack of some feature that might be expected.  The a- prefix (with differing etymologies) was also used to form words imparting various senses.  Acephalous & acephalic are adjectives, acephalousness, acephalia & acephaly are nouns and acephalously is an adverb; the noun plural is acephali.

In biology (although often literally synonymous with “headless”), it was also used to refer to organisms where the head(s) existed only partially, thus the special use of the comparative "more acephalous" and the superlative "most acephalous", the latter also potentially misleading because it referred to extreme malformation rather than absence (which would be something wholly acephalous).  In biology, the companion terms are anencephalous (without a brain), bicephalous (having two heads), monocephalous (used in botany to describe single-headed, un-branched composite plants) & polycephalous (many-headed).

Acephalous: Lindsay Lohan “headless woman” Halloween costume.

The word’s origins were in botany and zoology, the use in political discussion in the sense of “without a leader” dating from 1751.  The Acephali (plural of acephalus) were a people, said to live in Africa, which were the product of the imagination of the writers of Antiquity, said by both the Greek historian Herodotus (circa 487-circa 425 BC) and Romano-Jewish historian Flavius Josephus (circa 37–circa 100) to have no heads (sometimes removable heads) and Medieval historians picked up the notion in ecclesiastical histories, describing thus (1) the Eutychians (a Christian sect in the year 482 without a leader), (2) those bishops certain clergymen not under regular diocesan control and later a class of levelers in the time of Henry I (circa 1068–1135; King 1100-1135).  The word still sometimes appears when discussing religious orders, denominations (or even entire churches) which reject the notion of a separate priesthood or a hierarchical order including such as bishops, the ultimate evolution of which is popery.

Acephalousness in its age of mass production: Marie Antoinette (1755–1793; Queen Consort of France 1774-1792) kneeling next to her confessor, contemplates the guillotine on the day of her execution, 16 October 1793.  Colorized version of a line engraving with etching, 1815.

In political science, acephalous refers to societies without a leader or ruler in the Western sense of the word but it does not of necessity imply an absence of leadership or structure, just that the arrangements don’t revolve around the one ruler.  Among the best documented examples were the desert-dwelling tribes of West Africa (notably those inhabiting the Northern Territories of the Gold Coast (now Ghana)), the arrangements of which required the British colonial administrators (accustomed to the ways of India under the Raj with its Maharajas and institutionalized caste system) to adjust their methods somewhat to deal with notions such as distributed authority and collective decision making.  That said, acephalous has sometimes been used too freely.  It is inevitably misapplied when speaking of anarchist societies (except in idealized theoretical models) and often misleading if used of some notionally collectivist models which are often conventional leadership models in disguise or variations of the “dictatorship of the secretariat” typified by the early structure of Stalinism.

The Acephalous Commer TS3

A curious cul-de-sac in engineering, Commer’s acephalous TS3 Diesel engine (1954-1972) was a six-cylinder, two-stroke system, the three cylinders in a horizontal layout, each with two pistons with their crowns facing each other, the layout obviating any need for a cylinder head.  The base of each piston was attached to a connecting rod and a series of rockers which then attached to another connecting rod, joined to the single, centrally located crankshaft at the bottom of the block, a departure from other “opposed piston” designs, almost all of which used twin crankshafts.  The TS3 was compact, powerful and light, the power-to-weight ratio exceptional because without components such as a cylinder heads, camshafts or valve gear, internal friction was low and thermal efficiency commendably high, the low fuel consumption especially notable.  In other companies, engineers were attracted to the design but accountants were sceptical and there were doubts reliability could be maintained were capacity significantly increased (the TS3 was 3.3 litres (200 cubic inch) and when Chrysler purchased Commer in 1967, development ceased although an eight-piston prototype had performed faultlessly in extensive testing.  Production thus cease in 1972 but although used mostly in trucks, there was also a marine version, many examples of which are still running, the operators maintaining them in service because of the reliability, power and economy (although the exhaust emissions are at the shockingly toxic levels common in the 1960s).

Acephalous information & communications technology (ICT)

A headless computer (often a headless server) is a device designed to function without the usual “head” components (monitor, mouse, keyboard) being attached.  Headless systems are usually administered remotely, typically over a network connection although some still use serial links, especially those emulating legacy systems.  Deployed to save both space and money, numerous headless computers and servers still exist although the availability of KVM (and related) hardware which can permit even dozens of machines to be hard-wired to the one keyboard/mouse/monitor/ combination has curbed their proliferation.

A headless browser is a web browser without a graphical user interface (GUI) and can thus be controlled only be from a command-line interface or with a (usually) automated script, often deployed in a network environment.  Obviously not ideal for consumer use, they’re ideal for use in distributed test environments or automating tasks which rely on interaction between web pages.  Until methods of detection improved, headless browsers were a popular way of executing ploys such as credential stuffing, page-view building or automated clicking but there now little to suggest they’re now anymore frequently used as a vector for nefarious activity than conventional browsers with a GUI attached.

Browsing for nerds: Google’s acephalous Headless Chrome.

Headless software is analogous with but goes beyond the concept of a headless computer in that it’s designed specifically to function without not just a GUI or monitor but even the hardware necessary to support the things (notably the video card or port).  Whereas some software will fail to load if no video support is detected, headless software proceeds regardless, either because it’s written without such parameter checking or it includes responses which pass “false positives”, emulating the existence of absent software.  Headless software operated in a specialized (horizontal in terms of industries supplied but vertical in that the stuff exists usually in roles such as back-to-front-end comms on distributed servers) niche, the advantage being the two end can remain static (as some can be for years) while bridge between the two remains the more maintenance intensive application programming interface (API), the architecture affording great flexibility in the software stack.

Cybernetic

Cybernetic (pronounced sahy-ber-net-ik)

(1) Of or relating to cybernetics (the theoretical study of communication and control processes in biological, mechanical, and electronic systems, especially the comparison of these processes in biological and artificial systems).

(2) Of or relating to computers and the Internet (largely archaic (ie "so 1990s").

1948 (in English): From the Ancient Greek κυβερνητικός (kubernētikós) (good at steering, a good pilot (of a vessel)), from κυβερνητική τέχνη (kubernētikḗ tékhnē) (the pilot’s art), from κυβερνισμός (kubernismós) or κυβέρνησις (kubérnēsis) (steering, pilotage, guiding), from κυβερνάω (kubernáō) (to steer, to drive, to guide, to act as a pilot (and the ultimate source of the Modern English "govern").  Cybernetic & cybernetical are adjectives, cybernetics, cyberneticist & cybernetician are nouns and cybernetically is an adverb; the noun cybernetics is sometimes used as a plural but functions usually as a as singular (used with a singular verb)  

Although it's undocumented, etymologists suspect the first known instance of use in English in 1948 may have been based on the 1830s French cybernétique (the art of governing); that was in a paper by by US mathematician and philosopher Norbert Wiener (1894-1964) who was influenced by the cognate term "governor" (the name of an early control device proposed by Scottish physicist James Clerk Maxwell (1831–1879)), familiar in mechanical devices as a means of limiting (ie "governing") a machine's speed (either to a preferred rate or a determined maximum).  That was obviously somewhat different from the source in the original Greek kubernētēs (steersman) from kubernan (to steer, control) but the idea in both was linked by the notion of "control".  The French word cybernétique had been suggested by French physicist and mathematician André-Marie Ampère (1775-1836), (one of the founders of the science of electromagnetism and after whom is named the SI (International System of Units) unit of measurement of electric current, the ampere (amp)) to, describe the then non-existent study of the control of governments; it never caught on.  From cybernetics came the now ubiquitous back-formation cyber which has, and continues, to coin words, sometimes with some intellectual connection to the original, sometimes not: cybercafé, cybercurrency, cybergirlfriend, cybermania, cybertopia, cyberculture, cyberhack, cybermob, cybernate, cybernation, cyberpet, cyberphobia, cyberpunk, cybersecurity, cybersex, cyberspace, cyberfashion, cybergoth, cyberemo, cyberdelic et al.

Feedback

MIT Professor Norbert Wiener was an American mathematician and philosopher and one of the early thinkers developing the theory that the behaviour of all intelligent species was the result of feedback mechanisms that perhaps could be simulated by machines.  Now best remembered for the word cybernetics, his work remains among the foundations of artificial intelligence (AI).

The feedback loop at its most simple.

Cybernetics was an outgrowth of control theory, at the time something of a backwater in applied mathematics relevant to the control of physical processes and systems.  Although control theory had connections with classical studies in mathematics such as the calculus of variations and differential equations, it became a recognised field only in the late 1950s when the newly available power of big machine computers and databases were applied to problems in economics and engineering.  The results indicated the matters being studied manifested as variants of problems in differential equations and in the calculus of variations.  As the computer models improved, it was recognised the theoretical and industrial problems all had the same mathematical structure and control theory emerged.  The technological determinism induced by computing wasn’t new; the embryonic field had greatly been advanced by the machines of the eighteenth and nineteenth centuries.

Cybernetics can be represented as a simple model which is of most use when applied to complex systems.  Essentially, it’s a model in which a monitor compares what is happening with what should be happening, this feedback passed to a controller which accordingly adjusts the system’s behavior.  Wiener defined cybernetics as “the science of control and communications in the animal and machine”, something quite audacious at the time, aligning as it did the working of machines with animal and human physiology, particularly the intricacies of the nervous system and the implication the controller was the human brain and the monitor, vision from the eyes.  While the inherently mechanistic nature of the theory attracted critics, the utility was demonstrated by some success in the work of constructing artificial limbs that could be connected to signals from the brain.  The early theories underpinned much of the early work in artificial intelligence (AI).

Of cyberpunks and cybergoths

A cyberpunk Lindsay Lohan sipping martinis with Johnny Depp and a silver alien by AiJunkie.

The youth subcultures “cyberpunk” and “cybergoth” had common threads in the visual imagery of science fiction (SF) but differ in matters of fashion and political linkages.  Academic studies have suggested elements of cyberpunk can be traced to the dystopian Central & Eastern European fiction of the 1920s which arose in reaction to the industrial and mechanized nature of World War I (1914-1918) but in its recognizably modern form it emerged as a literary genre in the 1980s, characterized by darkness, the effect heightened by the use of stark colors in futuristic, dystopian settings, the cultural theme being the mix of low-life with high-tech.  Although often there was much representation of violence and flashy weaponry, the consistent motifs were advanced technology, artificial intelligence and hacking, the message the evil of corporations and corrupt politicians exploiting technology to control society for their own purposes of profit and power.  Aesthetically, cyberpunk emphasized dark, gritty, urban environments where the dominant visual elements tended to be beyond the human scale, neon colors, strobe lighting and skyscrapers all tending to overwhelm people who often existed in an atmosphere of atonal, repetitive sound.

Cybergoth girls: The lasting legacy of the cybergoth's contribution to the goth aesthetic was designer colors, quite a change to the black & purple uniform.  Debate continues about whether they can be blamed for fluffy leg-warmers.

The cybergoth thing, dating apparently from 1988, thing was less political, focusing mostly on the look although a lifestyle (real and imagined) somewhat removed from mainstream society was implied.  It emerged in the late 1990s as a subculture within the goth scene, and was much influenced by the fashions popularized by cyberpunk and the video content associated with industrial music although unlike cyberpunk, there was never the overt connection with cybernetic themes.  Very much in a symbiotic relationship with Japanese youth culture, the cybergoth aesthetic built on the black & purple base of the classic goths with bright neon colors, industrial materials, and a mix of the futuristic and the industrial is the array of accessories which included props such as LED lights, goggles, gas masks, and synthetic hair extensions.  Unlike the cyberpunks who insisted usually on leather, the cybergoths embraced latex and plastics such as PVC (polyvinyl chloride), not to imitate the natural product but as an item while the hairstyles and makeup could be extravagantly elaborate.  Platform boots and clothing often adorned with spikes, studs and chains were common but tattoos, piercings and other body modifications were not an integral component although many who adopted those things also opted to include cybergoth elements. 

Although there was much visual overlap between the two, cyberpunk should be thought of as a dystopian literary and cinematic genre with an emphasis on high-tech while cybergoth was a goth subculture tied to certain variations in look and consumption of pop culture, notably the idea of the “industrial dance” which was an out-growth of the “gravers” (Gothic Ravers), movement, named as goths became a critical mass in the clubs built on industrial music.  While interest in cyberpunk remains strong, strengthened by the adaptability of generative AI to the creation of work in the area, the historic moment of cyberpunk as a force in pop culture has passed, the fate of many subcultures which have suffered the curse of popularity although history does suggest periodic revivals will happen and elements of the look will anyway endure.

Bracelet

Bracelet (pronounced breys-lit)

(1) An ornamental band or circlet for the wrist or arm or, sometimes, for the ankle.

(2) Slang in the criminal classes for a pair of handcuffs (almost always in the plural).

(3) In furniture design, types of collars.

(4) An expanding metal band for a wristwatch (usually used only as technical term within the industry).

(5) In law enforcement in some jurisdictions, as ankle bracelet (or tag), a device to monitor location or provide 24/7 real-time testing of drug or alcohol consumption (eg the SCRAM Bracelet (Secure Continuous Remote Alcohol Monitor)).

(6) In the field of combinatorics, a cyclical sequence of symbols used in combinatorial mathematics.

(7) An identification tag used by medical institutions to contain allergy, clinical or identity data or for religious or cultural purposes.

(8) In the history of armory, a type of personal body armor worn on the upper arm.

1400–1450: From the late Middle English from the Middle French, from the Old French bracel (literally “a little arm”), diminutive of bracelet, from the Latin bracchium (an arm; a forearm); the Latin brāchiāle (armlet) was a noun use of the neuter of brāchiālis + -et (from the Middle English & Old French -et, the suffix used to form diminutives, loosely construed, from the Late Latin –ittus).  Latin gained the word from the Ancient Greek brakhion (an arm) whereas the usual Latin word for an armlet (metal band or ring worn around the upper arm) was armilla which, in Late Latin, (1530s) meant also "a small intrusion of the sea into the land".  The migration from wrist to ankle as anklet (ornamental ring for an ankle) dates from 1810.  Synonyms include ornament, trinket, bangle, manacle, circlet, wristlet & armlet; the related adjective is armillary. 

Bangle (an ornamental ring worn upon the arm or ankle), dating from 1787, was absorbed by English under the Raj, borrowed from the Hindi bangri (colored glass bracelet or anklet).  Bracelets and bangles are both worn predominately on the wrist, the difference being a bracelet is of free-form design, made often from links or other connecting components not molded to a particular shape.  Bangles tend to be ring-shaped (although need not be perfectly circular) and made from solid materials.

Electronic Surveillance Bracelets

Lindsay Lohan wearing court mandated alcohol monitoring bracelet (2007).

The ubiquity in urban spaces of the global positioning system (GPS) has made possible electronic tagging, a form of surveillance using a device affixed to a person, secured most often around the ankle.  Curiously, both the industry and the agencies of law enforcement involved refer to them most often as monitoring or surveillance bracelets, even though the jewelry business from which bracelet is borrowed, uses the word to refer to things worn on the wrist, adornments around the ankle known as anklets.  Indeed, so specific are jewelers that they categorize their products with a range of self-explanatory coordinate terms derived from bracelet: armlet, kneelet, leglet and anklet.  To this they also add the seemingly superfluous necklet & wristlet but these are used to distinguish the loose-hanging necklace and bracelet from creations more close-fitting.  There appears to be no fingerlet or toelet, presumably because of the anatomical constraints in designing anything loose as companion products to rings and toe-rings, nipplelets a similarly improbable challenge of engineering.  Anklet is used also in some markets to describe a very short sock.

There appears no reason why surveillance devices attached around the ankle tend to be called bracelets other than the imitative inertia of use based on the early products being so-labelled.  That was despite anklet hardly being a novel form, having existed since 1810 and more venerable still was "bangle", dating from 1787 as a borrowing under the Raj of the Hindi bangri where it described a colored glass bracelet worn either on the wrist of ankle.  The original patents appear to have referenced “bracelet” so this may have influenced the pattern of use.  The phrase surveillance anklet certainly exists and is used commercially but is rare by comparison.

Chanel Ankle Bags, Spring 2007 collection (left) and companion boot (right).

In one of several examples of the Lohanic influence on fashion and design, in their Spring 2007 collection, Chanel included a range of ankle bags.  Functional to the extent of affording the wearing a hands-free experience and storage for perhaps a lipstick, gloss and credit card (and the modern young spinster should seldom need more), the range was said quickly to "sell-out" although the concept hasn't been seen in subsequent collections so analysts of such things should make of that what they will.  Chanel offered the same idea in a boot, a design actually borrowed from the military although they tended to be more commodious and, being often used by aircrew, easily accessible while in a seated position, the sealable flap on the outer calf, close to the knee.

Diagonal

Diagonal (pronounced dahy-ag-uh-nl or di-ag-nl (both uses U & non-U)

(1) In mathematics, connecting two nonadjacent angles or vertices of a polygon or polyhedron, as a straight line.

(2) In mathematics, a set of entries in a square matrix running either from upper left to lower right (main diagonal, or principal diagonal ) or lower left to upper right (secondary diagonal ).

(3) In number theory, as the broken diagonal, in the theory of magic squares, a set of n cells forming two parallel diagonal lines in the square.

(4) In linear algebra, as diagonal matrix, a matrix in which the entries outside the main diagonal are all zero.

(5) In geometry, extending from one edge of a solid figure to an opposite edge, as a plane (joining two nonadjacent vertices).

(6) In category theory, as diagonal morphism, a morphism from an object to the product of that object with itself, which morphism is induced by a pair of identity morphisms of the said object.

(7) Something with or assuming an oblique direction; having slanted or oblique lines or markings; having a slanted or oblique direction.

(8) In typography, a virgule (a slash), known also as a solidus (used in computing file systems variously as forward slash & back slash or slash & slosh (the generalized term the diagonal mark).

(9) In design, any line or pattern using diagonals; something put, set, or drawn obliquely.

(10) In fabrics, a cloth marked or woven with slanting lines or patterns

(11) In manège, of a horse at a trot, the state in which the foreleg and the hind leg, diagonally opposite, which move forward simultaneously.

(12) In zoological anatomy, of or related to the cater-corner (diagonally opposite) legs of a quadruped, whether the front left and back right or front right and back left.

(13) In chess, one of the oblique lines of squares on a chessboard (the mode in which a bishop may be moved).

1400s: From the Middle French diagonal From the Latin diagōnālis, the construct being the Ancient Greek διαγώνιος (diagṓn(ios)) (from angle to angle) + the Latin -ālis (the third-declension two-termination suffix (neuter -āle) used to form adjectives of relationship from nouns or numerals).  The construct of the Greek diagōnios, was dia- + γωνία (gōnía) (angle; corner), from the primitive Indo-European root genu- (knee; angle).  The dia- prefix was from the Ancient Greek prefix δια- (dia-), from διά (diá) (through, across, by, over) and was most productive, the familiar forms including diadem, diacritical, diagnosis, diagram, diameter, dialect, dialogue & diatribe.  The adjective diagonal (implied in diagonally) (extending as a line from one angle to another not adjacent) dates from the early fifteenth century and was from the Old French diagonal, from the Latin diagonalis, from diagonus (slanting line), from the Ancient Greek diagōnios.  It emerged as a noun in the 1570s in the sense of “a straight line drawn from one angle to or through another not adjacent, in a plane or solid figure".  The specific technical meaning in chess describes "a line of squares running diagonally across a board" and is the mode in which a bishop may move).  Diagonal is a noun & adjective, diagonality is a noun and diagonally is an adverb; the noun plural is diagonals.

Defying the tyranny of the horizontal line: Lindsay Lohan’s hand-written notes made during one of her court appearances in Los Angeles, July 2010.  Even on the Reddit subs where exist the planet’s most unforgiving critics, most were so taken with the neatness of the lettering, the diagonality attracted barely a comment.

A diagonal measurement is defined usually by describing a line between the bottom left and the upper right corners (or vice versa) of a square or rectangle.  It has a nuanced value when used of computer monitors, televisions and such because it has to be read in conjunction with the aspect ratio of the device.  A 19 inch (monitor sizes usually expressed in inches although the French will always include a metric conversion) monitor in a 16:9 aspect will be very different from a 19 inch 4:3 device.  In computing, what began in typography, as diagonal marks (the virgule (often called a slash of solidus (/) and the later “back slash (\)) are used in computing file systems to separate directories & sub-directories (now familiar as folders) from file names.  Under MS/PC-DOS, OS/2 & Windows, a file called myfile.txt to a sub-directory called text in a directory called user on D: drive would be displayed in the path D:\user\text\myfile.txt (although under DOS it would be in upper case).  The Windows crowd call these diagonal marks “back slashes” and the solidus they call “forward slashes” and they’re used for other purposes.  The Unix crew think this childish and insist a solidus is a “slash” and there’s no such thing as a back-slash which real people call a slosh.

Notable moments in diagonal (canted) headlamps

The one-off, 1938 Jaguar SS100 fixed head coupé (FHC) “Grey Lady” which demonstrates the traditional placement when four lights were used.

The inclination designers for decades felt to use a diagonal arrangement for headlights began innocently enough in the pre-war years when it emulated the usual practice of placing a pair of driving lamps or for lights inboard of the main headlamps and lower down, mounted typically on the bumper bar or its supporting brackets.  Most headlamps until the late 1930s were in separate housings, as were the auxiliary devices and even cars which integrated them into the coachwork adopted the same geometry.  This was due in part to the evolutionary nature of automobile styling which has often tried to avoid the “shock of the new” and in part to regulations, especially those which applied in the US.

Jaguar S-Type (1963-1968, left), Vanden Plas Princess R (1964-1968, centre) and Volvo 164 (1968-1975, right).

Although most would regard the technique which essentially integrated the driving lamps/fog lamps into the coachwork as just a variation on the diagonal theme, professional designers insist not; they say this is just wrapping enveloping bodywork around an existing device.  Also, the professionals prefer the term “canted headlamps” because “diagonal” has a more precise definition in mathematics.

Rover 3.5 Coupé (P5B 1967-1973, left) and Packard Coupe (1958) (right)

While the US manufacturers usually re-tooled in 1957-1958 after regulations had been changed to allow quad head-lamps, the British were often fiscally challenged and needed to continue to use existing sheet metal.  A design like the Vanden Plas Princess R (and the companion Wolseley 6/99 & 6/110 (1959-1968)) has sufficient space to allow the diagonal placement but the Rover P5 (1958-1967) with its wider grill precluded the approach so the expedient solution was to go vertical.  Although obviously just “bolted on”, such was the appeal of the P5B it just added to the charm.  It could have been much worse because less charming was the 1958 Packard Coupe, produced by Studebaker-Packard, the company an ultimately doomed marriage of corporate convenience which seemed at the time a good idea but proved anything but. Studebaker-Packard lacked the funds to re-tool to take advantage of the rules allowing four head-lamps but without the feature their cars would have looked even more hopelessly outdated than they anyway did so cheap fibreglass “pods” were produced which looked as “tacked on” as they were.  They were the last Packards made and Studebaker’s demise followed within a decade.

1963 Zunder

The Zunder ("spark" in German) was produced in Argentina between 1960-1963 and used the power-train from the Porsche 356.  The body was fashioned in fibreglass and was one of the many interesting products of the post war industry in Brazil and Argentina, the history of which is much neglected.  By the standards of time, it was well-built but as a niche product, was never able to achieve the critical mass necessary to ensure the company’s survival and production ceased in 1963 after some 200 had been built.

Buick Electra 225 (First generation 1959–1960, left) and (Lincoln) Continental Mark III (1958-1960, right).  The Buick adopted horizontal headlamps in 1960.

In the late 1950s, most US manufacturers did have cash to spend and the industry spirit at the time was never to do in moderation what could be done in excess although by comparison with the Lincoln, the Buick verged on the restrained.  Tellingly, the Buick sold well while the Continental was such a disaster Ford considered sending Lincoln to join Edsel on the corporate scrapheap and the nameplate was saved only because it was possible at low cost to re-purpose a prototype Ford Thunderbird as the new Continental.  Rarely has any replacement been such a transformation and the 1961 Continental would influence the design of full-sized American cars for twenty years.  It used horizontally mounted head-lamps.

1961 Chrysler 300 G.

Chrysler’s “Letter Series 300” (1955-1965) coupes and convertibles were the brightest glint in the golden age in which Detroit’s power race was played out in the big cars, an era which would be ended by the introduction of the intermediates and pony cars in the 1960s.  The 300G (1961) was visually little changed from the previous year’s 300F but the simple change to diagonal headlamps was transformative.  There were those who didn’t like the look but generally it was well received and as a first impression, the feeling might have been Chrysler had mastered the motif in a way the Continental Mark III proved Ford just didn’t get it.

1961 DeSoto Adventurer (left), 1962 Dodge Dart (centre) and 1963 Dodge Polara (right).

However, Chrysler’s designers in the early 1960s may have decided they liked diagonal headlamps which was good but seemingly they liked them so much they though the buyers should be offered as many permutations of the idea as could be made to work on a production line.  What’s remarkable is not that the public didn’t take to the approach but that it took the corporation so long to admit the mistake and try something more conventional.  Just to hedge their bets, while Dodge, Plymouth and DeSoto all had headlamps mounted at an obvious degree of cant, on the Chryslers the effect was so subtle one really needed to hold a spirit level to the front end to confirm there was an slant, albeit one imperceptible to the naked eye.  The one division which never were the diagonal way was the Imperial but it’s headlamp treatment was more bizarre still.

1961 DeSoto styling proposal (September 1958) for the 1961 range.

For DeSoto, things could have looked worse even than they did, some of the implementations of the diagonal motif which went as far as clay models or actual metal prototypes so bizarre one wonders what external influences were being studied (or inhaled).  As it turned out, 1961 would be the end of the line for DeSoto, a nameplate which had been successful as recently as the mid 1950s.  Its demise was little to do with diagonal head-lamps (though they didn’t help) but a product of Chrysler’s other divisions expanding their ranges up and down, encroaching on a market segment DeSoto once found so lucrative.  The phenomenon was a harbinger of the eventual fate of marques like Mercury, Pontiac, Oldsmobile and Plymouth.

Clockwise from top left: Fiat 8V (1952-1954), Gordon-Keeble GK-1 (1961-1967), Jensen C-V8 (1962-1966) and Triumph Vitesse (1962-1971).

Perhaps surprisingly, the French majors were never enamored, presumably because Citroën and Renault didn’t like to be imitative and Peugeot were too conservative.  Some of the Europeans did dabble with the idea, embracing it as an expression of modernity although the then radical treatment of the head-lamps sometimes struck a discordant note when they were grafted onto something where the rest of the platform was so obviously from one or two generations past.  Fiat’s exquisite 8Vs didn’t all get the diagonal look but those which did remain the most memorable of the few of the breed built.  An unqualified aesthetic success was the Gordon-Keeble built to aviation standards and powered by a Chevrolet V8.  It deserved to succeed but floundered as much of the British industry did in the era because of a lack of capitalization and an accounting operation which didn’t match the quality of the Engineering.  More successful was the Jensen C-V8 but while the distinctive front end now makes it much prized by collectors, at the time it was less admired and its very presence served only to emphasize how antiquated the rest of the styling had become.  For its replacement, Jensen tuned to an Italian styling house and the Interceptor, introduced in 1966 and remembered for the vast expanse or rear glass, is now thought a classic of the era.  The one which sold best was the Triumph Vitesse, one of a number of variations built on the robust and versatile separate chassis of the Herald (1959-1971) including the Spitfire and GT6.  Somewhat the BMW M3 of its day, the Vitesse’s front end actually lived on in India (though without the lusty six cylinder engines) but curiously, the inner headlights weren’t fitted.

Gilding the lily: The Lancia Fulvia coupé (1965-1976) before & after.

The lovely, delicate lines of the Lancia Fulvia were perfect and really couldn’t be improved.  The unfortunate facelift with the canted lights was no improvement.