Position

Position (pronounced puh-zish-uhn)

(1) Condition with reference to place; location; situation.

(2) A place occupied or to be occupied; site.

(3) In military jargon, a fortified position.

(4) The proper, appropriate or usual place.

(5) A situation or condition, especially with relation to favorable or unfavorable circumstances.

(6) To be in an awkward position or to bargain from a position of strength.

(7) High standing, as in society; important status.

(8) A post of employment.

(9) A manner of being placed, disposed, or arranged:

(10) A mental attitude, a stated opinion.

(11) In ballet, any of the five basic positions of the feet with which every step or movement begins and ends.

(12) In music, the arrangement of tones in a chord, especially with regard to the location of the root tone in a triad or to the distance of the tones from each other.

(13) In music, in the construction of stringed instruments, any of the places on the fingerboard of a stringed instrument where the fingers stop the strings to produce the various pitches.

(14) In music, any of the places to which the slide of a trombone is shifted to produce changes in pitch.

(15) In finance, a commitment to buy or sell securities.

(16) In classical prosody, the situation of a short vowel before two or more consonants or their equivalent, making the syllable metrically long.

(17) To determine the position of; to locate.

(18) In language, make position (of a consonant, either on its own or in combination with other consonants, such as x in Latin) to cause a short vowel to become metrically long when placed after it.

1325-1375: From the Middle English posicioun (a positing; a statement of belief, the laying down of a proposition or thesis), borrowed (as a term in formal logic and philosophy) from the Old French posicion (position, supposition (from which Modern French gained position)), from the Latin positiōn & positionem (stem of positiō) (act or fact of placing, situation, position, affirmation), the noun of state from the past-participle stem of pōnere (put; to place, lay down)).  The ultimate source is contested.  Some suggest the primitive Indo-European po-s(i)nere (the construct being apo (off, away) + sinere (to leave, let) while other etymologists prefer the Proto-Italic posine-, from the primitive Indo-European tkine- (to build, to live), from the root tkei- (to settle, dwell, be home).

The meaning "proper place occupied by a person or thing" (especially as applied to a place occupied by a person or thing (hence the link to "status, standing &  social rank" noted since 1832 and "official station, employment" (1890))) is from the 1540s.  The sense of a "manner in which some physical thing is arranged or posed, aggregate of the spatial relations of a body or figure to other such bodies or figures" dates from 1703 and was applied specifically to dance steps by 1778 and as a technical description of certain aspects of human sexual intercourse in 1883. The technical use "to assume a position” (intransitive) dates from the 1670 whereas the transitive sense of "to put in a particular position" is recorded from 1817.  The military use in the sense of "place occupied or to be occupied" ws first used in 1781.

Positionality

Second wave feminism and post-modernism grew together in the again expanding universities of the 1980s, a symbiosis of shifting cause and effect that was extraordinarily productive, at least if measured quantitatively by volume of publication.  One fork, drawing in some ways from the new-left, was positionality, a theory of construct that creates (or, according to some critical theorists, imposes) identity; it also builds a framework with which to deconstruct how an identity, however constructed, biases one’s worldview.  Positionality was first applied to gender and sexuality in 1988 by philosopher Linda Alcoff (b 1955), essentially as a critique of the patriarchal overlays and suppositions that distorted feminist thought to the point where even the more abstract or radical positions were to be understood only with some reference to prevailing male views.  Professor Alcoff argued for a positional definition of woman, one where aspects of women's identity are markers of relational positions rather than essential qualities, these identities existing in a constantly shifting network.

Linda Alcoff, Professor of Philosophy, Hunter College, City University of New York Graduate Centre.

The creation of modern identity politics has seen a revival of interest in positionality, both now seen as emergent from historical experience yet still retaining an inherently political ability to take gender as a point of departure.  Gender thus is not natural, biological, universal, ahistorical or even essential yet remains still relevant because it’s the position from which politically to act.  Alcoff’s concept was that the existing construct of "woman" is defined not by a particular set of attributes but by a position so the internal characteristics of the individual thus identified are not denoted so much as the external context within which the individual is situated; the position is always relative to the patriarchy.  By contrast, the positional definition renders identity relative to a constantly shifting context, the swirl of the objective economic, cultural, political and ideological objects and narratives.  In this analysis, the concept of positionality allows for a determinate though a fluidity of identity and feminist politics can emerge rather than being mediated through a set of defined attributes.  The implication of this for second wave feminism was that positionality existed to create a location for the construction of meaning, rather than echoing the earlier tools of feminism, used where meaning needed to be discovered.

Defilade & Enfilade

Defilade (pronounced def-uh-leyd or def-fuh-lahd)

(1) In military tactical planning and battlefield practice, the protection from hostile ground observation and flat projecting fire provided by an artificial or natural obstacle such as a hill.

(2) The disposition of defensive fortifications to produce this protection.

(3) A fortification having such protection.

1828: From the French défil (to unthread), the construct being dé (remove) + filer (thread), from the Latin fīlum (thread).  The -ade suffix was a borrowing of the Spanish -ado, from the Latin -ata (feminine -atum) used to create adjectives, nouns, and sometimes verbs from words ending in -a.  The suffix was used to form nouns denoting action, or a person performing said action.  The Old French verb was borrowed by Middle English as défiler (to slip away or off), use apparently restricted to the nobility.  The related forms are defiladed & defilading.

Enfilade (pronounced en-fuh-leyd or en-fuh-lahd)

(1) In military tactical planning and battlefield practice, a position of works, troops and matériel which permits sweeping fire from along the length of a line of troops, a trench, a battery etc.

(2) The fire thus directed.

(3) In architecture, an axial arrangement of doorways connecting a suite of rooms with a vista extending the entire length of the suite.

(4) In interior decorating, an axial arrangement of mirrors on opposite sides of a room so as to give an effect of an infinitely long vista.

1697: From the French enfil (to thread), the construct being, en (put on) + filer (thread), from the Latin fīlum (thread).  The -ade suffix was a borrowing of the Spanish -ado, from the Latin -ata (feminine -atum) used to create adjectives, nouns, and sometimes verbs from words ending in -a.  The suffix was used to form nouns denoting action, or a person performing said action.  The Old French verb was borrowed by Middle English as enfile (to put (something) on a thread or string), use apparently restricted to the nobility.

The use in architecture (mostly to describe rows of apartments) and forestry (referencing rows of trees) predated the military sense which now predominates, the original definition in that context printed in military manuals as “rake with shot through the full length”.  The use in architecture persists though it’s long tended to be used loosely to refer to just about anything in a straight line.  Used as a verb since 1706, the related forms are enfiladed & enfilading. 

Known also by the more helpful expression “terrain shielding”, enfilade and defilade are concepts in military tactical theory used to describe a formation's exposure to enemy fire.  A static position is said to be "in enfilade" if an opponent can direct continuous fire along its longest axis.  A static position is "in defilade" if formed with natural or artificial obstacles to shield or conceal the formation from enfilade.  The military picked up the terms from two Old English borrowings from the French: enfiler to put (something) on a thread or string) and défiler (to slip away or off) used (seemingly exclusively) by the English nobility.  In gunnery, enfilade fire (gunfire directed against an enfiladed formation or position) is known also as "flanking fire"; the preferred Admiralty terms for naval fire being raking fire (although the advent of long-range missiles as the warship’s standard armament (big guns now quite rare) means the concept is at sea, now essentially historic.  Strafing, the firing on ground targets from a flying platform, should be done with enfilade fire, the recommendation being (if possible) to maneuver into an enfiladed position prior to attack.  In just about any situation, the enfiladed position is the most advantageous, and thus most sought, for the attacking force.

NATO defines the parameters of the defilade as (1) protection from hostile observation and fire provided by an obstacle such as a hill, ridge, or bank, (2) a vertical distance by which a position is concealed from enemy observation and (3), to shield from enemy fire or observation by using natural or artificial obstacles.  However, the standard definition reflects the origin of the concept in the pre-mechanical age.  In anti-tank (or other armored vehicle) operations, it can be advantageous to generate enfilade fire with anti-armor weapons, from a defilade position, armor tending to be weaker on the sides and rear of armored vehicles so side shots (enfilade) offer greater penetrative potential.

The practical employment of the defilade position need not require construction and may be achieved by taking advantage of a favorable feature of the natural environment such as a ditch, the tactical significance being the enemy is engaged not from the front but from the flank using enfilade fire, the font being protected with hard cover. Used thus, ground to the front will be covered by mutually supporting positions firing from defilade, both sides firing across the front.

Installation

Installation (pronounced in-stuh-ley-shuhn)

(1) Something installed (which can be physical, as in plant or equipment or weightless, as in software).

(2) The act of installing (to install) or the state of being installed.

(3) In military use, any permanent or semi-permanent post, camp, station, base etc, maintained to support operations.

(4) In art, an exhibit (widely defined) where the relation of the parts to the whole and the context of the space where exhibited are sometimes claimed to important to the interpretation of the piece.

(5) A formal ceremony in which an honor is conferred or an appointment made to an office (the state of being so honored or appointed being to be “installed”).

1600–1610: From the Middle French installation, from the Medieval Latin installātiō.  The construct was install + -ation.  The verb install (which was used also as instal and before that enstall) was an early fifteenth century form used to mean “place in ecclesiastical office by seating in an official stall”.  It was from the Middle English installen, from the fourteenth century Old French installer, from the Medieval Latin īnstallō (to install, put in place, establish), the construct being in- (in)- + stallum (stall), from the Frankish stall (stall, position, place), from the Proto-Germanic stallaz (place, position), from the primitive Indo-European stel-, stAlǝn- & stAlǝm- (stem, trunk).  It was cognate with the Old High German stal (location, stall), the Old English steall (position, stall), the Old English onstellan (to institute, create, originate, establish, give the example of), the Middle High German anstalt (institute), the German anstellen (to conduct, employ), the German einstellen (to set, adjust, position), Dutch aanstellen (to appoint, commission, institute) and the Dutch instellen (to set up, establish).  The suffix -ation was from the Middle English -acioun & -acion, from the Old French acion & -ation, from the Latin -ātiō, an alternative form of -tiō (thus the eventual English form -tion).  It was appended to words to indicate (1) an action or process, (2) the result of an action or process or (3) a state or quality.

The mid fifteenth century noun installation (action of installing) was a reference to the processes (both administrative & ceremonial) of appointment to church offices or other positions, and in that sense was from the Medieval Latin installationem (nominative installātiō), the noun of action from past participle stem of installare.  Of machinery (in the sense of plant & equipment), the first known use in print, describing the “act of setting up a machine; placing it in position for use” dates from 1882 but it may by then have for some time been in oral use.  Installation & installationer are nouns and installational & installationlike are adjectives; the noun plural is installations.  Installationism & installationist are non-standard forms used in art criticism.

In computing, an “installation” can be of hardware or software.  With hardware, the point of distinction is an installation is something which is permanent (or, even if temporary, installed in a manner of something permanent), as opposed to a mere connection (such as plugging to a USB cable).  In software, the idea to is transfer from an external source (the internet, a place on a network or transportable media (diskettes, optical discs etc)) onto a device's permanent storage, the installation process usually taken to include putting things into the state where functional use is possible.  Installations can be as simple as copying a single file to a drive to long, interactive processes involving multiple external media and on-line registration or validation procedures.  Some installations are effortless while some are worse than others, as those who have enjoyed the experience of installing the earlier versions of Nvidia’s video drivers for some flavors of Unix can attest.  Especially in software, the terms “pre-installation” and “re-reinstallation” are common although “un-install” is more common than “un-installation” (the terms “failed installation” and “corrupted installation” are also not unknown although in most use, IT nerds usually clip “installation” to “install”).

Installations and Performance Art

It’s now unfashionable, and probably thought reactionary, to attempt to impose definitions on the various expressions of Western art.  There was a time, in living memory, when such distinctions were taken seriously, one squabble about whether an entrant in an Australian portraiture competition could be considered “a portrait” (and by implication the work of “an artist”) or “a mere caricature” (and the thus the scribblings of “a cartoonist”) ending up in the Supreme Court of New South Wales (Attorney-General v Trustees of National Art Gallery of NSW & Another (1945) 62 WN (NSW) 212.).

Portrait or caricature?  Mr Joshua Smith (1943, left), oil on canvas by Sir William Dobell (1899–1970) and Joshua Smith (1905-1995, right).

Wisely, Mr Justice Roper (1901–1958) decided the bench was not a place for amateur art criticism and agreed the work was indeed “a portrait”, holding, inter alia, that “portrait” “…means a pictorial representation of a person, painted by an artist. This definition denotes some degree of likeness is essential and for the purpose of achieving it the inclusion of the face of the subject is desirable and perhaps also essential.”  Of the work in question, he observed it was “…characterised by some startling exaggeration and distortion which was clearly intended by the artist, his technique being too brilliant to admit of any other conclusion.  It bears, nevertheless, a strong degree of likeness to the subject and is think, undoubtedly, a pictorial representation of him.  I find as a fact that it is a portrait…”  Given that, the judge found it unnecessary to consider whether the painting was a “caricature” or a “fantasy” which was a shame, even if it wouldn’t have been something on which the verdict hung.

Year later, in an essay he titled The White Bird (1987), the English painter & art critic John Berger (1926–2017) would discuss the relationship between artist, artwork & viewer and the tension between accurate depiction (“imitation” as he sometimes called it, a growing trend in modern portraiture) and creative expression: “The notion that art is the mirror of nature is one that only appeals in periods of scepticism.  Art does not imitate nature; it imitates a creation, sometimes to propose an alternative world, sometimes simply to amplify, to confirm, to make social the brief hope offered by nature.  Art is an organised response to what nature allows us to glimpse occasionally. Art sets out to transform the potential recognition into an unceasing one.”  With that, one suspects Mr Justice Roper would have concurred.

Finding legal proceedings tiresome, the art industry solved the problem of what does and does not belong in galleries by embracing “installations” and “performance art”, two categories without definitional boundaries and thus able to accommodate anything which can’t be squeezed into one of the traditional slots.  In retrospect, it is course easy to identify stuff stretching back many centuries which could be classified as either but in the modern age, there’s certainly a perception curators are now artistically more promiscuous.  It thus both impossible and pointless to try to define “installation” and “performance art” but some characteristics certainly are identifiable.

Installation art tends to be three-dimensional, is often site-specific and designed to transform the perception of a space in which it exists and the range of materials used is unlimited, the genre notable especially for the use of everyday objects, video & audio content and often, interactive components.  Installation art has encompassed unmade beds so there’s some scope.  Just as there’s no one type of installation, nor are there defined parameters for the mode of display: installations have been hung from ceilings, wrapped around buildings and sat on the seabed.  In gallery spaces however, the most frequently seen installations are those on the floor with sufficient room surrounding them for the viewer to walk around, experiencing the work from multiple angles and perspectives.  Installations can be temporary or permanent or even in some way vanish, decay or be destroyed during the exhibition and in more than one case, the “installation” didn’t actually exist.

The context of location can also dictate the definition.  Wax figures of Lindsay Lohan & Paris Hilton might be all or part of an installation if exhibited in a gallery but when on display at Madame Tussauds in New York City (left), they are a tourist attraction.  More typically, installations combine artistic technique with social or political comment: Gabriel Dawe's (b 1973) Plexus series (centre) was made with a reputed 60 miles (97 km) of embroidery thread hooked from floor to ceiling in a repeating overlay while Judy Chicago’s (b 1939) The Dinner Party, 1974-79 (right) was a feminist piece but one which later attracted criticism because some degree of “ethnic exclusionism” was detected.

Performance art, as the term implies, is a form of “live art” where “something happens”, the actions of the artist or performers components of the work.  Perhaps best thought of as a form of encapsulated theatre, performance art would seem to depend on movement, sound, color and sometimes text although, being art, some performance art has been wholly static.  For that reason, Empire (1965), Andy Warhol’s (1928–1987) eight-hour, slow-motion film of an unchanging view of the Empire State Building must be considered performance art although, given the nature of the experience, it really must be the viewer who is thought the subject.  Performance art is of course intrinsically ephemeral and Empire played with that idea, each moment of the production seemingly the same yet in tiny ways different, rather like the exercise in textual definitional philosophy lecturers like to give students to ponder: “Is the river the ‘same’ river from one day to the next when almost all the molecules of water are different?”

US rapper, singer, songwriter, record producer, hip hop identity & fashion designer Ye (formerly the artist known as Kanye West (b 1977)) and Australian architect & model Bianca Censori (b 1995): In Maimi, Florida, December 2023 (left) and in Paris for Fashion Week, June 2024 (centre & right).

The recent, much publicized appearances by Mr Ye and Ms Censori attracted all sorts of comments and the consensus was the project (one presumably restricted to the warmer months) was a promotional device for him and to some extent that seems to have worked, despite Mr Ye being mostly unnoticed while in the presence of his photogenic muse.  Although there are references to the pair being “married”, it’s not clear if that is their legal status and in artistic terms that may be significant.  What is of interest is whether in these appearances Ms Censori should be thought a “performance artist” or Mr Ye’s “installation”; both have been suggested and there’s no reason why the two states can’t be simultaneous.

Mr Ye & Ms Cansori at Paris Fashion Week, June 2024, the latter in character or possibly, installed.

Slope

Slope (pronounced slohp)

(1) To have or take an inclined or oblique direction or angle considered with reference to a vertical or horizontal plane; slant.

(2) To move at an inclination; obliquely to move.

(3) To direct at a slant or inclination; incline from the horizontal or vertical.

(4) To form or describe something with a slope or slant.

(5) A descriptor of ground or some aspect of the natural or built environment which has an incline, such as a hill.

(6) An inclination or slant, especially downward or upward; to lie or cause to lie at a slanting or oblique angle.

(7) Any deviation from the horizontal or vertical; an inclined surface.

(8) In mathematics, (1) the tangent of the angle between a given straight line and the x-axis of a system of Cartesian coordinates; (2) the derivative of the function whose graph is a given curve evaluated at a designated point.

(9) In slang, a disparaging and offensive term used to refer to a person of East Asian appearance.

(10) As slope off, a slang term (mostly UK, Australia & New Zealand) describing someone moving slowly, or furtively away, usually to avoid work or responsibility; a rare variation is “sloped-in”, used to describe to who arrive somewhere surreptitiously (those late for work etc).

(11) To follow an inclined course down a hillside (applied especially to natural features).

(12) In military use, as slope position, a drill command referring to the position in which a long-arm should be held.

1495–1505: From Middle English slope (go in an oblique direction), from the earlier adjectival meaning “slanting”, an aphetic variant of the Middle English aslope, from the Old English aslopen, past participle of āslūpan (to slip away), the construct being a- (away) + slupan (to slip).  From 1709 slope was used to mean "to be in a slanting position", the transitive sense "place in a slanting position" having been part of the language since circa 1600.  The derogatory slang meaning "oriental person" is attested from 1948.  Slopingly is an adverb, slopingness, sloper & slope are nouns, sloped & sloping are adjectives and sloped & sloping are verbs.

The slippery slope and the thin end of the wedge

Borrowed from political science, the terms “slippery slope” and “thin end (sometimes edge) of the wedge” are sometimes used interchangeably but, while both refer to similar processes, there are nuances which distinguish the two.  The idea is that a small, minor and perhaps innocuous change or innovation affecting something can trigger a chain of events which might result in unintended consequences; in that there are similarities with chaos theory but a slippery slope is much more specific and probably lineal.  There’s often overlap between the two and the distinctions are not always absolute but circumstances usually tends more to one than the other.  Both tend to be used in political discourse by extremists and fanatics and are often example of what is called the “slippery slope fallacy” such as the argument that if gay marriage is allowed, eventually the gay people will be allowed to marry their goats.  That argument really was raised by some who claimed it wasn't an extreme position to take, pointing out that two generations earlier, those who had been opposed to the decriminalization of homosexuality because it would put society on a slippery slope towards gay marriage had been accused of raising a “slippery slope fallacy”.  All things considered, goats seem safe.  The slippery slope is also a piece of imagery adopted sometimes by black-letter-law judges who oppose judicial activism.

The difference is essentially in the dynamics driving the process.  On a slippery slope, things happen because of the inherent inertia; the notion that of sitting on a slippery slope, the slide downhill an inevitable consequence of the physics of fluid dynamics and the force of gravity.  The downward path will happen naturally.  By contrast, the model of the thin end of the wedge is that of the wedge driven into the tree.  If left there nothing will happen but if the woodsman continues to hammer the edge into the trunk, at some point, the tree will fall.  An example of the thin end of the wedge was the deployment in the early 1960s by the Kennedy administration (1961-1963) of a small number of military advisors to support the government of South Vietnam.  It had never been intended that large-scale combat operations would be undertaken in Vietnam but, step-by-step, Washington increased the commitment.  An more familiar example of the slippery slope is to adopt a rigorous diet and then allow a weekly “cheat day”.  On the first cheat day, one might have just the one chocolate biscuit but the next week it’s a biscuit and a donut and within weeks it’s packets of both.

Anthony Trollope’s (1815-1882) 1857 novel Barchester Towers is set in a tranquil and leafy town but there are few novels which, without even a threat of bloodshed, so successfully and with such subtlety impart such feelings of incipient evil and a relentless undercurrent of dread.  In Victorian novels there were many characters of dubious virtue but few not actually homicidal managed to induce in readers such feelings of unease and distaste as the slimy Reverend Obadiah Slope.

Although said to be “tall and not ill made”, Slope was “saucer-eyed”, his hair “lank, and of a dull pale reddish hue… formed into three straight lumpy masses, each brushed with admirable precision, and cemented with much grease.”  His face, “perhaps a little redder” than his hair, not unlike beef “of a bad quality”, a “redeeming feature” his nose which was “pronounced, straight, and well-formed” although marred still by “a somewhat spongy, porous appearance, as though it had been cleverly formed out of red colored cork".  The description of the nose is not without significance for it had by some been asserted that he was of lineal descent from Dr Slop, “that eminent physician who assisted at the birth of Mr Tristram Shandy, and that in early years he added an ‘e’ to his name, for the sake of euphony.”  Shandy, the eponymous character from Laurence Sterne's (1713-1768) nine volume work (1759-1757), The Life and Opinions of Tristram Shandy, Gentleman, was birthed by the “man-midwife” Dr Slop, who squashes Tristram's nose with forceps as he yanks the baby out.

Slope was the domestic chaplain to Bishop Proudie at Barchester and began as a protégé of the Bishop’s wife (a truly ghastly woman) but later became her enemy as he attempted when he endeavored to wrest the control of the diocese from her hands by becoming an eminence (pâle) rouge, a kind of vicarage Richelieu controlling the Bishop.  The plots and schemes of the calculating chaplain, conducted with much obsequiousness, play out in the novel as a part of a struggle between those of the high church and the evangelicals, a struggle not resolved to this day.  The Trollope aficionados don’t regard Barchester Towers as his best work but few deny it’s one of the most enjoyable and anyone who wishes to sample Trollope should start here.

On the slopes: Lindsay Lohan in Gstaad, Switzerland, 2016.  The experience on skis may have come in handy in 2022 during filming for Netflix's Falling for Christmas.

Situationism

Situationism (pronounced sich-oo-ey-shuh-niz-uhm)

(1) A fork of Marxist political philosophy, a collection of (often abstract) theories used to build critiques of existing structures.  The overt political project emerged from a mid-twentieth century avant-garde art movement.  

(2) A theory in psychology which holds that personality and behavior is influenced more by external, situational factors than internal traits or motivations.

1955: A compound word: situation + ism.  Situation was from the early fifteenth century Middle English situacioun & situacion (place, position, or location), from Middle French situation, from the Old French situacion, from the Medieval Latin situationem (nominative situatio) (position, situation), the construct being situare (to locate, to place), from situs (a site, a position), thus situate +‎ -ion.  The Latin situs was from the primitive Indo-European root tkei (to settle, dwell, be home).  The meaning "state of affairs" was from 1710, extended specifically by 1803 to mean "a post of employment".  The suffix -ion was from the Middle English -ioun, from the the Old French -ion, from the Latin -iō (genitive -iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process.  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  The use in political philosophy technically dates from 1955 (as situation ethics) although its origins can be traced to (at least) the nineteenth-century beginnings of sociology.  It was first seen in applied psychology in 1968 (as situational ethics) with publication of a monograph by Walter Mischel (1930-2018) who in later writings displayed some ambivalence.

The Situationist International

SI art: Ralph Rumney (1934-2002), The Change (1957).

Formed in 1957, dissolved in 1972 and eventually more a concept than a movement, the Situationist International (SI) was a trans-European, unstructured collective of artists and political thinkers.  Influenced by the criticism that philosophy had tended increasingly to fail at the moment of its actualization, the SI, although it assumed the inevitability of social revolution, always maintained many (cross-cutting) strands of expectations of the form(s) this might take.  Indeed, just as a world-revolution did not follow the Russian revolutions of 1917, the events of May, 1968 failed to realize the predicted implications; the SI can be said then to have died.  The SI’s discursive output between 1968 and 1972 may be treated either as a lifeless aftermath to an anti-climax or a bunch of bitter intellectuals serving as mourners at their own protracted funeral.

SI art: Constant Niewwenhuys (1920-2005), No Title (1975).

It's wrong to say that when formed the SI had mostly an artistic focus although there was a faction within which certainly preferred the emphasis; indeed, it was the notion of art abstracted from some purpose which was the SI's constant fault-line.  Those most influential in the early days of the SI had been much affected by the physical damage suffered by so many European cities during World War II (1939-1945) and especially the possibilities offered by re-building, thus the interest in concepts like unitary urbanism and psychogeography, essentially a response to the sociological aspects of the re-construction of those cities in the immediate post-war period.  Their work also attracted political theorists, especially those in anti-authoritarian Marxist circles who would come to position themselves as the inheritors of western political liberalism, such as the Lettrist International formed in 1952.  The SI was conceived originally as an even more radical movement which would entirely renounce any connection with high-art and deal instead with the functional business of psychogeography, dissolving rather than exploring the boundaries between life and art.  However, whatever might have been the purity of the founders' intent, the implications of the SI were inherently visual and attracted practitioners from many aspects of art.  Factions formed and any commonality of interest between the utilitarians and the artists proved insufficiently strong to maintain the SI as a unified movement and from formation to extinction, it was always fissiparous.

SI art: Asger Jorn (1914-1973), Letter to my son (1956-1957).

What ultimately coalesced as the core of situationist theory was the concept of the spectacle, an explanation of the mechanism of advanced capitalism’s modern tendency towards expression and mediation of social relations through objects.  It was beyond merely a critique of materialism and used the increasingly layered and complex language of mid-twentieth century Marxist discourse.  The definitive works of the SI were The Society of the Spectacle (1967) by Guy Debord (1931-1994) and The Revolution of Everyday Life (1968) by Raoul Vaneigem (b 1934).  In the riots of 1968, they proved influential, less as entire texts than as sources for phrases, slogans and quotes, widely used on the posters and graffiti which appeared all over French cities during the uprising.  The SI thus proved the primacy of objects in social relations, whether hegemonic or not although the SI generally held that situationism is a meaningless term, a position necessitated by their inherent rejection of ideologies, all of which they dismissed either as useless utopian myths or constructed superstructures existing only to create the social controls required to serve the economic interests of a ruling class.  Much of the history of the SI was one faction rejecting another; indeed, the SI’s transition from artistic to political movement was less organic than disruptive. 

The SI, at least in the more reductionist works, did create some genuinely interesting critiques of the post-war west and some of the early art was, if not exactly new, certainly stark and compelling.  However, it remains hard to identify enough ideas to justify the volume of text produced and phrasing it in what is surely deliberately difficult language does suggest there was an attempt to conceal the poverty and repetition of thought.

SI Propaganda

Fix

Fix (pronounced fiks)

(1) To repair or mend; to rectify a fault.

(2) To put in order or in good condition; to adjust or arrange.

(3) To make fast, firm, or stable; to place definitely and permanently.

(4) To settle definitely; to determine (place, value etc); to make rigid; to mount or secure in place.

(5) To direct (the eyes, one’s attention, one’s gaze etc) steadily; To attract and hold (the eye, one’s attention, one’s gaze etc).

(6) To put into permanent form.

(7) To put or place the responsibility or blame for something upon a person or institution.

(8) To assign or refer to a definite place, time, event etc.

(9) To provide or supply with something needed or wanted, especially popular in narcotics transactions; the quantity supplied in that transaction; to inject oneself with a narcotic.

(10) In informal us, to arrange or influence the outcome or action of, especially privately or dishonestly (juries, sporting events, stock prices etc).

(11) To prepare a meal, snack, drink etc.

(12) In informal use, to put in a condition or position to make no further trouble.

(13) In informal use, to get even with; to visit vengeance upon (often as “fix right up).

(14) In informal use, to castrate an animal (used usually of domestic pets).

(15) In slang, to prepare or plan (followed usually by an infinitive as in “fixing to go”, (mostly US, south of the Mason-Dixon Line).

(16) In informal use, a position from which it is difficult to escape; a dilemma; a predicament (typically “in a fix”).

(17) In informal use, a repair, adjustment, or solution, usually of an immediate nature (sometimes in the form “quick & dirty fix”, expressed also in IT as “a Q&D”).

(18) In navigation, a charted position of a vessel or aircraft, determined by two or more bearings taken on landmarks, GPS location, stars etc.

(19) In navigation, the determining of the position of a ship, plane etc, by mathematical, electronic, or other means.

(20) A clear determination (often as “get a fix on”).

(21) A compulsively sought dose or infusion of something (such as “one’s morning caffeine fix”).

(22) In slang, a euphemism for the state of pregnancy (such as “she’s fixed-up”).

(23) In chemistry, to make stable in consistency or condition; reduce from fluidity or volatility to a more stable state.

(24) In photography, to render (an image) permanent by removing light-sensitive silver halides; in digital imaging, any form or correction.

(25) In microscopy, to kill, make rigid, and preserve for microscopic study.

(26) In cytology to kill, preserve, and harden tissue, cells etc for subsequent microscopic study.

(27) In industrial production, to convert atmospheric nitrogen into nitrogen compounds, as in the manufacture of fertilizers or the action of bacteria in the soil.

(28) In biology, to convert carbon dioxide into organic compounds, especially carbohydrates, as occurs in photosynthesis in plants and some microorganisms.

(29) In foreign exchange (forex) trading, a benchmark exchange rate used to settle or fix the value of certain financial instruments or transactions.

1350–1400: From the Middle English fixen, from the Middle French fixer or the Medieval Latin fixāre, from the Latin fixus (fixed), past participle of fīgere (to fasten).  The sense of “to repair” may first have been used in the US in the eighteenth century but the first recorded used in England was in the early 1800s although, in the way of such things, it’s likely already to have been in oral use for some time.  The use to mean “to prepare” to plan ” is a uniquely American use, now heard mostly south of the Mason-Dixon Line (“feel like I’m fixing to die” etc) although linguistic anthropologists note that until the mid twentieth century was a common form throughout the US eastern seaboard states.  Forms (sometimes hyphenated) like overfix, defix & refix are created as required and fixt (an archaic form of fixed) is still sometimes used in SMS messaging, advertising etc.  Fix & fixer are nouns & verbs, fixed, fixated & fixing are verbs, fixable is an adjective, fixative is a noun & adjective and fixability, fixer, fixator & fixation are nouns; the noun plural is fixes.

Depending on the context the synonyms can include dilemma, plight, quandary, mess, install, secure, set, settle, stabilize, define, establish, limit, resolve, solve, specify, work out, adjust, correct, overhaul, patch, rebuild, regulate, amend, fasten, stabilize.  In idiomatic use the word often appears.  To “fix someone right up” means to visit vengeance upon them (including killing them, sometime on behalf of others).  A “fix up” can mean (1) wrongly to implicate someone in a crime or other wrong-doing, (2) corruptly to interfere with a jury, the outcome of a sporting event, the operation of a market, the level of an interest-rate etc.  “Been fixed up” can refer to a young lady with child (in or out of wedlock), often with the implication the state may be unplanned or undesired.  To say “if it’s not broken, don’t fix it” is cautionary advice hinting that if something functionally fulfils its purpose, attempting to improve it may make things worse.  To be in a fix (often as “a bit of a fix”) is to find one’s self in a position from which it is difficult to escape; a dilemma; a predicament.  For someone to be “a fixture” is to be seemingly a permanent part of something (a squad, a sporting team etc); it’s used also of institutions.  The “fixer-upper” is something (typically a house or car) in dilapidated condition but usually still in a fit state to inhabit, drive etc so thus suitable for those able to make their own repairs.

Finger fix: In October 2016, during an Aegean cruise, Lindsay Lohan suffered a finger injury.  In this nautical incident, the tip of one digit was severed by the boat's anchor chain but details of the circumstances are sketchy.  It may be that upon hearing the captain give the command “weigh anchor”, she decided to help but, lacking any background in admiralty terms and phrases, misunderstood the instruction.  The detached piece was salvaged from the deck and soon re-attached by a micro-surgeon ashore.  Digit and the rest of the patient apparently made a full recovery and despite the gruesome injury Ms Lohan later managed to find husband and recently announced she’s “fixed up” in the sense of being with child so all’s well that ends well.

The human race has a long tradition of fixing broken stuff but in the twentieth century manufacturers devoted much attention to try to dissuade consumers from fixing things, preferring instead they purchase a new one.  The origins of this were identified by historians in the inter-war years (1918-1939) but the economic conditions of the 1930s limited the effects and it was in the long economic boom of the post-war years that the trend developed in conjunction with the concept of “planned obsolescence”, the beginnings of an era in which it became typically less expensive to replace a broken something than have it fixed, a phenomenon influenced by factors such as increasing unit labor costs, the substitution of parts made from metal, wood, leather etc with plastics and designs deliberately intended to make fixes difficult to effect.  In recent years, particularly in the field of consumer electronics, the tricks have included “sealing for life” (said to be a water-proofing measure) and the use of screws or other fasteners which can be opened only with a special tool (either unavailable to the public or sold as a prohibitively expensive part-number).  One interesting reaction to this has been the “right to repair” movement, an on-line cooperative community which publishes manuals, repair guides and tricks & tips for those who wish to fix.

Fluctuations: Eurodollar LIBOR rates 1 July 1989-28 April 2023 (chart by FedPrimeRate.com). The LIBOR (London Interbank Offered Rate) is the average interest rate at which (a basket of major) banks borrow funds from other banks in the London market (as defined).  Globally, the daily LIBOR fix is a widely used benchmark (or reference) rate for short term interest rates.

In foreign exchange (forex) trading, the term “a fix” most often used to refer to a benchmark exchange rate used to settle (or fix) the value of certain financial instruments or transactions and it’s commonly heard in the context of determining the daily or hourly exchange rates for major currency pairs.  The rate is used as a standard for settling various transactions, such as corporate hedging, portfolio valuation, or derivatives contracts and there are also interest-rate fixes such as the LIBOR (London Interbank Offered Rate) which gained infamy following revelations of the insider-trading some used to manipulate to point at which it was fixed.  Reflecting the city’s history as a financial centre, the “London 4 pm fix” (known also as the “WM/Reuters” or “London” fix) is probably still the best-known daily fix; used as a benchmark against which many forex-related instruments are valued, it’s calculated from the aggregate of physical trades executed during a specific time-window and, as the name implies, that’s usually some defined period either side of 16:00 London time.  As a general principle fixes are set by aggregating and averaging the transactional traffic generated by major banks and financial institutions which, in theory, should ensure a fair and transparent process but there have been instances of malpractice (of which the one associated with the LIBOR was merely the most publicized) which have seen fines imposed and regulatory scrutiny increased.  The principle of the fix as used in forex markets is typical but in other areas of finance, the mechanisms can differ.

The colonial fix

The term “colonial fix” is used to describe the various trick and techniques the European colonial powers used to maintain and extend control in their empires, all of which, sometimes for centuries, used a relative handful of personnel to rule over millions and the best remembered are those practiced under the Raj.  Raj refers to British rule in India prior to 1947 (historians debate just when it can be said to have begun because the project predated the legal construct which formalized things in 1858-1859 although some, for convenience, have applied it to the whole empire.  Raj was a proprialisation of the Hindi noun raj (reign, rule), from the Hindustani राज & راج‎ (rāj), (reign, rule; empire, kingdom; country, state; royalty), from the Pali & Prakrit rajja, from the Sanskrit राज्य (rājyá) (empire, kingdom, realm; kingship, royalty, sovereignty; country), from rājati (he rules), ultimately from the primitive Indo-European h₃reǵ- (to right or straighten oneself; to govern, rule; just; right (with derivatives meaning “to direct in a straight line” and thus “to lead, to rule”)), source also of the German Reich.

A classic colonial fix was the Great Council of Chiefs (Bose Levu Vakaturaga) in Fiji which the British administrators created in 1878.  While it's true that prior to European contact, there had been meetings between tribal chiefs (turaga) to settle disputes and for other purposes, all the evidence suggests they were ad-hoc appointments with little of the formality, pomp and circumstance the British introduced.  Still, it was a successful institution which the chiefs embraced, apparently with some enthusiasm because the cloaks and other accoutrements they adopted for the occasion became increasingly elaborate and it was a generally harmonious form of indigenous governance which enabled the British to conduct matters of administration and policy-making almost exclusively through the chiefs.  The council survived even after Fiji gained independence from Britain in 1970 until it was in 2012 abolished by the military government of Commodore Frank Bainimarama (b 1954; prime minister of Fiji 2007-2022), as part of reform programme said to be an attempt to reduce ethnic divisions and promote a unified national identity.  The commodore's political future would be more assured had he learned lessons from the Raj.

Colonial fixes took many forms, all designed to “fix” some tiresome local problem but they really can be reduced to two themes: (1) In any dispute between factions/tribes/families etc in the local population, always back the weakest, politically and militarily and (2) the most effective and efficient method of control is to align with a recognized and accepted local elite and strengthen their authority and status (knighthoods, visits to London to meet the queen, their own Rolls-Royce etc).  The idea of the colonial fix comes to mind when watching the squabble going on in Australia about the creation of a “Voice”, a institution of some kind (the structure uncertain, the details unclear) which would provide representatives (elected somehow, the details unclear) of the indigenous peoples of the continent (First Nations) now the preferred term) with a mechanism whereby they can make submissions to both the national parliament and executive government (where that begins and ends undefined, the details unclear) about matters which in any way involve or affect indigenous peoples (which is presumably everything, the details are unclear).  There will be a national referendum on the Voice late in 2023, required because of the desire to include the institution in the constitution.  That’s the only way to amend the constitution and the success rate of such referenda is low, only 8 of the 44 submitted gaining the necessary “double majority” of an absolute majority of “yes” votes nationally and a majority in each of the six states.  Because of the distribution of population, it’s possible to succeed in one but not the other in which case the proposal is rejected.  If the details of what’s proposed remain unclear, it’s possible still to predict the likely form a Voice will assume.

In the abstract it’ll be something like feminism in that most of the benefits will accrue to a small, urban, educated elite.  In the same way most female CEOs don’t give a lot of thought (or a pay rise) to the working-class women who serve their coffee and empty their trash bins compared with their efforts to secure quotas for women to be appointed to corporate boards, be given winnable seats in legislatures or seats in cabinet, those who serve on the voice will be most interested in cementing their own power and status and the most disadvantaged among the indigenous can expect little.  The phrase “First Nations” at least partly explains the dynamics of this because viewed from the comfort of the Voice, they’ll appear as inconveniently disparate as Karl Marx (1818-1883) found peasants who he compared to a sack of potatoes: “all the same, yet all different”.  Although the word is no longer fashionable (and is probably proscribed), the structure of the First Nations remains that of competing tribes with interests and priorities which sometimes conflict with others and the Voice cannot simultaneously advocate for both.  At that point, the government will back the weakest.  Practically, it will be a bureaucracy which the government will be sure richly to endow with the trappings of office (big cars, fancy titles, much business class travel and a dutiful secretariat which will produce mountains of reports few will read and those who do will ignore).

Quite why there’s such agitation in certain right-wing circles against the Voice is curious because the very existence of the body seems likely only to be one of their assets.  Although some are cautious, the constitutional lawyers have taken the view that there’s nothing in the amendment which would require a parliament or government to act upon the submissions a Voice might make, it saying only that the right to make them exists; they need to be heard and can be acted upon or ignored on a case-by-case basis.  Nor does there seem great potential that the Voice could seek judicial review if their proposals are declined although presumably the possibility does exist if a case can be made that the Voice is not even being listened to.  The concern about appeals to the courts was based on an earlier period in the life of the High Court of Australia (HCA; the nation’s final court of appeal which might in matters involving the relationship between the voice and the parliament & government be a court of first instance) when some judges were inclined to find that although some concepts weren’t written in the constitution, there was a construction under which they could be said to be “implied” and the court could thus proceed as if they were ink on paper.  That moment of judicial activism seems now to have passed although, even if it reappears, it would be quite a leap for a court to find a parliament or government is compelled to adopt a recommendation of an advisory body.  At the most, they would probably require a process which indicates the matter has been duly considered.  For the right-wing fanatics, the run-up to the vote has actually started well.  Already there’s dissention among the self-appointed elite of the First Nations, the view of the dominant faction being there’s only one permissible view and anyone who dares to express another view must be put down.  Politically that makes sense but it’d be better done behind closed doors.  Hopefully, the referendum will pass with a substantial majority so political junkies can enjoy watching the shark-feeding which will follow.  Unfortunately for the most disadvantaged of the indigenous peoples, the latest generations of those who have been marginalized and appallingly treated since white settlement, they can expect that a decade hence, things are likely to be much the same.  Still for those who can hop aboard the Voice gravy train, there’ll be expense accounts, five-star hotels and celebrity status when addressing the United Nations (UN) General Assembly so there’s that.