Rationale

Rationale (pronounced rash-uh-nal)

(1) The fundamental reason or reasons serving to account for something.

(2) A statement of reasons.

(3) A reasoned exposition of principles, especially one defining the fundamental reasons for a course of action or belief; a justification for action.

(4) A liturgical vestment worn by some Christian bishops of various denominations (now rare), the origin of which is the breastplate worn by Israelite high priests (a translation of λογεῖον (logeîon) or λόγιον (logion) (oracle) in the Septuagint version of Exodus 28)).  The French spelling (rational) of the Latin ratiōnāle was used in Biblical translations.

(5) In engineering, a design rationale is the explicit documentation of the reasons behind decisions made when designing a system; it was once used of what now would be described as a set of parameters.

1650-1660: From the Late Latin ratiōnāle (exposition of principles), nominative singular neuter of ratiōnālis (rational, of reason).  After some early inventiveness, the modern sense "fundamental reason, the rational basis or motive of anything" became standardised during the (1680s).  In the nature of such things, many rationales are constructed ex post facto.  Rationale is a noun; the noun plural is rationales or rationalia.

Prince Metternich & Dr Rudd: illustrating rationale & rational

Portrait of Prince Metternich (1822), miniature on card by Friedrich Lieder (1780-1859).

Rationale and rational are sometimes confused.  A rationale is a process variously of explanation, reason or justification of something that need not be at all rational (although many fashioned ex post facto are re-formulated thus).  To be rational, something must make sense and be capable of being understood by the orthodox, accepted methods of the time.  That something may subsequently be shown to be irrational does not mean it did not at some time appear rational; one can construct a rationale for even something irrational.  To construct a post-Napoleonic Europe, Prince Metternich (Prince Klemens of Metternich-Winneburg zu Beilstein (1773–1859); foreign minister of the Austrian Empire 1809-1848 & chancellor 1821-1848) built a rationale for the Congress of Vienna (1814-1815) that was well understood.  It was vision of a Europe, divided between the great powers, in which was maintained a perpetual balance of power which would ensure peace.  That in the two centuries since, the Congress has attached much criticism, largely for imposing a stultifying air of reaction on the continent, does not render the structure irrational nor detract from Metternich’s rationale.  Some historians have come to regard the congress more fondly and while it’s not true the consequence was a century of peace in Europe, it created a framework which meant a good number of decades in that time were notably less blood-soaked than what came before and certainly what followed.

Dr Rudd at the ceremony to be conferred DPhil, University of Oxford, September, 2022.

By 2009, Kevin Rudd ((b 1957); Prime Minister of Australia 2007-2010 & June-September 2013), having realised being prime-minister was a squandering of intellectual talent, embarked on a re-design of relationships in the Asia-Pacific, structured in a way to suit what was self-evidently obvious: he should assume regional leadership.  These things do happen when folk get carried away.  Not discouraged by the restrained enthusiasm for his good idea, Mr Rudd penned one of his wordy rationales which, to him, must have sounded rational but less impressed was just about everybody else in the region including his own cabinet and it’s difficult to recall any hint of interest from other countries.  Mr Rudd quibbled a bit, claiming his use of the word community was just diplomatic shorthand and he wasn’t suggesting anything like what the EU ever was or had become but just better way of discussing problems.  Anyway, it for a while gave him a chance to use phrases like “ongoing and continuing discussions” and “regional and sub-regional architecture” so there was that.  By 2010 the idea had been allowed quietly to die and he had more pressing problems.

Attaining the premiership was Rudd’s mistake.  Had he never achieved to position he’d probably be spoken of as “the best prime-minister Australia never had” but instead he’s among those (and of late there have been a few) remembered as the Roman historian Tacitus (circa 56–circa 120) in the first volume of his Histories (circa 100) wrote of Galba (3 BC–AD 69; Roman Emperor 68-69): "...omnium consensu capax imperii nisi imperasset" (everyone would have agreed he was qualified for governing if he had not held the office).  His background was as a senior public servant who provided advice to others so they could make decisions and he enjoyed a solid career which was clearly well-suited to his skills.  Unfortunately, when occupying the highest political office in the land, he proved indecisive and too often inclined to refer to committees matters which he should have insisted came to cabinet with the necessary documents.  His other character flaw was he seemed unable to understand there was a difference between “leadership” and “command”, unable to realise there was a difference between the structured hierarchy of the public service and the swirling clatter of politics.  His career in The Lodge (the prime-minister’s official residence in Canberra) can be recalled as the Italian historian and politician Francesco Guicciardini (1483–1540) noted of Pope Clement VII (1478–1534; pope 1523-1534): “…knowledgeable and effective as a  subordinate, he fell victim when in charged to timidity, perplexity and habitual irresolution.”  With that, the Italian writer Piero Vettori (1499–1585) concurred, writing: “From a great and renowned cardinal, he was transformed into a little and despised pope”, a sentiment familiar in the phrase repeated in militaries around the world (outstanding major; average colonel; lousy general) to describe that truism in organizational behaviour: “Everyone gets promoted to their own level of incompetence”.

That aphorism was from The Peter Principle (1970), written by Raymond Hull (1919–1985) and based on the research of Laurence Peter (1919–1990), the idea being someone who proves successful in one role will be promoted and if competent there, they will be promoted again.  However, should they fail, within the hierarchy, that is the point of their incompetence, the implication being that the tendency is, as time passes, more and more positions within a corporation will be filled by the incompetent.  The exceptions of course are (1) those competent souls who for whatever reason decline promotion and (2) the habitually successful who will in theory continue to be promoted until they reach the top and, if they prove competent there, this results in the paradox of the typical corporation being run by someone competent but staffed substantially by the incompetent.  In politics, reaching the top means becoming prime-minister, president or some similar office and as Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) described it: "...if he trips he must be sustained. If he makes mistakes they must be covered. If he sleeps he must not wantonly be disturbed. If he is no good he must be poleaxed.  In one of the more amusing recent episodes in politics, the Australian Labor Party (ALP) decided Dr Rudd had been promoted to the relevant point and poleaxed him, a back-stabbing which remains one of the best organized and executed seen in years.  Subsequently, the party concluded his replacement was even more of a dud and restored Dr Rudd to the job, a second coming which lasted but a few months but that was long enough for him to revenge himself upon the hatchet men responsible for his downfall so there was that.       

Still, after his political career (which can be thought a success because he did did reach the top of the “greasy pole” and the delivered the ALP a handsome election victory although their gratitude was short-lived (a general tendency in democracies noted (sometimes gleefully) by many political scientists)) he has been busy, even if the secretary-generalship of the United Nations (UN) (an office which is an irresistible lure for a certain type) proved elusive.  Recently he became Dr Rudd, awarded Doctorate of Philosophy (DPhil) by the University of Oxford.  His 420 page thesis, written over four years, explores the world view of Xi Jinping (b 1953; general secretary of the Chinese Communist Party (CCP) and paramount leader of the People's Republic of China (PRC) since 2013) and the relationship of his ideology to both the direction taken by the CCP and the links with the thoughts (and their consequences) of Chairman Mao (Mao Zedong 1893–1976; chairman of the Chinese Communist Party (CCP) 1949-1976).

Dr Rudd says his thesis argues “…there has been a significant change in China’s ideological worldview under Xi Jinping compared with previous ideological orthodoxies under Deng Xiaoping, Jiang Zemin and Hu Jintao [and summarises] Xi’s worldview as a new form of ‘Marxist-Leninist Nationalism’”.  Dr Rudd says he preferred “Marxist Nationalism” because “the term contains within it three core propositions”: (1) “Xi’s Leninism has taken both the party and Chinese politics in general to the left” (and he defines “left” for these purposes as “…the reassertion of the power of the party over all public policy as well as elevating the position of the individual leader against the rest of collective leadership”), (2) “Xi’s notion of Marxism has similarly taken the centre of gravity of Chinese economic thought to the left” ("left" in this aspect defined as “…a new priority for party-state intervention in the economy, state-owned enterprises over the private sector and a new ideology of greater income equality”) and (3) “Xi has also taken Chinese nationalism to the right (“right” here meaning “a new assertion of Chinese national power as reflected in a new array of nationalist ‘banner terms’ that are now used in the party’s wider ideological discourse.”)  Dr Rudd views these three forces as “…part of a wider reification of the overall role of ideology under Xi Jinping. This has been seen in the fresh application of Marxist Leninist concepts of dialectical materialism, historical materialism, the primary stage of socialism, contradiction and struggle across the range of China’s current domestic and international challenges. The role of nationalism has also been enhanced within Xi’s new ideological framework. This hybrid form of Marxist Nationalist ideology is also being increasingly codified within the unfolding canon of Xi Jinping thought.” 

“Finally, the thesis argues there is a high degree of correlation between these ideological changes on the one hand and changes in the real world of Chinese politics, economic policy and a more assertive foreign policy on the other - including a different approach to Chinese multilateral policy as observed by diplomatic practitioners at the UN in New York.  The thesis concludes these changes in Xi Jinping’s ideological worldview and its impact on Chinese politics and public policy is best explained by a theoretical framework that integrates Authoritarian Resilience Theory, the realist and constructivist insights of the English School of International Relations Theory, and Foreign Policy Analysis.”  Clearly, Dr Rudd thinks the CCP has come a long way since comrade Stalin (1878-1953; Soviet leader 1924-1953) casually dismissed Maoist theory as “ideologically primitive”.

Since March 2023, Dr Rudd has served as Australian Ambassador to the United States, the announcement of the appointment attracting some speculation there may be a secret protocol to the contract, providing for him to report to the prime-minister rather than the foreign minister.  It was mischievous speculation and there has been little but praise for the solid work he has been doing in the Washington embassy.  Dr Rudd’s role attracted headlines in March 2022 when a interview with Donald Trump (b 1946; US president 2017-2021) was broadcast in which the former president was acquainted (apparently for the first time) with some uncomplimentary assessments Dr Rudd had made of him including describing him “the most destructive president in history” and “a traitor to the West”.

Having doubtless heard and ignored worse over the years, Mr Trump seemed little concerned but did respond in his usual style, observing he didn’t know much about Dr Rudd except he’d heard he was “a little bit nasty” and “not the brightest bulb”, adding “he’d not be there long” if hostile to a second Trump presidency.  Trumpologists analysing these thoughts suggested the mildness of the reaction indicated the matter was unlikely to be pursued were he to return to the Oval Office, noting his habit of tending to ignore or forget about anything except actual threats to his immediate self-interest.  After taking office in 2017, when asked if he would pursue the legal action he’d during the campaign threatened against Bill (b 1946; US president 1993-2001) & crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) (mostly on the basis of crooked Hillary’s crooked crookedness), he quickly brushed it off saying: “No, they’re good people” and moving on.  It’s thought Dr Rudd won't end up in the diplomatic deep-freeze, the most severe version of which is for a host nation to declare a diplomat "persona non grata" (the construct being the Latin persōna (person) + nōn (not) + grāta (from grātus (acceptable)), the consequence of which is an expulsion from the territory and the worst fate he may suffer is not receiving an invitation to a round of golf (something unlikely much to upset him).  Others however should be worried, in a second Trump White House, there will be vengeance.

Like "diplomatic toothache" and "null & void", the phrase "persona non gratia" has become part of general language, the utility being in few words describing what would otherwise take many more.  Impressionistically, it would seem "troubled starlets" are more than most declared "persona non gratia".

Ratio

Ratio (pronounced rey-shoh (U) or rey-shee-oh (non-U))

(1) The relation between two similar magnitudes with respect to the number of times the first contains the second.

(2) The proportional relation; rate.

(3) In finance, the relative value of gold and silver in a bimetallic currency system.

(4) In mathematics, a quotient of two numbers or quantities.

(5) In western legal systems, the slang for ratio decidendi, the substantive part(s) of the judgment.

(6) In the metrics of the internet, the number of comments to a post or other expression on social media relative to the number of likes (a high ratio assumed to suggests disagreement with the contents of the original post).

1630–1640: From the Latin ratiō (a doublet of ration and reason) (a reckoning, account, numbering, derivation, calculation) from the base of rērī (to judge, think).  The original meaning in English, dating from the 1630s (reason, rationale, calculation, reckoning, numbering, calculation, judgment) mirrored the Latin practice while the mathematical sense "relationship between two numbers" is attested from the 1650s.  The use in theological texts in the sense of "reason, rationale" was a tribute to the original meaning in Latin (a reckoning, account, numbering, derivation, calculation), hence also the idea of "a business affair; course, conduct, procedure".  From this also emerged (in a transferred sense and applying to mental action), the meaning "reason, reasoning, judgment, understanding, that faculty of the mind which forms the basis of computation and calculation" (the ultimate origin of this being rat-, the past-participle stem of reri (to reckon, calculate (and also "to think, judge, believe), from the primitive Indo-European root re- (to think, reason, count).  The Latin ratio often was used to represent or translate the Greek logos (computation, account, esteem, reason) in works of philosophy, though the range of senses in the two do not wholly overlap because ratio lacks the essential "speech, word, statement" meaning which exists in the logos.  The familiar modern meaning "corresponding relationship between things not precisely measurable" had become common by the early nineteenth century.

Ratio Decidendi and Obiter Dictum

The ratio decidendi is a phrase in legal Latin meaning "reason (or rationale) for the decision” and the professional oral & verbal shorthand is ratio.  It’s the ratio decidendi which justifies the judgment and expresses the legal principle(s) which determine the outcome.  The ratio decidendi either creates or is consistent with legal precedent and in the common law’s hierarchical system, lower courts are required to follow precedents established by higher courts.

Obiter dictum the complimentary legal Latin phrase meaning "by the way" and the legal slag is variously dicta or (more commonly) obiter.  The obiter is the collective term for other substantive material in the judgment but not part of the reasoning for the decision, the remarks or observations made by a judge that do not form a necessary part of the decision.  There exists an informal test called the Wambaugh Inversion to determine whether a judicial statement is ratio or obiter.  This involves asking whether the decision would have been different, had the statement been omitted.  If so, the statement is crucial and is ratio; if not, it is obiter.  The rarely used plural for ratio is rationes decidendi whereas, because of the rules of Latin, obiter is used almost always in the plural as obiter dicta.  The difference between the ratio and the dicta is a most useful distinction but would be more helpful if judges could be prevailed upon to make if clear which is which; even bullet-point summaries would be handy.  One suspects many judges think themselves fine stylists of the language, a view not always shared by their captive audience.

B2BR: The bitemporal to bizygomatic ratio

Lindsay Lohan's bitemporal to bizygomatic ratio (B2BR), calculated by pinkmirror.com.  Her admirable B2BR ratio of 1.07 contributed to her overall beauty score of 8.5 (out of 10), putting her in the "beautiful" category.  The above image is rendered in the 1:2 aspect ratio of the DL envelope, favored by architects because the result is thought pleasing to the eye.  

Architects and engineers use all sorts of ratios in their calculations, some to improve aesthetic appeal and some to optimize specific strength.  In internal combustion engines, ratios are commonly used (compression ratio, connecting rod-to-stroke ratio et al) and in building design, the "DL envelope ratio" (1:2) references the standard DL envelope (110 x 220 mm; 4⅓ x 8⅔") which, when applied in architecture, is considered to produce a shape pleasing to the eye, apparently because it closely corresponds with the natural field of human vision.  In the beauty business there are also ratios, used predictably to compartmentalize various aspects of women's appearance so their degree of attractiveness can be reduced to a number.  The site pinkmirror.com helpfully provides an interactive analysis page, one component of which is the bitemporal to bizygomatic ratio (B2BR), a measure used in facial anthropometry (the study of facial measurements and proportions) and cosmetic and restorative surgery.  The B2BR compares the distance between the two temporal bones (bitemporal distance) with the distance between the two zygomatic bones (bizygomatic distance) in the face.  Notionally, the B2BR is set at 1:1 (a baseline for calculation purposes rather than an ideal) and if bitemporal distance is greater than that of the bizygomatic, the ratio will be greater than 1, indicating a relatively narrow midface whereas if the bizygomatic distance is greater, the ratio will be less than 1, indicating a relatively wide midface.  In medicine the B2BR is used as an indicative diagnostic tool which can be helpful in assessing certain genetic conditions that affect facial structure and in cosmetic & restorative surgery its used as one of the measures of facial proportions when planning treatments.  Some advanced systems in cosmetic facial surgery no use CAD (computer assisted design) software and 3D printing (essentially "prototyping" the "new" face) and the B2BR is one of the critical metrics used in both.

Ultracrepidarian

Ultracrepidarian (pronounced uhl-truh-krep-i-dair-ee-uhn)

Of or pertaining to a person who criticizes, judges, or gives advice outside their area of expertise

1819: An English adaptation of the historic words sūtor, ne ultra crepidam, uttered by the Greek artist Apelles and reported by the Pliny the Elder.  Translating literally as “let the shoemaker venture no further” and sometimes cited as ne supra crepidam sūtor judicare, the translation something like “a cobbler should stick to shoes”.  From the Latin, ultra is beyond, sūtor is cobbler and crepidam is accusative singular of crepida (from the Ancient Greek κρηπίς (krēpís)) and means sandal or sole of a shoe.  Ultracrepidarian is a noun & verb and ultracrepidarianism is a noun; the noun plural is ultracrepidarians.  For humorous purposes, forms such as ultracrepidarist, ultracrepidarianish, ultracrepidarianize & ultracrepidarianesque have been coined; all are non-standard.

Ultracrepidarianism describes the tendency among some to offer opinions and advice on matters beyond their competence.  The word entered English in 1819 when used by English literary critic and self-described “good hater”, William Hazlitt (1778–1830), in an open letter to William Gifford (1756–1826), editor of the Quarterly Review, a letter described by one critic as “one of the finest works of invective in the language” although another suggested it was "one of his more moderate castigations" a hint that though now neglected, for students of especially waspish invective, he can be entertaining.  The odd quote from him would certainly lend a varnish of erudition to trolling.  Ultracrepidarian comes from a classical allusion, Pliny the Elder (circa 24-79) recording the habit of the famous Greek painter Apelles (a fourth century BC contemporary of Alexander the Great (Alexander III of Macedon, 356-323 BC)), to display his work in public view, then conceal himself close by to listen to the comments of those passing.  One day, a cobbler paused and picked fault with Apelles’ rendering of shoes and the artist immediately took his brushes and pallet and touched-up the sandal’s errant straps.  Encouraged, the amateur critic then let his eye wander above the ankle and suggested how the leg might be improved but this Apelles rejected, telling him to speak only of shoes and otherwise maintain a deferential silence.  Pliny hinted the artist's words of dismissal may not have been polite.

So critics should comment only on that about which they know.  The phrase in English is usually “cobbler, stick to your last” (a last a shoemaker’s pattern, ultimately from a Germanic root meaning “to follow a track'' hence footstep) and exists in many European languages: zapatero a tus zapatos is the Spanish, schoenmaker, blijf bij je leest the Dutch, skomager, bliv ved din læst the Danish and schuster, bleib bei deinen leisten, the German.  Pliny’s actual words were ne supra crepidam judicaret, (crepidam a sandal or the sole of a shoe), but the idea is conveyed is in several ways in Latin tags, such as Ne sutor ultra crepidam (sutor means “cobbler”, a word which survives in Scotland in the spelling souter).  The best-known version is the abbreviated tag ultra crepidam (beyond the sole), and it’s that which Hazlitt used to construct ultracrepidarian.  Crepidam is from the Ancient Greek κρηπίς (krēpís) and has no link with words like decrepit or crepitation (which are from the Classical Latin crepare (to creak, rattle, or make a noise)) or crepuscular (from the Latin word for twilight); crepidarian is an adjective rare perhaps to the point of extinction meaning “pertaining to a shoemaker”.

The related terms are "Nobel disease" & "Nobel syndrome" which are used to describe some of the opinions offered by Nobel laureates on subjects beyond their specialization.  In some cases this is "demand" rather than "supply" driven because, once a prize winner is added to a media outlet's "list of those who comment on X", they are sometimes asked questions about matters of which they know little.  This happens because some laureates in the three "hard" prizes (physics, chemistry, physiology or medicine) operate in esoteric corners of their discipline; asking a particle physicist something about plasma physics on the basis of their having won the physics prize may not elicit useful information.  Of course those who have won the economics or one of what are now the DEI (diversity, equity and inclusion) prizes (peace & literature) may be assumed to have helpful opinions on everything.

Jackson Pollock (1912-1956): Blue Poles

In 1973, when a million dollars was a still lot of money, the National Gallery of Australia, a little controversially, paid Aus$1.3 million for Jackson Pollock’s (1912-1956) Number 11, 1952, popularly known as Blue Poles since it was first exhibited in 1954, the new name reputedly chosen by the artist.  It was some years ago said to be valued at up to US$100 million but, given the increase in the money supply (among the rich who trade this stuff) over the last two decades odd, that estimate may now be conservative and some have suggested as much as US$400 million might be at least the ambit claim.

Number 11 (Blue poles, 1952), Oil, enamel and aluminum paint with glass on canvas.

Blue Poles emerged during Pollock’s "drip period" (1947-1950), a method which involved techniques such throwing paint at a canvas spread across the floor.  The art industry liked these (often preferring the more evocative term "action painting") and they remain his most popular works, although at this point, he abandoned the dripping and moved to his “black porings phase” a darker, simpler style which didn’t attract the same commercial interest.  He later returned to more colorful ways but his madness and alcoholism worsened; he died in a drink-driving accident.

Alchemy (1947), Oil, aluminum, alkyd enamel paint with sand, pebbles, fibers, and broken wooden sticks on canvas.

Although the general public remained uninterested (except by the price tags) or sceptical, there were critics, always drawn to a “troubled genius”, who praised Pollock’s work and the industry approves of any artist who (1) had the decency to die young and (2) produced stuff which can sell for millions.  US historian of art, curator & author Helen A Harrison (b 1943; director (1990-2024) of the Pollock-Krasner House and Study Center, the former home and studio of the Abstract Expressionist artists Jackson Pollock and Lee Krasner in East Hampton, New York) is an admirer, noting the “pioneering drip technique…” which “…introduced the notion of action painting", where the canvas became the space with which the artist actively would engage”.  As a thumbnail sketch she offered:

Number 14: Gray (1948), Enamel over gesso on paper.

“Reminiscent of the Surrealist notions of the subconscious and automatic painting, Pollock's abstract works cemented his reputation as the most critically championed proponent of Abstract Expressionism. His visceral engagement with emotions, thoughts and other intangibles gives his abstract imagery extraordinary immediacy, while his skillful use of fluid pigment, applied with dance-like movements and sweeping gestures that seldom actually touched the surface, broke decisively with tradition. At first sight, Pollock's vigorous method appears to create chaotic labyrinths, but upon close inspection his strong rhythmic structures become evident, revealing a fascinating complexity and deeper significance.  Far from being calculated to shock, Pollock's liquid medium was crucial to his pictorial aims.  It proved the ideal vehicle for the mercurial content that he sought to communicate 'energy and motion made visible - memories arrested in space'.”

Number 13A: Arabesque (1948), Oil and enamel on canvas.

Critics either less visionary or more fastidious seemed often as appalled by Pollock’s violence of technique as they were by the finished work (or “products” as some labelled the drip paintings), questioning whether any artistic skill or vision even existed, one finding them “…mere unorganized explosions of random energy, and therefore meaningless.”  The detractors used the language of academic criticism but meant the same thing as the frequent phrase of an unimpressed public: “That’s not art, anyone could do that.”

Number 1, 1949 (1949), Enamel and metallic paint on canvas. 

There have been famous responses to that but Ms Harrison's was practical, offering people the opportunity to try.  To the view that “…people thought it was arbitrary, that anyone can fling paint around”, Ms Harrison conceded it was true anybody could “fling paint around” but that was her point, anybody could, but having flung, they wouldn’t “…necessarily come up with anything.”  In 2010, she released The Jackson Pollock Box, a kit which, in addition to an introductory text, included paint brushes, drip bottles and canvases so people could do their own flinging and compare the result against a Pollock.  After that, they may agree with collector Peggy Guggenheim (1898-1979) that Pollock was “...the greatest painter since Picasso” or remain unrepentant ultracrepidarians.  Of course, many who thought their own eye for art quite well-trained didn't agree with Ms Guggenheim.  In 1945, just after the war, Duff Cooper (1890–1954), then serving as Britain's ambassador to France, came across Pablo Picasso (1881–1973) leaving an exhibition of paintings by English children aged 5-10 and in his diary noted the great cubist saying he "had been much impressed".  "No wonder" added the ambassador, "the pictures are just as good as his".   

Helen A Harrison, The Jackson Pollock Box (Cider Mill Press, 96pp, ISBN-10:1604331860, ISBN-13:978-1604331868).

Dresses & drips: Three photographs by Cecil Beaton (1904-1980), shot for a three-page feature in Vogue (March 1951) titled American Fashion: The New Soft Look which juxtaposed Pollock’s paintings hung in New York’s Betty Parsons Gallery with the season’s haute couture by Irene (1872-1951) & Henri Bendel (1868-1936).

Beaton choose the combinations of fashion and painting and probably pairing Lavender Mist (1950, left) with a short black ball gown of silk paper taffeta with large pink bow at one shoulder and an asymmetrical hooped skirt by Bendel best illustrates the value of his trained eye.  Critics and social commentators have always liked these three pages, relishing the opportunity to comment on the interplay of so many of the clashing forces of modernity: the avant-garde and fashion, production and consumption, abstraction and representation, painting and photography, autonomy and decoration, masculinity and femininity, art and commerce.  Historians of art note it too because it was the abstract expressionism of the 1940s which was both uniquely an American movement and the one which in the post-war years saw the New York supplant Paris as the centre of Western art.  There have been interesting discussions about when last it could be said Western art had a "centre".

Eye of the beholder: Portrait of Lindsay Lohan in the style of Claude Monet at craiyon.com and available at US$26 on an organic cotton T-shirt made in a factory powered by renewable energy.

Whether the arguments about what deserves to be called “art” began among prehistoric “artists” and their critics in caves long ago isn’t known but it’s certainly a dispute with a long history.  In the sense it’s a subjective judgment the matter was doubtless often resolved by a potential buyer declining to purchase but during the twentieth century it became a contested topic and there were celebrated exhibits and squabbles which for decades played out before, in the post modern age, the final answer appeared to be something was art if variously (1) the creator said it was or (2) an art critic said it was or (3) it was in an art gallery or (4) the price tag was sufficiently impressive.

So what constitutes “art” is a construct of time, place & context which evolves, shaped by historical, cultural, social, economic, political & personal influences, factors which in recent years have had to be cognizant of the rise of cultural equivalency, the recognition that Western concepts such as the distinction between “high” (or “fine”) art and “folk” (or “popular”) art can’t be applied to work from other traditions where cultural objects are not classified by a graduated hierarchy.  In other words, everybody’s definition is equally valid.  That doesn’t mean there are no longer gatekeepers because the curators in institutions such as museums, galleries & academies all discriminate and thus play a significant role in deciding what gets exhibited, studied & promoted, even though few would now dare to suggest what is art and what is not: that would be cultural imperialism.

In the twentieth century it seemed to depend on artistic intent, something which transcended a traditional measure such as aesthetic value but as the graphic art in advertising and that with a political purpose such as agitprop became bigger, brighter and more intrusive, such forms also came to be regarded as art or at least worth of being studied or exhibited on the same basis, in the same spaces as oil on canvas portraits & landscapes.  Once though, an unfamiliar object in such places could shock as French painter & sculptor Marcel Duchamp (1887-1968) managed in 1917 when he submitted a porcelain urinal as his piece for an exhibition in New York, his rationale being “…everyday objects raised to the dignity of a work of art by the artist's act of choice.”  Even then it wasn’t a wholly original approach but the art establishment has never quite recovered and from that urinal to Dadaism, to soup cans to unmade beds, it became accepted that “anything goes” and people should be left to make of it what they will.  Probably the last remaining reliable guide to what really is "art" remains the price tag.

1948 Cisitalia 202 GT (left; 1947-1952) and 1962 Jaguar E-Type (1961-1974; right), Museum of Modern Art (MoMA), New York City.

Urinals tend not to be admired for their aesthetic qualities but there are those who find beauty in things as diverse as mathematical equations and battleships.  Certain cars have long been objects which can exert an emotional pull on those with a feeling for such things and if the lines are sufficiently pleasing, many flaws in engineering are often overlooked.  New York’s Museum of Modern Art (MoMA) acknowledged in 1972 that such creations can be treated as works of art when they added a 1948 Cisitalia 202 GT finished in “Cisitalia Red” (MoMA object number 409.1972) to their collection, the press release noting it was “…the first time that an art museum in the U.S. put a car into its collection.”  Others appeared from time-to-time and while the 1953 Willys-Overland Jeep M-38A1 Utility Truck (MoMA object number 261.2002) perhaps is not conventionally beautiful, its brutish functionalism has a certain simplicity of form and in the exhibition notes MoMA clarified somewhat by describing it as a “rolling sculpture”, presumably in the spirit of a urinal being a “static sculpture”, both to be admired as pieces of design perfectly suited to their intended purpose, something of an art in itself.  Of the 1962 Jaguar E-Type (XKE) open two seater (OTS, better known as a roadster and acquired as MoMA object number 113.996), there was no need to explain because it’s one of the most seductive shapes ever rendered in metal.  Enzo Ferrari (1898-1988) attended the 1961 Geneva Motor Show (now defunct) when the Jaguar staged its stunning debut and part of E-Type folklore is he called it “the most beautiful car in the world”.  Whether those words ever passed his lips isn’t certain because the sources vary slightly in detail and il Commendatore apparently never confirmed or denied the sentiment but it’s easy to believe and many to this day agree just looking at the thing can be a visceral experience.  The MoMA car is finished in "Opalescent Dark Blue" with a grey interior and blue soft-top; there are those who think the exhibit would be improved if it was in BRG (British Racing Green) over tan leather but anyone who finds a bad line on a Series 1 E-Type OTS is truly an ultracrepidarian.   

Frango

Frango (pronounced fran-goh)

(1) A young chicken (rare in English and in Portuguese, literally “chicken”).

(2) Various chicken dishes (an un-adapted borrowing from the Portuguese).

(3) In football (soccer) (1) a goal resulting from a goalkeeper’s error and (2) the unfortunate goalkeeper.

(4) The trade name of a chocolate truffle, now sold in Macy's department stores. 

In English, “frango” is most used in the Portuguese sense of “chicken” (variously “a young chicken”, “chicken meat”, “chicken disk” etc) and was from the earlier Portuguese frângão of unknown origin.  In colloquial figurative use, a frango can be “a young boy” and presumably that’s an allusion to the use referring to “a young chicken”.  In football (soccer), it’s used (sometimes trans-nationally) of a goal resulting from an especially egregious mistake by the goalkeeper (often described in English by the more generalized “howler”.  In Brazil, where football teams are quasi-religious institutions, such a frango (also as frangueiro) is personalized to describe the goalkeeper who made the error and on-field blunders are not without lethal consequence in South America, the Colombian centre-back Andrés Escobar (1967–1994) murdered in the days after the 1994 FIFA World Cup, an event reported as a retribution for him having scored the own goal which contributed to Colombia's elimination from the tournament. Frango is a noun; the noun plural is frangos.

The Classical Latin verb frangō (to break, to shatter) (present infinitive frangere, perfect active frēgī, supine frāctum) which may have been from the primitive Indo-European bhreg- (to break) by not all etymologists agree because descendants have never been detected in Celtic or Germanic forks, thus the possibility it might be an organic Latin creation.  The synonyms were īnfringō, irrumpō, rumpō & violō.  As well as memorable art, architecture and learning, Ancient Rome was a world also of violence and conflict and there was much breaking of stuff, the us the figurative use of various forms of frangō to convey the idea of (1) to break, shatter (a promise, a treaty, someone's ideas (dreams, projects), someone's spirit), (2) to break up into pieces (a war from too many battles, a nation) and (3) to reduce, weaken (one's desires, a nation).

A frangō in the sense of the Classical Latin: Lindsay Lohan with broken left wrist (fractured in two places in an unfortunate fall at Milk Studios during New York Fashion Week) and 355 ml (12 fluid oz) can of Rehab energy drink, Los Angeles, September 2006.  The car is a 2006 Mercedes-Benz SL 65 AMG (R230; 2004-2011) which would later feature in the tabloids after a low-speed crash.  The R230 range (2001-2011) was unusual because of the quirk of the SL 550 (2006-2011), a designation used exclusively in the North American market, the RoW (rest of the world) cars retaining the SL 500 badge even though both used the 5.5 litre (333 cubic inch) V8 (M273).

The descendents from the Classical Latin frangō (to break, to shatter) included the Aromanian frãngu (to break, to destroy; to defeat), the Asturian frañer (to break; to smash) & francer (to smash), the English fract (to break; to violate (long obsolete)) & fracture ((1) an instance of breaking, a place where something has broken. (2) in medicine a break in a bone or cartilage and (3) in geology a fault or crack in a rock), the Friulian franzi (to break), the German Fraktur ((1) in medicine, a break in a bone & (2) a typeface) & Fraktion (2) in politics, a faction, a parliamentary grouping, (3) in chemistry, a fraction (in the sense of a component of a mixture), (4) a fraction (part of a whole) and (5) in the German-speaking populations of Switzerland, South Tyrol & Liechtenstein, a hamlet (adapted from the Italian frazione)), the Italian: frangere (1) to break (into pieces), (2) to press or crush (olives), (3) in figurative use and as a literary device, to transgress (a commandment, a convention of behavior etc), (4) in figurative use to weaken (someone's resistance, etc.) and (5) to break (of the sea) (archaic)), the Ladin franjer (to break into pieces), the Old Franco provençal fraindre (to break; significantly to damage), the Old & Middle French fraindre (significantly to damage), the Portuguese franzir (to frown (to form wrinkles in forehead)), the Romanian frânge (1) to break, smash, fracture & (2) in figurative use, to defeat) and frângere (breaking), the Old Spanish to break), and the Spanish frangir (to split; to divide).

Portuguese lasanha de frango (chicken lasagna).

In Portuguese restaurants, often heard is the phrase de vaca ou de frango? (beef or chicken?) and that’s because so many dishes offer the choice, much the same as in most of the world (though obviously not India).  In fast-food outlets, the standard verbal shorthand for “fried chicken” is “FF” which turns out to be one of the world’s most common two letter abbreviations, the reason being one “F” representing of English’s most unadapted linguistic exports.  One mystery for foreigners sampling Portuguese cuisine is: Why is chicken “frango” but chicken soup is “sopa de galinha?”  That’s because frango is used to mean “a young male chicken” while a galinha is an adult female.  Because galinha meat doesn’t possess the same tender quality as that of a frango, (the females bred and retained mostly for egg production), slaughtered galinhas traditionally were minced or shredded and used for dishes such as soups, thus: sopa de galinha (also as canja de galinha or the clipped caldo and in modern use, although rare, sopa de frango is not unknown).  That has changed as modern techniques of industrial farming have resulted in a vastly expanded supply of frango meat so, by volume, most sopa de galinha is now made using frangos (the birds killed young, typically between 3-4 months).  Frangos have white, drier, softer meat while that of the galinha is darker, less tender and juicer and the difference does attract chefs in who do sometimes offer a true sopa de galinha as a kind of “authentic peasant cuisine”.

There are also pintos (pintinhos in the diminutive) which are chicks only a few days old but these are no longer a part of mainstream Portuguese cuisine although galetos (chicks killed between at 3-4 weeks) are something of a delicacy, usually roasted.  The reproductive males (cocks or roosters in English use) are galos.  There is no tradition, anywhere in Europe, of eating the boiled, late-developing fertilized eggs (ie a bird in the early stages of development), a popular dish in the Philippines and one which seems to attract virulent disapprobation from many which culturally is interesting because often, the same critics happily will consume both the eggs and the birds yet express revulsion at even the sight of the intermediate stage.  Such attitudes are cultural constructs and may be anthropomorphic because there’s some resemblance to a human foetus.

Lindsay Lohan at Macy's and Teen People's Freaky Friday Mother/Daughter Fashion Show, Macy's Herald Square, New York City, August 2003.  It's hoped she had time for a Frango.

 Now sold in Macy’s Frangos are a chocolate truffle created in 1918 for sale in Frederick & Nelson department stores.  Although originally infused with mint, many variations ensued and they became popular when made available in the Marshall Field department stores which in 1929 acquired Frederick & Nelson although it’s probably their distribution by Macy's which remains best known.  Marshall Field's marketing sense was sound and they turned the Frango into something of a cult, producing them in large melting pots on the 13th floor of the flagship Marshall Field's store on State Street until 1999 when production was out-sourced to a third party manufacturer in Pennsylvania.  In the way of modern corporate life, the Frango has had many owners, a few changes in production method and packaging and some appearances in court cases over rights to the thing but it remains a fixture on Macy’s price lists, the trouble history reflected in the “Pacific Northwest version” being sold in Macy's Northwest locations in Washington, Idaho, Montana and Oregon while the “Seattle version” is available in Macy's Northwest establishments.  There are differences between the two and each has its champions but doubtless there are those who relish both.

A patent application (with a supporting trademark document) for the Frango was filed in 1918, the name a re-purposing of a frozen dessert sold in the up-market tea-room at Frederick & Nelson's department store in Seattle, Washington.  The surviving records suggest the “Seattle Frangos” were flavoured not with mint but with maple and orange but what remains uncertain is the origin of the name.  One theory is the construct was Fr(ederick’s) + (t)ango which is romantic but there are also reports employees were told, if asked, to respond it was from Fr(ederick) –an(d) Nelson Co(mpany) with the “c” switched to a “g” because the word “Franco” had a long established meaning.  Franco was a word-forming element meaning “French” or “the Franks”, from the Medieval Latin combining form Franci (the Franks), thus, by extension, “the French”.  Since the early eighteenth century it had been used when forming English phrases & compound words including “Franco-Spanish border” (national boundary between France & Spain), Francophile (characterized by excessive fondness of France and all things French (and thus its antonym Francophobe)) and Francophone (French speaking).

Hitler and Franco, photographed at their day-long meeting at Hendaye, on the Franco-Spanish border, 23 October 1940.  Within half a decade, Hitler would kill himself; still ruling Spain, Franco died peacefully in his bed, 35 years later.

Remarkably, the Frango truffles have been a part of two political controversies.  The first was a bit of a conspiracy theory, claiming the sweet treats were originally called “Franco Mints”, the name changed only after the outbreak of the Spanish Civil War (1936-1939) in which the (notionally right-wing and ultimately victorious) Nationalist forces were led by Generalissimo Francisco Franco (1892-1975; Caudillo of Spain 1939-1975) and the explanation was that Marshall Field wanted to avoid adverse publicity.  Some tellings of the tale claim the change was made only after the Generalissimo’s meeting with Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) at Hendaye (on the Franco-Spanish border) on 23 October 1940.  Their discussions concerned Spain's participation in the War against the British but it proved most unsatisfactory for the Germans, the Führer declaring as he left that he'd rather have "three of four teeth pulled out" than have to again spend a day meet with the Caudillo.  Unlike Hitler, Franco was a professional soldier, thought war a hateful business best avoided and, more significantly, had a shrewd understanding of the military potential of the British Empire and the implications for the war of the wealth and industrial might of the United States.  The British were fortunate Franco took the view he did because had he agreed to afford the Wehrmacht (the German armed forces) the requested cooperation to enable them to seize control of Gibraltar, the Royal Navy might have lost control of the Mediterranean, endangering the vital supplies of oil from the Middle East, complicating passage to the Indian Ocean and beyond and transforming the strategic position in the whole hemisphere.  However, in the archives is the patent application form for “Frangos” dated 1 June 1918 and there has never been any evidence to support the notion “Franco” was ever used for the chocolate truffles.

Macy's Dark Mint Frangos.

The other political stoush (a late nineteenth century Antipodean slang meaning a "fight or small-scale brawl) came in 1999 when, after seventy years, production of Frangos was shifted from the famous melting pots on the thirteenth floor of Marshall Field's flagship State Street store to Gertrude Hawk Chocolates in Dunmore, Pennsylvania, the decision taken by the accountants at the Dayton-Hudson Corporation which had assumed control in 1990.  The rationale of this was logical, demand for Frangos having grown far beyond the capacity of the relatively small space in State Street to meet demand but it upset many locals, the populist response led Richard Daley (b 1942; mayor (Democratic Party) of Chicago Illinois 1989-2011), the son of his namesake father (1902–1976; mayor (Democratic Party) of Chicago, Illinois 1955-1976) who in 1968 simultaneously achieved national infamy and national celebrity (one’s politics dictating how one felt) in his handling of the police response to the violence which beset the 1968 Democratic National Convention held that year in the city.  The campaign to have the Frangos made instead by a Chicago-based chocolate house was briefly a thing but was ignored by Dayton-Hudson and predictably, whatever the lingering nostalgia for the melting pots, the pragmatic Mid-Westerners adjusted to the new reality and with much the same with the same enthusiasm were soon buying the imports from Pennsylvania.

Macy's Frango Mint Trios.

Remarkably, there appears to be a “Frango spot market”.  Although the increasing capacity of AI (artificial intelligence) has made the mechanics of “dynamic pricing” (a price responding in real-time to movements in demand), as long ago as the Christmas season in 2014, CBS News ran what they called the “Macy's State Street Store Frango Mint Price Tracker”, finding the truffle’s price was subject to fluctuations as varied over the holiday period as movements in the cost of gas (petrol).  On the evening of Thanksgiving, “early bird” shoppers could buy a 1 lb one-pound box of Frango mint “Meltaways” for US$11.99, the price jumping by the second week in December to US$14.99 although that still represented quite a nominal discount from the RRP (recommended retail price) of US$24.00.  Within days, the same box was again listed at US$11.99 and a survey of advertising from the previous season confirmed that in the weeks immediately after Christmas, the price had fallen to US$9.99.  It may be time for the Chicago Mercantile Exchange (CME) to open a market for Frango Futures (the latest “FF”!).

Shunamitism

Shunamitism (pronounced shunn-ah-might-izm)

The ancient practice of an old man sleeping with, but not necessarily having sex with, a young virgin, either to preserve youth or restore health.

Biblical (1 Kings 1-4): From Shunamite +‎ -ism, after Abishag (אבישג‎ (Avishag) in the Hebrew), a Shunamite woman who served this purpose for King David.  A Shunamite was an inhabitant of the Biblical village of Shunem.  The –ism suffix is ultimately either from the Ancient Greek -ισμός (-ismós), a suffix that forms abstract nouns of action, state, condition, doctrine; from stem of verbs in -ίζειν (-ízein) (whence the English -ize), or from the related suffix Ancient Greek -ισμα (-isma), which more specifically expressed a finished act or thing done.

Still recommended

Shunamitism is the practice of an old man sleeping with, but not necessarily having sex with, a young virgin to preserve his youth.  A legitimate medical theory of the time, the rationale was heat and vitality of the young maiden would revitalize the old man.

The term is based on the Biblical story of King David (1 Kings 1-4) and Abishag, a young woman from Shunem.  The King was very old and could not stay warm so his servants procured the young Abishag to sleep with him; they did not enjoy intimacy but Abishag also provided another footnote in royal history.  After a power-struggle with his brother Adonijah, Solomon was crowned king and when Adonijah asked for Abishag in marriage, Solomon, fearing another attempt to usurp the throne, had him put to death.

As late as the eighteenth century, physicians were still prescribing shunamitism and, in emergency medicine, it remains a recommended method to treat hypothermia when no medical facilities are available, though without mention of the necessity to secure a young virgin.

A work in progress: Rupert Murdoch (b 1931) with wife Jerry Hall (b 1956), Barbados, 2019.

Reports in June 2022 were circulating that Mr & Mrs Murdoch had separated and, after six year of marriage, were to divorce.  A usually reliable source for the details of such matters, the Murdoch tabloids, were as silent as they'd been when last Mr Murdoch sundered a marriage but no denial was issued, this taken as a confirmation by those who read between the lines.  Anything involving Mr Murdoch is an event of note, not least because he probably ranks with Billy Hughes (1862-1952), MacFarlane Burnett (1899-1985) and Germaine Greer (b 1939) as the most influential Australians of the last hundred-odd years.