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.

Climate

Climate (pronounced klahy-mit)

(1) The composite or generally prevailing weather conditions of a region, as temperature, air pressure, humidity, precipitation, sunshine, cloudiness, and winds, throughout the year, averaged over a series of years (decades, centuries or other epochs).

(2) A region or area characterized by a given climate (often as climatic zone or with modifiers such as cold-climate, sub-climate, micro-climate, dry-climate et al).

(3) The prevailing attitudes, standards, or environmental conditions of a group, period, or place (used in politics, sociology, economics etc in the sense of mood, atmosphere, spirit, tone, temper etc).

(4) An area of the earth's surface between two parallels of latitude (obsolete).

(5) A region of the Earth (obsolete).

(6) In contemporary slang, a clipping of “climate change” and frequent verbal (especially oral) shorthand.

1350–1400: From the Middle English climat, from the Old French climat (region, part of the earth), from the Late Latin clīmat- (stem of clīma, from the Ancient Greek κλῐ́νω (klínō) (I slope, incline)), from klīmat- (stem of klī́ma (latitude, slope, region (literally “inclination”), the notion being “slope of the earth from equator to pole”), the construct being klī- (akin to klī́nein (to slope, lean)) + -ma (the noun suffix), ultimately from a suffixed form of the primitive Indo-European root klei- (to lean).  The adjective climatic is sometimes confused with climactic.  Climatic is used of the climate; climactic describe something which forms a climax.  Climate is a noun & verb and climatic, climatical & climatal are adjectives and climatically is an adverb; the noun plural is climates.

The original meaning in the mid-fourteenth century was purely geographic, the sense being horizontal zone of the earth's surface measured by lines parallel to the equator (ie latitude).  From antiquity, geographers and cartographers divided earth into zones determined by the angle of the sun on the slope of the surface and the length of daylight.  Not knowing what lay beyond reported (and not always reliable) observations, these zones varied greatly.  Some calculated variously 24 or 30 climates between Meroe on the upper Nile (in modern-day Sudan) and the mythical Riphaean Mountains which thought to be the Arctic’s boundary, systems in which as one traced the map north, the climate changed at the point where daylight was a half hour longer or shorter (according to season) than the starting point.  Others thought cosmically and listed seven (one for each known planet) or twelve (tied to the signs of the zodiac).

Being a measure of latitude, there was obviously a tendency for the climates to correlate with temperature, something noticed as early as the late-fourteenth century and, being practical rather than abstract, the word came rapidly to be used in the sense of “distinct zones of the earth's surface associated with changes in weather”.  This meaning shift evolved by the early seventeenth century to make climate understood as “combined results of weather associated with a region, the characteristics of a country or region with reference to variation of heat, cold, humidity, rainfall, wind etc.  The figurative use (the collective mental or moral atmosphere of a group or whole society) dates from the 1660s.  The difference between climate and “the weather” is that climate is a summary of the long-term manifestations of weather and other atmospheric conditions (which can be applied to defined zones or globally).  The modern practice is that climate is a statistical summary of a representative period and that’s usually generational (ie 25-30 years) but climate modelers using the geological record and other sources (trees, ice cores etc) can construct longer epochs in centuries (eg the ice ages) or even millions of years, the global climate during the age of the dinosaurs often summed up as “warm & wet”.

Lindsay Lohan pondering climate change.

To acclimatise (or acclimatize) is to acclimate (become accustomed to) one’s self to the weather conditions prevalent where one find’s one’s self, a term used also figuratively in the sense of adjusting tastes or expectations to different cultures.  The use of modifiers is common and can be meteorological (warm-climate, dry-climate, chilly climate, temperate-climate etc) or figurative (hostile climate, sceptical climate etc).  In the age of climate-concern, there’s been a growth of such use including climate canary, climate control, climate denial, climate denier, climate despair, climate emergency, climate finance, climate doom, climate system, climate-speak and, of course, climate change.  Indeed, the very phrase “climate change” is a construct which has come widely to be used because it references easily understood consequences rather than some abstract process.  The possible climatic implications of man-made atmospheric CO₂ emissions was discussed as early as 1896 by Swedish chemist & Nobel laureate Svante Arrhenius (1859-1927) in a paper called On the Influence of Carbonic Acid in the Air upon the Temperature of the Ground, his conclusion being that the burning of fossil fuels could lead to increased concentrations of carbon dioxide in the atmosphere, leading a global increase in average temperatures.  In the scientific community, his ideas for decades remained controversial and in the wider community, barely noted and it wasn’t until the 1950s when researchers, taking advantage of new techniques made possible by the vastly increased quantity of data which became available because of wartime advances and a vast expansion of meteorological and atmospheric measuring, began serious study of the study the potential impact of human activities on the Earth's climate.

Between the 1970s and the early twenty-first century, a consensus built in mainstream science that human activities (especially the burning of fossil fuels), were contributing to global warming and other climatic changes.  The early phrase popular in the discussion, at that stage conducted mostly among scientists and environmentalists (although the fossil fuel industry quickly mounted counter campaigns, both in public relations activities and the traditional buying-off of politicians) was the “greenhouse effect” but greenhouses, associated with positive things like grapes & tomatoes didn’t have the desired worrying effect so the terminology in the 1990s shifted to the consequences.  “Global warming” replaced “greenhouse effect” in consciousness-raising but it proved vulnerable to attacks from industry which claimed every unseasonal cold-spell disproved the thesis, thus the use of “climate change”.  That has proved resistant to challenge and even in the West the matter is now being taken seriously, as the consequences of climate change begin to affect to rich nations of the global north, destructive heat, fires, hurricanes, floods and tropical diseases no longer ignored as largely they were when those who suffered were mostly Africans, Arabs, Asians and animals.

Psychiatrists & psychologists find the distinction between climate and weather a helpful metaphor when explaining personality.  The term personality denotes the enduring pattern of a patient’s life and can thus be thought their individual climate.  The weather which produces that climate can be good (happy events, a successful marriage, a fulfilling career), bad (a dull job, habitually sore feet) or severe (cancer, divorce) and in some cases a patient’s reaction to these event can result is what is diagnosed as a personality disorder (PD).  In the West, psychiatry is thought one of medicine’s more recent disciplines and in some structural senses that’s probably true but the understanding of the human personality is ancient.  Writing in 45 BC, the Roman statesman & scholar Cicero (106-43 BC) observed that in men existed “…all kinds of depravity and perversity” and that “There are more disorders of the mind than of the body and they are of a more dangerous nature for the mind, when disordered… can neither bear nor endure anything and is under the perpetual influence of desires”.  Cicero went further, noting the depravities of men were deep seated and either caused or exacerbated by environment in which men lived and what afflicted one could also poison the whole for when an entire society “declare unanimously for what is wrong, then we are altogether overwhelmed”.  PD writ large: Each individual an element of the weather and the body politic the climate.

La Mort de Cicéron (The Death of Cicero (circa 1635), oil on canvas by François Perrier (1590–1650), Bad Homburg, Staatliche.

Within two years of writing those words Cicero would be dead and the circumstances of his execution would provide probably several case studies in PD but he had few reasons to complain; he may have lived by the pen but he ruled by the sword, for centuries remembered fondly by scholars of Antiquity and, perhaps less helpfully for his reputation, of late by Ted Cruz (b 1970; US senator (Republican, Texas) since 2013).  Knowledge of PD then was not novel when in 1980 when first it appeared in the third edition (DSM-III) of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders, organized on a categorical basis with patients classified into one of several distinct personality disorder types.  This system was revised in the DSM-IV (1994) and again in the DSM-5 (2013), the latter adopting a hybrid categorical-dimensional approach to PD, a condition it notes affects at least two of a patient’s (1) way of thinking about oneself and others, (2) way of responding emotionally, (3) way of relating to other people and (4) way of controlling one’s behavior.  In the DSM-5-TR (2022), the types of PD are listed as:

Antisocial personality disorder: A pattern of disregarding or violating the rights of others.  A person with antisocial personality disorder may not conform to social norms, may repeatedly lie or deceive others, or may act impulsively.

Avoidant personality disorder: A pattern of extreme shyness, feelings of inadequacy, and extreme sensitivity to criticism.  Patients with avoidant personality disorder may be unwilling to get involved with others unless they are certain of being liked, be preoccupied with being criticized or rejected, or may view themselves as not being good enough or socially inept.

Borderline personality disorder: A pattern of instability in personal relationships, intense emotions, poor self-image and impulsivity.  A patient with borderline personality disorder may go to great lengths to avoid being abandoned, have repeated suicide attempts, display inappropriate intense anger, or have ongoing feelings of emptiness.

Dependent personality disorder: A pattern of needing to be taken care of and submissive (clingy the modern term) behavior.  Patients with dependent personality disorder may have difficulty making daily decisions without reassurance from others or may feel uncomfortable or helpless when alone because of fear of inability to take care of themselves.

Histrionic personality disorder: A pattern of excessive emotion and attention-seeking. Patients with HPD may be uncomfortable when they are not the center of attention and may use physical appearance to draw attention to themselves or have rapidly shifting or exaggerated emotions.

Narcissistic personality disorder: A pattern of need for admiration and lack of empathy for others.  A patient with NPD may have a grandiose sense of self-importance, a sense of entitlement, take advantage of others or lack empathy.

Obsessive-compulsive personality disorder: A pattern of preoccupation with orderliness, perfection and control.  A patient with OCPD (distinct from Obsessive-compulsive disorder (OCD)) may be overly focused on details or schedules, may work excessively, not allowing time for leisure or friends, or may be inflexible in their morality and values.

Paranoid personality disorder: A pattern of being suspicious of others and seeing them as mean or spiteful.  Patients with paranoid personality disorder often assume people will harm or deceive them and refuse to confide in others or become close to them.

Schizoid personality disorder: Being detached from social relationships and expressing little emotion.  A patient with schizoid personality disorder typically does not seek close relationships, chooses to be alone and appears to care little about praise or criticism from others.

Schizotypal personality disorder: A pattern of being very uncomfortable in close relationships, having distorted thinking and eccentric behavior. A patient with schizotypal personality disorder may have odd beliefs or odd or peculiar behavior or speech or may have excessive social anxiety.

Tumblehome

Tumblehome (pronounced tuhm-buhl-hohm)

(1) In naval architecture, an inward and upward slope of the middle body of a vessel; of the sides of a ship: To incline or slope inwards, to contract above the point of extreme breadth.

(2) A conceptually similar shape applied, in reverse, to the upper body of an automobile.

1828: A compound word, tumble + home.  Tumble was from the Middle English tumblen (to fall over and over again, tumble), frequentative of the Middle English tumben (to fall, leap, dance), from the Old English tumbian, from the Proto-Germanic tūmōną (to turn, rotate).  It was cognate with the Middle Dutch tumelen and the Middle Low German tumelen & tummelen.  Home was from the Middle English home, hom, hoom & ham, from the Old English hām (village, hamlet, manor, estate, home, dwelling, house, region, country), from the Proto-West Germanic haim, from the Proto-Germanic haimaz (home, village), from the Proto-Indo-European tḱóymos (village, home), from the root tḱey-.  The (rare and probably extinct) alternative spelling is tumble home.  Tumblehome is a noun; the noun plural is tumblehomes.

The meaning of the word tumblehome has been well understood from its first appearance in the early nineteenth century but the origin has never been obvious.  Shipbuilders had for centuries been using variations of the design for a number of reasons but the first known instance of the word dates only from 1828 and then without explanation, suggesting the term may already have been in common use, at least within the industry.  An 1848 reference from a shipwright does however hint at some sense of novelty, noting “… the upper works usually incline towards the middle line, or as it is termed “tumble home”.  The word “tumble” to refer to the sides of ships appears to have been used at least as early as 1687 but the compound tumblehome seems not to have emerged for another hundred and fifty-odd years.  The idea always summoned was of the imagery of the sides of a ship “tumbling down” the slope created but why “home” was added remains a mystery, the assumption being it was based either on (1) an association with certain domestic architectural styles of the time (2) the romantic notion of the sea, to which the tumblehome falls, being "home" for sailors or  (3) the idea of a dilapidated house in the throes of "tumbling down", fallen bits an pieces accumulating at the bottom.

Big ships and fast cars

In automotive design (upper), the term is applied when the width of the cabin (cockpit or glasshouse) reduces as the height rises.  Although curved glass in the side windows of cars began widely to be adopted in the mid-1960s, thus creating a mild tumblehome effect, the term is applied only when it is sufficiently severe to be apparent to casual viewers.

In naval architecture (lower), the geometry is reversed, a tumblehome define as a hull which flares out as the sides approach the waterline.  Although in some vessels, the effect is barely detectable by the naked eye, it’s a technical term and applies to all hulls which dimensionally qualify.  The opposite, the classic shape for ships’ hull, is called the flare.

USS Brooklyn, 1896.

Tumblehome, unless taken to extremes, was functional in that it improved stability in warships under sail; sailing ships heel (they tend to lean over when moving) and tumblehome reduced this.  At the time, the biggest contributor to a warship’s mass on the upper decks was the guns and a tumblehome design, moving the centre of gravity lower, allowed armament to be maintained or even increased without further loss of stability.  Additionally, there was the benefit of making it harder for boarding parties to climb aboard.  In commercial shipping, vessels were long taxed on the basis of the square footage of a ship’s deck and fat ships with a pronounced tumble carrying the same freight but taxed less, were attractive.  Government fiscal policy thus influenced and distorted design and engineering principles in the same way tax arrangements of windows affected architecture and those on cylinder bores (adversely) affected engine design.

Lamborghini LP500 Countach prototype, 1971.

The Countach had one of the most extreme implementations, the angle meaning it was possible for only part of the side-window to be lowered but at least the Italians were more thoughtful than the Germans; in 1954, facing a similar challenge with the side-glass on the 300 SL (W198 1954-1957) gullwing, Mercedes-Benz simply fixed the panes, ventilation provided only by small quarterlights.  Neither flow-through ventilation or air-conditioning was available so driving in a gullwing could be hot and sticky experience and there's a reason they're sometimes seen being driven (at low speeds and not on public roads) with at least one door open. .  The tumblehome is used by high-performance cars because of the aerodynamic advantages it confers, reducing frontal area an allowing the curve of the greenhouse to be optimized for air-flow, lowering resistance.  Because of great advances made during the late twentieth century, refinements to tumblehomes no longer deliver the 3-5% improvements in a drag coefficient (CD) which once was possible, engineers now pursuing factional gains.  The origins in cars however lay in the quest for more interior space and for mass-market vehicles, bulging out the sides gained the odd vital inch and the technique, combined with curved side glass, has become almost universal although there has been the odd deviation.  Stylists are predicting tumblehomes are likely to become more exaggerated as sides need to be bulkier to meet more rigorous side-impact regulations and roof-lines are lowered slightly in the quest to reduce drag.

Lindsay Lohan in tumblehome blonde wig.

What professional hair stylists call “the tumblehome” is a triangulated shaping which is most cases can’t be achieved without an expert application of product and when sported by models on photo-shoots, it’s common for the angles and an illusion of volume to be achieved with engineering no more complex than a sheet of cardboard (cut to suit) being attached with hairclips to the back of the head.  The look can however be achieved with synthetics which can be persuaded sustainably to behave in a way human hair naturally resists and Lady Gaga (b 1986) made a tumblehome wig a signature feature of her “Fame Monster” period (2009-2010).  With natural hair, a tumblehome with hair a little shorter than that of Lady Gaga’s wig is sometimes technically achievable given the right hair and a generous use of product the sideways projection would be noticeably less.

Lady gaga in Fame Monster mode.

The tumblehome style with the exaggerated elongations al la Gaga is rarely seen and usually represents a lot of work.  However, many take about as much effort to avoid the similar geometry of the “pyramid head”: a triangular shape with a flat crown area which flares to a wide bushy shape at the ends.  A function of length and weight for those with curly hair, pyramids happen usually when the strands are of almost uniform length and the curls tend to “stack”, the weight meaning the roots sit flattest on the scalp while towards the ends where the effective volume (hair + space) is greatest, the curled strands move sideways, unlike the behavior of straight hair which is purely downwards.

Lindsay Lohan with pyramid head, Saturday Night Live, 2004.

Stylists recommend layers as the best tactic to minimize the triangulation, the strategy essentially to create longer, diagonal layers to frame the face, meaning the remaining curls “sit into each other”.  What this does is simply physics, the layering on the surface reducing the weight, increasing the percentage of the volume on the crown area and although some are resistant, the best results will probably be achieved if the hair is cut dry because it will be presented at its natural weight.  When wet, the moisture content will disguise the extent of the left-right movement and exaggerate the up-down.  The shorter the layers of course the more effective the amelioration but this can be too radical for some so clients need to be turned into realists.

Slant

Slant (pronounced slant or slahnt)

(1) A surface, structure, line etc at a slope or in an oblique direction.

(2) In (US) football, an offensive play in which the ball-carrier runs toward the line of scrimmage at an angle (known also as the “slant-in”, a pass pattern in which a receiver cuts diagonally across the middle of the field).

(3) In prosody, as “slant rhyme”, a synonym for the “half rhyme”, “near rhyme” & “quasi-rhyme” (a form of imperfect rhyme in which the final (coda) consonants of stressed syllables (and, in modern English poetry, any following syllables to the end of the words) are identical in sound, but the vowels of the stressed syllables are not.

(4) In typography, a synonym of slash ( / ⟩, particularly in its use to set off pronunciations from other text (not used in IT where the distinctions are between the forward-slash (/) and the back-slash (\) which nerds call respectively the slash and the slosh.

(5) In biology, a sloping surface in a culture medium.

(6) In hydro-carbon extraction, as “slant drilling”, a technique in which the drilling is undertaken at an oblique angle rather than the traditional vertical orientation.

(7) In extractive mining, as type of run in which a heading is driven diagonally between the dip and strike of a coal seam.

(8) In informal use, a glance or look.

(9) To veer or angle away from a given level or line, especially from a horizontal; slope (in to incline, to lean).

(10) Figuratively, to have or be influenced by a subjective point of view, bias, personal feeling or inclination etc (often as “slant towards”, “slanted view” etc); a mental leaning, bias, or distortion (“feminist slant”, “MAGA slant”, “liberal slant”, “business slant” et al).

(11) To cause to slope.

(12) Figuratively, to distort information by rendering it unfaithfully or incompletely, especially in order to reflect a particular viewpoint (more generously sometimes described as “spin” or “massaged”).  The concept is known also as “angle journalism” (the particular mood or vein in which something is written, edited, or published).  In Scots English, the meaning “to lie or exaggerate” captures the flavor.  When used to describe the composing, editing, or publishing of something to attract the interest of a specific sub-group (a “slanted” story), “slanted towards” is necessarily pejorative if used only to suggest something optimized to appeal to a certain market segment or demographic (ie it’s more like “aimed at” or “intended for”).

(13) In slang, as “slant eye” (a racial slur now listed as disparaging & offensive), a reference to people from the Far East (applied historically mostly to the Chinese & Japanese), based on the shape of the eyes.  The variants included “slit eye”, “slitty-eyed” & “slopehead”, all equally offensive and now proscribed.

(14) In painting (art) a pan with a sloped bottom used for holding paintbrushes; a depression on a palette with a sloping bottom for holding and mixing watercolors; a palette or similar container with slants or sloping depressions.

(15) In US regional slang, a sarcastic remark; shade, an indirect mocking insult (archaic).

(16) In US slang, an opportunity, particularly to go somewhere (now rare).

(17) In historic Australian colonial slang, a crime committed for the purpose of being apprehended and transported to a major settlement.

Circa 1480s: From the Middle English –slonte or -slonte, both aphetic (in phonetics, linguistics & prosody, “of, relating to, or formed by aphesis” (the loss of the initial unstressed vowel of a word)) variants of aslant, thought to be of Scandinavian origin.  The other influence was probably the earlier dialectical slent, from the Old Norse or another North Germanic source and cognate with the Old Norse slent, the Swedish slinta (to slip) and the Norwegian slenta (to fall on the side), from the Proto-Germanic slintaną (which, in turn, was probably in some way linked with aslant.  Slant & slanting are nouns, verbs & adjectives, slanted is a verb & adjective, slantish is an adjective, slantwise is an adjective & adverb and slantingly & slantly are adverbs; the noun plural is slants.  The pleasing adjective slantendicular is listed by some as non-standard and presumably is proscribed in geometry and mathematics because it's an oxymoron; it’s a portmanteau word, the construct being slant + (perp)endicular.  It may be useful however in commerce or engineering where it might be used to describe something like a tool with a shaft which at some point assumes an oblique or skewed angle.   So it’s there to be used and slantindicular should be applied to stuff which is neither wholly nor fully slanted and in architecture, such structures are numerous.  In commerce, it could be used as a noun.

The noun slant by the 1650s was used to mean “an oblique direction or plane” and began in geography & civil engineering (of landforms, notably ski-slopes), developed from the verb or its adjective.  The now familiar (in the Fox News sense) meaning “way of regarding something, a mental bias” dates from 1905 while the derogatory slang sense of “a person of Asian appearance” came into use some time in the 1940s, a direct descendent from the earlier "slant-eyes", documented since 1929.  The verb slant is documented since the 1520s in the sense of “obliquely to strike (against something)”, an alteration the late thirteenth century slenten (slip sideways), the origin of which is murky but etymologists have concluded it came (via a Scandinavian source (noting the Swedish slinta (to slip)) and the Norwegian slenta (to fall on one side), from the Proto-Germanic slintanan.  The intransitive sense of “to slope, to lie obliquely” was in use by the 1690s, while the transitive sense of “to give a sloping direction to” had emerged by the early nineteenth century.  As early as the late fifteenth century forms were in use as an adverb, the adjectival use attested from the 1610s.  The technical use in literary theory as “poetic slant rhyme” was first used in the mid 1920s (assonance or consonance) although such lines had appeared for centuries, used sometimes deliberately as a device, sometimes not.  In the following stanza by English poet Peter Redgrove (The Archaeologist, published in Dr Faust's Sea-Spiral Spirit (1972)), the second and third lines contain a form of slant rhyme while the first and fourth have pure rhymes:

So I take one of those thin plates
And fit it to a knuckled other,
Carefully, for it trembles on the edge of powder,
Restore the jaw and find the fangs their mates.

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While it’s unlikely volumes of the poetry of Emily Dickinson (1830–1886) sit upon the bookshelves of those members of the Fox News audience who have bookshelves, they likely would concur with her words: “Tell the truth but tell it slant.”  “Slanted reporting” has become something which in recent years has attracted much attention (and much hand-wringing by the usual suspects) as an increasingly polarization of positions has been alleged to be a feature of political discourse in the West.  There is little doubt the effect (as reported) is obvious but there’s some debate about both the mechanics and the implications of the phenomenon.  As long ago as 2018, a study found that although the tenor and volume of things on X (formerly known as Twitter) was found to be increasingly toxic and surging, the number of active users engaged in these political polemics was found to be tiny and their effect was distorted by (1) the huge number of tweets they tended to post, (2) the propensity of their fellow-travelers to re-tweet and (3) the use of bots which were more prolific still.  If anything, recent voting patterns suggest it would seem the views of the general population appear to be trending away from the extremes towards the more centralist positions offered by independents or small-parties, something most obvious in Australia where compulsory voting exists.  Outfits like Fox News offer a slanted take on just about everything (and promote country & western music which truly is inexcusable) but this is something which has been identifiable in the news media as long as it’s existed and their blatant bias is hardly subversive or threatening, simply because it is so blatant.  What was most interesting in what emerged from the recent defamation suit filed by Dominion Voting Systems against Fox News suggested the network’s stance on things was motivated more by the financial imperative than ideological purity.  Intriguingly, what some analysts concluded was that if the universe shifted and the Fox News audience transformed into a bunch of seed-eating hippies, there would follow Fox’s editorial position, the slant being towards the advertising revenue rather than a particular world view.  Of course, there are some slants which are unalterable and dictated by ideological purity but with commercial media, it’s likely sometimes cause is confused with effect.

The Leaning Tower of Pisa (left) and Lindsay Lohan in The Parent Trap (1998) in front of London’s perpendicular Big Ben (1859) (right).  The architect’s original name for the latter was a typically succinct “Clock Tower”, chosen because it housed the “Great Bell of the Great Clock of Westminster” but it was in 2012 renamed “Elizabeth Tower”, marking the Diamond Jubilee of Elizabeth II (1926-2022; Queen of the UK and other places, 1952-2022), something little noted by Londoners or those beyond who continue to prefer the nickname “Big Ben” although strictly speaking that’s a reference only to the “Great Bell” a 13.5 ton (13.7 tonne) casting in bell metal (a bronze which is an alloy of about 77% copper & 23% tin).  The origin of the nickname is contested but there are no romantic tales, all the possible inspirations being worthy white men as was the Victorian way.

Although in Italy alone there are seven leaning towers (three of which stand (ie lean) in Venice), it’s the torre di Pisa (Tower of Pisa) which is by far the best-known and a frequent Instagram prop.  Built between 1173-1372, the structure in the Piazza del Duomo (Pisa’s Cathedral Square) is the campanile (the freestanding bell tower) of the adjacent Pisa Cathedral and the famous lean of some 4^o (actually somewhat less than its greatest extent after more than a century of compensating engineering works) was apparent even during construction, the cause the softness of the sub-surface.  That geological feature has however contributed to the tower’s survival, the “rubber-like” sponginess below acting to absorb movement and despite a number of severe earthquakes in the region over the centuries, the tower remains.  It is of course known as the leaning tower than a sloping, oblique or slanted tower, probably because of the conventions of use which evolved in English.

The words “sloping”, “oblique”, “slanted”, & “leaning” all describe something not vertical or horizontal there tend to be nuances which dictate the choice of which to use.  Sloping generally is used of something which inclines or declines at a gentle or continuous angle, the implication being of a gradual or smooth transition from elevation to another, such as the way a hillside rises gradually rises to its summit.  Oblique is mostly a matter of specific angles and is thus common is mathematics, geometry and engineering.  Again, it’s a reference to something neither parallel nor perpendicular to a baseline but it tends to be restricted to something which can be defined with an exact measurement; in geometric or technical use, an oblique line or angle is one neither 90^o nor perfectly horizontal.  Slanted describes something positioned at a diagonal, often used to imply a more noticeable or sharp angle but also is widely used figuratively, metaphorically and in idiomatic phrases.  Leaning refers to something tilted or positioned at an angle due to external pressure, the object in an unstable position and in need of support.  The implication carried is that something which “slants” is designed thus to do while something which “leans” does so because of some design flaw or unexpected external force being applied so it’s the leaning and not the sloping tower of Pisa, even though the structure has assumed quite a slope.

Slanting Engines

On a slant: Diagram of the mounting of the M194 straight-six engine in the Le Mans winning Mercedes-Benz 300 SL (W194) canted at a 40^o slant (left); the Mercedes-Benz M196 straight-eight engine schematic (centre) and installed in a 1954 W196R "Streamliner" at a 53^o slant (right).  The two large donut-like objects at the front are the inboard, finned brake drums; at the time, the engineers maintained disk brakes were "not yet ready for use". 

There are “slant” engines and they exist in three configurations.  The first is simply a conventional in-line engine (straight-six, straight-eight etc) which, when installed in a vehicle, is fitted with the block canted to the left or right, the objective being a lower hood line which means a better aerodynamic outcome.  A classic example was the Mercedes-Benz W196R Formula One racing car (1954-1955) in which the straight-eight was canted to the right at a 53^o angle, the technique carried over when the same structure was used to produce the W196S (1955) used to contest the World Sports Car Championship.  Rather opportunistically, the W196S was dubbed the 300 SLR (one of which in 2022 became the world's most expensive used car, selling at a private auction for US$142 million) as a form of cross promotion with the 300 SL (W198, 1954-1956) Gullwing then in production, even though the two types shared little more than nuts, bolts and a resemblance.  The 300 SL did however also have its straight-six engine sitting at a slant, this time canted at a 50^o angle and although the factory never published an estimate of the reduction in drag, it’s long been presumed to be “at least several percent”.  Another advantage of the configuration was it made possible the use of “long-tube” runners for the induction system, taking advantage of the properties of fluid dynamics to permit them to be tuned either for mid-range torque or top-end power.  The concept used math which had been worked out in the nineteenth century and had often been used in competition but it wasn’t until 1959 when Chrysler in the US released their picturesque induction castings that the system, imaginatively named the “Sonoramic”, reached a wider audience.

Chrysler Slant Six (170 cid, 1963) schematic.

The “true” slant engines were those with a slanted block atop an otherwise conventional arrangement of components, the best known of which was Chrysler’s long-serving “Slant Six”, produced in displacements of 170 cubic inch (2.8 litre, 1959-1969), 198 cubic inch (3.2 litre, 1970-1974) and 225 cubic inch (3.7 litre, 1960-2000).  The block of the Slant Six was canted to the right at a 30^o and like Mercedes-Benz, Chrysler took advantage of the space created to the left to produce some wide induction runners, the most extravagant those used by the special Hyper Pack option package which used a four barrel carburetor, enabling the engine to produce power which made it competitive with many V8 powered machines.  Although the name “Slant Six” became famous, it was only in the mid-sixties it caught on, Plymouth originally calling the thing a 30-D (a reference to the a 30^o slant), hardly very catchy and something to which only engineers would relate and Slant Six was soon preferred although the aficionados really like “tower of power” and the engine even today still has a devoted following.

Chrysler Slant Six with Hyper Pak in 1962 Plymouth Valiant V-200.

Chrysler didn’t restrict the Sonoramics to the big-block V8s, using it also on the short-lived (1960-1962) Hyper Pak performance option for the both 170 cubic inch (2.8 litre, 1959-1969) and 225 cubic inch (3.7 litre, 1987-2000) versions of the Slant Six, the engineers taking advantage of the space afforded by the canted block to permit the curvaceous intake runners nearly to fill the engine bay.  The Hyper Pak wasn't seen in showrooms but was available as an over-the-counter kit (literally a cardboard box containing all necessary parts) from Dodge & Plymouth spare parts departments and its life was limited because it became a victim of its own success.  Although less suitable for street use because it turned the mild-mannered straight-six into something at its best at full throttle, in the race events for which it was eligible it proved unbeatable, dominating the competition for two years, compelling the sanctioning body cancel the series.

Manifold porn: The Slant Six's angle meant there was much space available to the left and a range of intake manifolds followed, some of which remain available to this day.  Using variations of the sonoramic tuning, manifolds were produced for single, two & four barrel carburetors and between 1965-1968, Chrysler's Argentine operation produced the Slant Six in a version with twin single barrel carburetors.  The use of the properties of fluid dynamics to gain power or torque as desired quickly was adopted by the industry as an engineering orthodoxy.

Some myths seem to have become attached to the Hyper-Pak.  What seems to be true is the original kit, sold in 1960 for the 170 engines used in competition, was a genuine homologation exercise and as well as the intake manifold & Carter AFB four barrel carburetor, it included all the internal parts such as the high-compression pistons, the high-lift camshaft and the valve train components needed to support the consequently higher engine speeds.  Because the competition rules allowed modifications to the exhaust system, on the track the cars ran tubular steel headers which fed an open exhaust, terminating in the racers' preferred “dump pipe”.  After the requisite number of “complete” kits were sold, thus fulfilling the homologation demands, the kits were reconfigured and included only the “bolt-on” parts such as the induction system and a camshaft which, while more aggressive than the standard unit, wasn’t as radical as the one used on the track but could be used in conjunction with the standard valve train and Chrysler’s TorqueFlite automatic, thus expanding the Hyper-Pak’s appeal.

At the same time, the availability was extended to the larger 225 which between 1961-1963 was also available with an aluminum block, thus becoming one of the small number of engines configured with the combination of an aluminum block with a cast-iron head.  US manufacturers were at the time aware the trend was for cars to continue getting bigger so they were interested in ways to reduce weight.  However, despite saving some 70 lbs (32 KG), Chrysler’s aluminum block was, like General Motors’ (GM) 215 cubic inch (3.5 litre) V8, short-lived (though the V8 after being sold to Rover enjoyed a long, lucrative and prolific second life, not finally laid to rest until 2006) for not only were teething troubles encountered with the still novel method of construction, the accountants made clear using cast iron was always going to be cheaper so the industry just accepted weight gain and whenever required, increased displacement to compensate, an approach which persisted until the first oil shock of the early 1970s.

1970 Dodge Challenger (1970-1974) with 225 Slant Six.

Until 1973, both the Challenger & the corporation's companion pony car (the Plymouth Barracuda (1964-1974)) was available with the Slant Six (198 & 225) although the fitment rate was under 10%, unlike the early pony cars (Ford Mustang, Chevrolet Camaro and the early Barracudas) where the six-cylinder versions would at times be close to 40% of production.  Many of the surviving Slant Six Challengers & Barracudas have been "re-purposed" as clones of the more desirable versions with big-block V8s.

Although it was the longer lived 225 version which gained the Slant Six its stellar reputation for durability and the ease with which additional power could be extracted, there's always been a following for the short-stroke 170 because of its European-like willingness to rev, the characteristics of the over-square engine (unique among the slant-six's three displacements (170-198-225)) unusually lively for a US straight-six.  Despite some aspects of the specification being modest (there were only four main bearings although they were the beefy units used in the 426 cubic inch Street Hemi V8), for much of its life it used a tough forged steel crankshaft and high-speed tolerant solid valve lifters; it proved a was a famously robust engine and one remarkably tolerant of neglect.  Despite that, after the Hyper Pak affair, Chrysler in the US showed little interest in any performance potential, knowing the US preference for V8s, something which doomed also Pontiac's short-lived single overhead camshaft (SOHC) straight-six (1966-1969).  A version of the 225 with a two-barrel carburetor (rated at 160 horsepower, an increase of 15 over the standard unit) was offered in some non-North American markets where V8 sales were not dominant and it proved very popular in South Africa, Australia, New Zealand and Central & South America but only when tighter US emission regulations forced its adoption did a 225 with a two barrel carburetor appear in the home market though there it was installed to restore the power losses suffered after the emission control plumbing was added rather than seek gains.

Pontiac Trophy 4 cutaway.

Making a straight-eight or V8 by combining two in-line fours has been done a few times and many have been successful (although Triumph managed to create a truly horrid one for the otherwise lovely Stag).  Less common is making a four from an eight but that’s what Pontiac did when they conjured their 194.5 cubic inch (3.2 litre) four by using one bank of their 389 cubic inch (6.4 litre) Trophy V8 and it was (just about) literally cut in half, meaning the cylinders were canted to the right by 45^o (the V8 obviously in a conventional 90^o configuration.  To emphasize the family connection with the highly regarded Pontiac Trophy V8, the smaller offspring was called the Trophy 4 (although it was at time also dubbed the Indy 4 or Indianapolis 4 which even at the time sounded ambitious).  It did work and the economic advantages for the manufacturer (use of common components and the same assembly line) were compelling but the limitations inherent in a four-cylinder of such a large displacement were apparent in the rough-running and wear on critical parts and it was available only between 1961-1963, only in the compact Tempest.

Diagram showing balance shaft locations.

Large displacement four cylinder engines have been built.  Fiat in 1910 built two of their S76s to contest the world LSR (land speed record) and they were an hefty 28.4 litres (1730 cubic inch), the “Beast of Turin” using its then impressive 290 horsepower (216 kW) to attain a one-way speed of 132.27 mph (213 km/h) but, because it was not possible for the team to make the “return run” (ie in the opposite direction) within the stipulated one hour, the LSR remained with the Blitzen Benz which in 1909 had set a mark of 125.94 mph (202.65 km/h).  On land, never again would anyone build a four with the capacity to match the Beasts of Turin but units with displacements approaching 5.0 litres (305 cubic inch) were not uncommon during the inter-war years.  However, the technology of the internal combustion engine (ICE) greatly advanced during World War II (1939-1945) and one consequence of that was engine speeds rose and less displacement was required for a specific output, both factors which conspired to make the big fours unfashionable.  They did however make a comeback in the 1970s when the clever trick of “balance shafts” enabled the inherently chronic second order harmonic vibrations to be “dampened out” and Porsche between 1991-1995 produced a 3.0 litre (183 cubic inch) range which used the technique.  The balance shaft was invented early in the twentieth century by English engineer Frederick Lanchester (1868–1946) but it was Mitsubishi which in the 1970s patented their “Silent Shaft” system and although Porsche developed their own version, they worked out the Japanese design was superior so used that instead, paying Mitsubishi a small royalty (under US$10) for each one installed.  A balance shaft uses two counterweights (looking something like small hockey pucks with the shaft running through them), set some 1½ inches (40 mm) apart and turns at twice the engine-speed.  With one shaft mounted high on one side of the engine and the other low on the opposite side, the pair counter-rotates, balancing the large reciprocating mass.