Supine

Supine (pronounced soo-pahyn)

(1) Lying on the back, face or front upward.

(2) Inactive, passive, or inert, especially from indolence or indifference; displaying no interest or animation; lethargic, apathetic or passive towards something.

(3) Being reluctant to take action due to indifference or moral weakness

(4) Inclining or leaning backward; inclined, sloping (now probably obsolete except for poetic or historic use).

(5) Of the hand, forearm or foot, turned facing toward the body or upward: with the thumb outward (palm up), or with the big toe raised relative to the little toe.

(6) A technical rule in Latin; a noun form derived from verbs, appearing only in the accusative and the dative-ablative.  Often used to express purpose with verbs of motion

(7) A technical rule in English; the simple infinitive of a verb preceded by to.

(8) A descriptor (in English) for an analogous form in some other language.

(9) Inclining or leaning backward; inclined, sloping (now rare and used only as a literary or poetic device).

1490-1500: From the Latin supīnus (bent backwards, thrown backwards, lying on the back (and figuratively "inactive, indolent"), ultimately from the primitive Indo-European sup & up.  It was cognate with the Catalan supí, the Italian supino (on one's back), the Old French sovin, the Middle French souvin, supin & supin, the Anglo-Norman supin (which persists in modern French as supin), the Old Occitan sobin & sopin, the Portuguese supino and the Spanish supino.  The verb supinate dates from 1831 in the sense of "to place the hand so that the palm is turned upward" and was from the Latin supinatus, past participle of supinare (to bend back) and related to supinus (the related forms being supinated, supinating & supinators.  The adjective was from the Latin supīnus, the construct being sup- (in the sense of “under”) + -īnus (of or pertaining to).  The noun came later, from the Late Middle English supin (as in “supine of a Latin verb”) or the Middle French supin ((grammar) supine) all from the Latin supīnum (short for supīnum verbum (supine verb)) from supīnus.  It partially displaced the Old English upweard (upward, supine), from which Modern English gained "upward".  The now rarely used sense of "morally or mentally inert, negligent, listless, heedless" was in use in English by the early seventeenth century and the noun supinity is used in this context.  Supine is a noun & adjective, supination, supinator, supinity & supineness are nouns, supinate is a verb, supinated is a verb & adjective and supinely is an adverb; the noun plural is supines.

Lindsay Lohan supine from a photo-shoot by Terry Richardson (b 1965) for Love Magazine (2012).

The technical rule in Latin grammar: "the verbal noun formed from the past participle stem" is from the Late Latin supinum verbum (supine verb), the origin of which is undocumented but thought so called because, though furnished with a noun case ending, it "falls back" on the verb.  In Latin grammar, supine is best thought of as a practice rather than a rule and it’s observed rather than understood or applied.  The verbal noun is used in only a few syntactic constructions and occurs in only two cases, an accusative in -tum or -sum and an ablative in -tū or –sū although the accusative form is sometimes listed by scholars as the fourth principal part of the Latin verb, a fine distinction only they understand.

Although there was a war going on, the misuse of "supine" and "prone" (by fellow  physicians!) so disturbed Dr Edwin H Shepard MD of Syracuse, NY he wrote a letter to the editor of the Journal of the American Medical Association (JAMA) which was published in the edition of 27 May 1944.  Eighty years on, Very Well Health advises doctors the trick to remember the difference between supine and prone is: "supine contains the word "up", reminding you you are face up in this position while prone contains the word "on" which you can use to remember you are lying on your face or stomach."

So, strictly speaking, "supine" means lying face upwards while the words for lying face downwards are "prostrate" or "prone" but these have long been used loosely (probably increasingly so) for lying flat in any position.  Thus, the antonym correctly is "nonsupine" (or "non-supine") but "prone" is sometimes used, doubtlessly leaving many baffled, including, clearly, some physicians.  The synonym resupine is rare and may be functionally extinct.

Theodolite

Theodolite (pronounced thee-od-l-ahyt)

(1) In surveying, a precision instrument having a telescopic sight for establishing horizontal and sometimes vertical angles; usually called a transit in US & Canada.

(2) As phototheodolite, an instrument consisting of a theodolite mounted on a camera which can take at each of several stations of known position and elevation (as determined by transit survey) a series of photographs used in terrestrial photogrammetry.

1571: From the New Latin theodolitus the origin of which is contested.  It was probably coined either from the Arabic al-idhâda (a sort of rule) or the Ancient Greek theā (a viewing) plus a second element of unknown origin which may have been invented.  The North American use of” transit” rather than theodolite is historic.  During the nineteenth century, Americans preferred the surveyor’s compass and, later, the surveyor’s transit, which were cheaper and more robust and, despite technical progress, the name stuck.

Many have attempted to trace the etymology of theodolite but no satisfactory explanation has been found.  The first use was in a book by English mathematician and surveyor Leonard Digges called Geometrical practical treatize, named Pantometria, diuided into three bookes, longimetria, planimetria, and stereometria (1571, second edition 1591).  The author didn’t mention any derivation and used the spellings “theodelitus” and “theodolitus” alternately.  Writing a few years later, another mathematician named the same instrument a “horizontall or flatte sphere”, although inconsistencies in spelling was at the time not unusual, the same author when speaking of an alidade (a sighting device or pointer for determining directions or measuring angles used in both surveying and astronomy), spelled it as “alideday” and “athelida”.

One explanation is that both theodelitus and athelidae were corruptions of the Arabic al-idhâda (a sort of rule), and both mathematicians would have been acquainted with the work of earlier Arabic mathematicians.  That’s not unconvincing for athelidae but theodelitus is more likely to have been derived from (or at least influenced by) the Ancient Greek; the second element has mystified all.  The first part of the New Latin theo-delitus might stem from the Ancient Greek θεᾶσθαι (to behold or look attentively upon) or θεῖν (to run) but the second part is puzzling though sometimes attributed to an unscholarly variation of one of the following Greek words: δῆλος (evident; clear), δολιχός (long) or δοῦλος (slave) or even an unattested Neo-Latin compound combining ὁδός (way) and λιτός (plain).  It has been also suggested that -delitus is a variation of the Latin supine deletus, in the sense of "crossed out".

From mechanical to digital

Copper & brass theodolite, Hall Brothers of London, circa 1894.

A theodolite is an optical device used to measure angles between visible points in the horizontal and vertical planes.  Historically they were used in land surveying but they’re used also in all aspects of civil engineering, meteorology and rocket telemetry.  The earliest theodolites were small mounted telescope which rotated horizontally and vertically; modern versions are sophisticated digital instruments which can track weather balloons, airplanes, and other moving objects, at distances up to 12 miles (20 km / 65,600 feet).  Nearly always used mounted on a tripod and originally mechanical-optical instruments, almost all theodolites in active use are now digital.  Theodolites, whether mechanical or digital, are instruments used to determine the relative position of points on the earth's surface by measuring the horizontal and vertical angles. Digital theodolites are more convenient and accurate as they provide the operator with readouts.  With the traditional device, it was necessary manually to read the numbers directly from a graduated circle.

The modern digital theodolite.

A digital theodolite consists of a telescope mounted on a base, a sight at the top used to align the target, vision of which is clarified by adjusting a focusing knob, an objective lens on the opposite side used to sight and magnify the target as required.  Despite the differences in construction, the parts of a digital theodolite are mostly similar to the non-digital theodolite, except for the addition of a liquid crystal display (LCD) and the operating keys for changing the settings.  In the same manner as the non-digital theodolite, leveling is performed using optical plummets or plumb bobs and the spirit or bubble level.  In use, it’s made first to stand vertically above the survey point with the help of a plumb bob or optical plummet and is then made in level to the horizon with the help of internal spirit levels.  Once the leveling process is complete, the telescope is used to focus on the target and the respective horizontal and vertical angles are displayed on the screen.

Jelly

Jelly (pronounced jel-ee)

(1) A food preparation of a soft, elastic consistency due to the presence of gelatin, pectin etc, especially fruit juice boiled down with sugar and used as a sweet spread for bread and toast, as a filling for cakes or doughnuts etc.

(2) A preserve made from the juice of fruit boiled with sugar and used as jam (jam the preferred term in much of the English-speaking world outside North America).

(3) Any object or substance having a jelly-like consistency.

(4) A fruit-flavored gelatin dessert (in the English–speaking world but less common in North America where “jello” or “jell-o” are preferred).

(5) A “jelly shoe”, a plastic sandal or shoe, often brightly colored.

(6) To bring or come to the consistency of jelly.

(7) In theatre, film & television production, the informal term for a colored gelatin filter which can be fitted in front of a stage or studio light.

(8) A slang term for the explosive gelignite.

(9) In Caribbean (Jamaica) English, a clipping of jelly coconut.

(10) A savory substance, derived from meat, with a similar texture to the sweet dessert (the gelatinous meat product also known as aspic).

(11) In the slang of zoology, a jellyfish.

(12) In slang (underworld & pathology), blood, especially in its congealed state.

(13) In slang, an attractive young woman; one’s girlfriend (US, probably extinct).

(14) The large backside of a woman (US, now rare).

(15) In internet slang, a clipping of jealous (rare).

(16) In Indian use, a vitrified brick refuse used as metal in road construction.

(17) As “royal jelly”, a substance secreted by honey bees to aid in the development of immature or young bees, supplied in extra measure to those young destined to become queen bees.

1350–1400: From the Middle English jelyf, gelly, gelye, gelle, gelee, gele & gely (semisolid substance from animal or vegetable material, spiced and used in cooking; chopped meat or fish served in such a jelly), from the Old French gelee (frost; frozen jelly), a noun use of feminine past participle of geler (to set hard; to congeal), from the Medieval Latin gelāta (frozen), from gelu (frost), the construct being gel- (freeze) + -āta (a noun-forming suffix).  The Classical Latin verb gelō (present infinitive gelāre, perfect active gelāvī, supine gelātum) (I freeze, cause to congeal; I frighten, petrify, cause to become rigid with fright) was from gelū (frost), from the primitive Indo-European gel- (cold) and was cognate with the Ancient Greek γελανδρόν (gelandrón).  Originally quite specific, by the early fifteenth century jelly was used of any jellied or coagulated substance and by the 1700s it came to mean also "thickened juice of a fruit prepared as food" which was both a form of preserving fruit and a substance used by chefs for flavoring and decorative purposes.  The adjective jellied (past-participle from the verb jelly) emerged in the 1590s with the sense of “of the consistency of jelly” and by the late nineteenth century this had been extended to include “sweetened with jelly”.  Because of the close historical association with foods, the preferred adjectival form for other purposes is jelly-like.  As a modifier jelly has proved productive, the forms including jelly baby, jelly bag, jellybean, jelly coat, jelly doughnut, comb jelly, jelly bracelet, jelly plant & royal jelly.  Jelly is a noun & verb, jellify & jellification are nouns, jellified & jellied are verbs & adjectives and jellying is a verb; the noun plural is jellies.

Aunger "jelly bean" aluminium wheels, magazine advertisement, 1974.  A design popular in the 1970s, different manufacturers used their own brand-names but colloquially the style was known as the “jellybean”, “slotted” or “beanhole”.

The verb jell (assume the consistence of jelly) is documented since 1869 and was a coining of US English, doubtlessly as a back-formation from the noun of jelly.  The figurative use (organizations, ideas, design etc) emerged circa 1908 but with the spelling gel, a echo of the Middle English gelen (congeal) which was extinct by the late fifteenth century.  The jellyfish (also jelly-fish) was in the late eighteenth century a popular name of the medusa and similar sea-creatures, the name derived from the soft structure.  Figuratively, jellyfish was used from the 1880s for “a person of weak character” although publications from 1707 use the name for an actual vertebrate fish.  

The jelly roll.

The jellyroll (also jelly-roll) was a “cylindrical cake containing jelly or jam” which dates from 1873 and in some markets (notably Australia & New Zealand) it is sold as a “jam roll” or “Swiss Jam Roll”.  The use of jelly roll as slang for both the vagina and the act of sexual intercourse was of African-American origin circa 1914 and was mentioned several times in blues music.  The jellybean (also (rarely) jelly-bean) (small bean-shaped, multi-colored sugar candy with a firm shell and a thick gel interior) was introduced in 1905, the name obviously from the shape.  It entered US slang in the 1910s with the sense of “someone stupid; a half-wit” which was apparently the source of the slang sense of bean as “head”.  In the 1990s, jellybean was the (usually disparaging) term often applied to the depressingly similarly-shaped cars which were the product of wind-tunnels.  While aerodynamically efficient, few found the lines attractive.

1996 Ford Taurus Ghia (left) and 1996 Ford EF Falcon XR8 (right).

In 1996, Ford Australia put the US-sourced Taurus into the showrooms alongside the locally-built and well-received EF Falcon.  As well as carrying the stigma of front wheel drive (FWD), the “jellybean” styling alienated buyers, some of whom suggested the Taurus looked as if it had already been in an accident.  The Taurus was withdrawn from the Australian market after two years of dismal sales, dealers managing to clear to unsold stock only after a further year of heavy discounting.

Champagne Jelly

Champagne Jelly was served at the coronation banquet of Edward VII (1841–1910; King of the United Kingdom and Emperor of India 1901-1910) in 1902 and has since been a popular “nostalgia” dish, seen often at weddings or seasonal celebrations.

Ingredients (to serve 6)

1 bottle 750 ml bottle of Champagne
2 sachets (2½ tsp each) powdered gelatin (or 8 gelatin sheets)
2 tablespoons water (if using powdered gelatin)
115g (4oz) white sugar
Berries and/or edible flowers (optional)
Fresh mint leaves, for garnish

Instructions

(1) Place Champagne bottle in a freezer 30 minutes before beginning (this will ensure jelly will retain the bubbles

(2) In a small bowl, sprinkle the powdered gelatin, if using, over the water and let stand until softened (typically 3-5 minutes).  If using gelatin sheets, put sheets into a bowl and cover with cold water, soaking until floppy (typically 5-10 minutes).

(3) Open Champagne and pour 120ml into a small pan.  Return the Champagne to the freezer, ensuring bottle remains upright.  If this is not possible, put bottle into fridge in upright position.

(4) Add the sugar to the pan, place over a medium heat, and heat, stirring, until the sugar dissolves at which point, removed from the heat.  Liquefy the powdered gelatin by setting the bowl of softened gelatin into a larger bowl of very hot tap water (do not use boiling water).

(5) If using gelatin sheets, lift the sheets from the water, wring to release excess water, then put them into a bowl and liquefy as for the powdered gelatin.  Add the liquefied gelatin to the Champagne mixture and stir until the gelatin dissolves.

(6) Strain the mixture through a fine sieve into a bowl or pitcher, then allow it cool to room temperature.

(7) Add 480ml of chilled Champagne to the cooled gelatin mixture and stir well.  If adding berries or edible flowers, pour half of the gelatin mixture into a 600ml (1pint) mould and chill until almost set (typically 30-45 minutes).  Arrange the embellishments on top, then add the remaining gelatin mixture.

(8) If serving the jelly without embellishments, pour all the gelatin mixture into the mould.  Cover and refrigerate until fully set (at least 12 hours and preferably longer).  At this point drink remaining Champagne.  If need be, open a second bottle.

(9) To serve, fill a bowl with hot water.  Dip the bottom of the mould into the hot water for a few seconds to loosen the jelly from the mould, then place on a serving plate and garnish with mint.

Lindsay Lohan in outfit inspired by Champagne Jelly, ABC’s Good Morning America, November 2022.  The suit was from Law Roach’s (b 1978) Akris’ fall 2022 ready-to-wear collection, the ensemble including a wide-lapelled jacket, turtleneck and boot cut pants fabricated in a green, yellow, red & orange Drei Teile print in an irregular geometric pattern.  The distinctive look was paired with a similarly eclectic combination of accessories, chunky gold hoop earrings, a cross-body Anouk envelope handbag, and Giuseppe Zanotti platform heels.

Efflux & Afflux

Efflux (pronounced ef-luhks)

(1) Outward flow, as of water.

(2) Something that flows out; effluence.

(3) A passing or lapse of time.

(4) A passing away; expiration; ending.

(5) Death (obsolete).

1635–1645: From the Medieval Latin effluxus, noun use of past participle of effluere (to flow out), from effluō (flow out or away), the construct being ef- (an alternative form of ex- (out of; from) used when combined with f-initial words)) + fluc- (a variant stem of fluere (to flow) from fluō (flow) + -sus, (for -tus;suffix of action).  The synonyms (in the sense of “the process of flowing out”) include outflow, effluxion & effluence; the antonyms is influx (in the sense of “the process of flowing in”).  The present participle is effluxing, the simple past and past participle is effluxed and the plural is effluxes.

Afflux (pronounced af-luhks)

(1) Something that flows to or toward a point.

(2) The act of flowing to or toward; flow.

(3) In medicine, a flowing towards an area, especially of blood or other fluid toward a body part such as the brain or lung.

(4) In hydrology, the rise in water level (above normal) on the upstream side of a bridge or obstruction caused when the effective flow area at the obstruction is less than the natural width of the stream immediately upstream of the obstruction.

1605–1615: From the Medieval Latin affluxus (the flow of blood from the heart to part of the body), from afflūxum (supine of affluō (to flow towards)), noun use of past participle of affluere (present active infinitive of affluō), from fluxus (flux), from fluō (flow) +‎ -tus (the action noun-forming suffix).  The most common related forms in Latin were affluĕre & affluxum.  The plural is affluxes.

The phrase “effluxion of time” is used often as a fancy way to say “the passing of time” but it has a specific technical meaning in law, most often seen in contracts such as leases.  When used in conveyances, leases and similar deeds, it indicates the conclusion or expiration of an agreed length of time specified in the deed or writing, such conclusion or expiration arising in the natural course of events, as opposed to the sundering of the term by the acts of (at least one of the) the parties or by some unexpected event.  This phrase can be used also to indicate the conclusion or expiration of an agreement in simple writing when the conclusion or expiration occurs through a natural course of events.

As nouns the difference between affluxion and effluxion is that affluxion is the act of flowing towards and effluxion the process of flowing out.  The distinction is an important one in the technical language of disciplines such as pathology, hydrology, medicine and others who deal with specifics of fluid dynamics but in the matter of time they should be interchangeable (and therefore one should be unnecessary).  Despite the suggestions of cosmologists, theoretical physicists and other specialists that other possibilities exist, lawyers insist time is lineal, flows in one direction and is, for all legal purposes, constant.  The phrase “effluxion of time” would therefore appear to cover all circumstances but “affluxion of time” does exist in the legal record.  It appears to be a North American variant, noted in at least three examples, two from a lease and a option plan, both apparently drafted in the US, the third appearing in a consulting agreement, executed in Canada. 

Notwithstanding anything herein contained, the Landlord shall be under no obligation to repair or maintain the Tenant’s installations, alterations, additions, partitions and fixtures or anything in the nature of a leasehold improvement made or installed whether by the Tenant or by the Landlord on behalf of the Tenant; and further, notwithstanding anything herein contained, the Landlord shall have the right upon the termination of this Lease by affluxion of time or otherwise to require the Tenant to remove its installations, alterations, additions, partitions and fixtures or anything in the nature of a leasehold improvement made or installed by the Tenant or by the Landlord on behalf of the Tenant and to make good any damage caused to the Leased Premises by such installation or removal.

“Vested” shall mean, in relation to all or any part of the option, as appropriate, when any relevant condition (including, for the avoidance of doubt, the affluxion of time) has been satisfied, as confirmed by the Board of Directors (or, where relevant, waived) and “Vesting” and “Vest” shall be construed accordingly. For the avoidance of doubt, unless stated otherwise, any part of the option which Vests does not automatically become exercisable.

In the event this Agreement is terminated for any reason whatsoever, whether by affluxion of time or otherwise, the Consultant shall forthwith upon such termination return to the Corporation each and every copy of any Confidential Information (including all notes, records and documents pertaining thereto) in the possession or under the control of the Consultant at that time.

An analysis of the text does suggest it may have been a mistake, perhaps a transcription from dictation or a quirky spell-checker because substituting effluxion for affluxion seems not to affect meaning.  Those who found those three paragraphs a bit turgid can be assured things used to be worse and that as written, this text is a reasonable example of legal writing in “plain English”.

Lindsay Lohan's hair styles: Landmarks in the effluxion of time, 2002-2009.

Lilo

Lilo (pronounced lahy-loh)

(1) The trademark for a type of inflatable plastic or rubber mattress, often used when in lakes, swimming pools etc.

(2) As a generic term, any inflatable mattress, especially those used recreationally in lakes, swimming pools etc).

(3) The portmanteau slang synonym for Li(ndsay) Lo(han); it was also applied as the name of a dance Ms Lohan performed ad-hoc on the Greek island of Mykonos in 2018.

(4) As LILO, the acronym for Li(nux) Lo(ader), an early (1991-2015) boot loader for the Linux operating system.

(5) As LILO, in computing, organizational management, accountancy and behavioral science, as the acronym for L(ast) I(n), L(ast) O(ut), a companion unit descriptor to FIFO (First In, First Out) & FILO (First in Last Out), all methods with which to organize the manipulation of data structures.  Under LILO, the last object in a queue is the last object to leave the queue.

1944: The trademark name Lilo (originally Li-Lo) registered by the company which made inflatable air-mattresses of rubberized canvas dates from the 1940s (1944 in the UK; 1947 in the US) and was a sensational spelling based on the phonetic “lie low”.  Lilo also exists in other languages: In the Philippines, in the Cebuano language a lilo is a swirling body of water or a large and violent whirlpool (a maelstrom) while in Tagalog it’s an adjective meaning disloyal; unfaithful; traitorous; treacherous (the synonyms being taksil, sukab, mapagkanulo & traydor).  In Hawaiian, Lilo is a feminine given name meaning “generous one” although in some traditions in the islands it can be translated as “lost” so the song He Mele No Lilo translates (loosely) as “Lullaby of the Lost”.  Lilo is a noun, the noun plural is lilos.

The Li-Lo Kayak, 1960.  The car depicted is a stylized rendition of an early version of one from the Rootes Group's "Audax" range (1956–1967).

The technology of the lilo was adaptable and able to assume various shapes, the LiLo company dabbling in a number of market niches including furniture, packaging and inflatable canoes.  The Kayak however was complex in construction so its production was thus labor intensive so it never sold in the numbers required to achieve the economies of scale which could have lowered the price and at Stg£25 (over Stg£500 in 2022 values) it was too expensive to succeed.  The idea has however been revived in the twenty-first century and "lilo & inflatable kayak" adventure tourism is now a thing.

The Bravissimo Lilo

The joke which buyers took seriously: the Bravissimo Lilo.

Bravissimo's Lilo appeared originally in 2018 as an April Fools' prank but such was the demand it was put into production and is now Bravissimo part-number SW571, available exclusively in hot pink.  Although there have since the 1940s been improvements in materials (lilos are made usually from polyvinyl chloride (PVC) or textile-reinforced urethane plastic or rubber), the innovation on Bravissimo's is the first structural change in design in seventy-five years.  Integrating what the manufacturer calls “cup holders” the unique feature is a one-size-fits-all lacuna at the appropriate position so the breasts may comfortably rest un-squished when a woman is supine, lying face-down

Room to move: One size fits all.

Even Bravissimo, an underwear company which specializes in the niche of bigger boobs, admits they really should have thought of this before, given the discomfort suffered by lilo-using women tends to increase in direct proportion to cup-size.  It’s available in-store in some Bravissimo outlets and on-line at Stg£28 (US$45).

No longer one size fits all: Crash test dummies (CTD) now more inclusive.

Perhaps Bravissimo being nudged into making available a lilo which took account of women's unique anatomical differences inspired others because, some fifty years after they came into use, Swedish engineers have at last developed a crash-test dummy (CTD; "seat evaluation tool" the technical term) representative of the body of a typical woman.  Until now, almost all CTDs have been based on the build and weight of a typical adult male.  In most markets however, women however have long represented about half of all drivers and passengers yet the CTD manufacturers and regulators used in testing as a proxy for women was a scaled-down version of the male one, roughly the size of a typical girl of twelve and at 1.49m (4', 8") and weighing 48kg (106 lb), in accord with only the smallest 5% of women by the standards of the mid-1970s.  The new CTD is a more representative 1.62 m (5', 3") tall, weighing in at 62kg (137 lb).

The need for a range of CTD with characteristics covering most of the population was discussed in the 1960s when US regulators began to write the first standards for automotive safety but industry lobbyists did their work and ensured crash-testing would be done as cheaply as possible, hence the standard, one-size-fits-all male analogue.  Despite years of convincing research which confirmed women were disproportionately injured in crashes (height rather than weight apparently the critical variable in the interaction of their smaller frames with seat-belts and air-bags), it wasn't until 2011 that US federal regulators required manufacturers to use more petite CTDs in frontal automotive crash tests.  It's hoped the new, Swedish-developed CTD will improve outcomes and the data from physical testing will soon be available for use in the increasingly important computer emulations, a field in which artificial intelligence (AI) is proving useful.

Lindsay Lohan: Studies of Lilo lying low in three aspects.

Lindsay Lohan’s moniker LiLo is a blend, the construct being Li(ndsay) + Lo(han).  Being based on proper nouns, in linguistics this would by most be regarded a pure blend, although some would list it as a portmanteau which is a special type of blend in which parts of multiple words are combined into a new word (and some insist that in true portmanteaus there must be some relationship between the source words and the result).

Adhesive

Adhesive (pronounced ad-hee-siv or ad-hee-ziv)

(1) Something coated with glue, paste, mastic, or other sticky substance (which may be intended for either temporary or permanent purposes); a substance that causes something to adhere, as glue or rubber cement.

(2) Figuratively, tenacious or clinging.

(3) Sticking fast; sticky; apt or tending to adhere; clinging.

(4) In physics, of or relating to the molecular force that exists in the area of contact between unlike bodies and that acts to unite them.

(5) The quality or degree of stickiness in the physical sense; relating to adhesion.

(6) In philately, a postage stamp with a gummed back, as distinguished from one embossed or printed on an envelope or card.

1660s: The adjective meaning “sticky, cleaving or clinging” was from the French adhésif, from the Latin adhaesivus, from adhaereō (supine adhaesum). The French construct was formed from the Latin adhaes-, past-participle stem of adhaerere (stick to), the source also of adherent.  The noun was derived from the adjective and emerged in 1881, original as a descriptor of postage stamps (as a clipping of the original (1840) adhesive stamp, the word later adopted in philately as a technical distinction between the classic stick-on stamps and other types.  Around the turn of the twentieth century, it was used in the general sense of "a substance that causes to adhere", as a point of differentiation from simple glue.  The spelling adhæsive is obsolete.

Because of the use in engineering, science, industry & commerce, adhesive is a popular modifier, the forms including adhesive capsulitis, adhesive tape, hot melt adhesive, self-adhesive, adhesive bra, adhesive bandage, adhesive binding, adhesive plaster & adhesive tape.  Words related to adhesive (in the physical or figurative sense depending on context) sense include gummy, sticky, adherent, holding, hugging, pasty, adhering, agglutinant, attaching, clinging, clingy, gelatinous, glutinous, gooey, gummed, mucilaginous, resinous, tenacious, viscid & viscous.  Adhesive is a noun & adjective, adhesion is a noun, adhesively is an adverb and adhesiveness is a noun; the noun plural is adhesives.

Very Abstract

Piet Mondrian’s (1872-1944) 1941 New York City 1 is an abstract piece created with multi-colored adhesive tape.  First exhibited at New York’s Museum of Modern Art (MOMA) in 1945 and hung since 1980 in the Düsseldorf Museum as part of the Kunstsammlung Nordrhein-Westfalen’s collection, recently it was revealed for the past 77 years it has been hanging upside down.  The work is unsigned, sometimes an indication the artist deemed it unfinished but Mondrian left no notes.

Mondrian’s 1941 New York City 1 as it (presumably correctly) sat in the artist's studio in 1944 (left) and as it was since 1945 exhibited (upside-down) in New York and Düsseldorf (right).  Spot the difference. 

The decades-long, trans-Atlantic mistake came to light during a press conference held to announce the Kunstsammlung’s new Mondrian exhibition.  During research for the show, a photograph of Mondrian’s studio taken shortly after his death showed the work oriented in the opposite direction and this is being treated as proof of the artist’s intension although experts say the placement of the adhesive tape on the unsigned painting also suggests the piece was hung upside down.  How the error occurred is unclear but when first displayed at MOMA, it may have been as simple as the packing-crate being overturned or misleading instructions being given to the staff.  However, 1941 New York City 1 will remain upside because of the condition of the adhesive strips.  “The adhesive tapes are already extremely loose and hanging by a thread,” a curator was quoted as saying, adding that if it were now to be turned-over, “…gravity would pull it into another direction.  And it’s now part of the work’s story.”

1941 New York City 1, in the Paris Museum of Modern Art.

The curator made the point that as hung, the interlacing lattice of red, yellow, black and blue adhesive tapes thicken towards the bottom, suggesting a sparser skyline but that “…the thickening of the grid should be at the top, like a dark sky” and another of Mondrian’s creations in a similar vein (the oil on canvas New York City I (1942)) hangs in the Musée National d’Art Moderne in Paris with the thickening of lines at the top.  Whether Mondrian intended 1941 New York City 1 to be part of his oeuvre or it was just a mock-up in adhesive tape for the oil-on canvas composition to follow isn’t known, artists having many reasons for leaving works unsigned.

Conventional "backless" bras.

The term "backless bra" can be misleading in that most of them aren't actually built without a back-strap; rather the strap is engineered in a variety of ways to sit well below the shoulder-blades, usually somewhere around the lower back.  Often that's enough to suit the outfit with which it's being paired but sometimes there's a need to expose the whole back and here an adhesive bra can be the solution.  Adhesive bras (single-use and re-usable and sometimes called "stick-on bras" or "stickies") are specialized devices which have a large part of the surface-area facing the skin coated with a medical-grade adhesive.  Made usually from silicone or polyurethane and available in a variety of designs (in one and two-piece configurations), almost all are strapless or backless and the variations in design exist to accommodate the different clothes under which the bra will be worn.  One chooses one’s adhesive bra cognizant of the dress or top to be worn, the idea being that once dressed, only skin should be visible.  In cases where no commercial available adhesive bra is quite right, a variety of medical-grade tapes (sold as tit-tape, skin-tape, boob-tape et al) are available including double-sided versions which can hold the fabric of clothes in place.  There have the advantage of being able to rendered in whatever shape is required but can be difficult to apply single-handedly although boyfriends and girlfriends should be anxious to assist.  Experts suggest avoiding the cheapest on the market because some of there are not medical grade and there's the risk of minor skin damage and consequent infection.

For those (regardless of size) who don’t require lift and need only to minimize lateral movement, the two-piece units (which can use a central coupling depending on the outfit) are ideal because they are available in versions with a smaller surface area, some of which use a higher percentage of the adhesive material to adhere to skin below the bust-line which can be helpful.  These are essentially a modern variation of the pasties (adhesive patches worn over the nipples by exotic dancers) from the late 1950s with some structural engineering added to enhance support.

Most two-piece adhesive bras are a pair of stand-alone units but some offer the option of centre-adjustments.  The methods vary, some using Velcro, the familiar hook & eye combination or buckles but the most popular type use shoe-lace style ties.  The scope of adjustment offered is not only lateral (forcing the flesh towards the centre) but also vertical (forcing the flesh upwards), both movements enhancing cleavage and this permits the same bra to be used for more than one style of outfit.

Although mostly associated with backless and strapless styles, adhesive bras are also available which accommodate plunging necklines.  The two-piece units allow designers to display a cut to the waist but more modest renditions, optimized for cleavage, use a kind of cantilever, usually called the “plunge”.

Adhesive bras use rather than defy the laws of physics and there are limits to the volumes which can be accommodated.  As a general principle, as the movable mass (and in this case there’s not always a direct correlation between weight and volume) increases the surface area of the adhesive material which adheres to skin above the effective centre of gravity (essentially the pivot point) should increase.  That means larger sizes can be handled for backless dresses and even plunges are possible but it won’t be possible always to display the skin on the upper poles and designs required to secure a greater mass can be less comfortable because they often include some variation of an underwire to guarantee structural integrity.

Lindsay Lohan adhesive stickers.