Surreal

Surreal (pronounced suh-ree-uhl (U) or sur-reel (non-U))

(1) Of, relating to, or characteristic of surrealism, an artistic and literary style; surrealistic.

(2) Having the disorienting, hallucinatory quality of a dream; unreal; fantastic & and incongruous.

(3) As surrealism, an artistic movement and an aesthetic philosophy that, inter alia, explored the “liberation of the mind” by emphasizing the critical and imaginative powers of the subconscious.

(4) In mathematics as surreal numbers, a collection of numbers which includes both the real numbers and the infinite ordinal numbers, each real number surrounded by surreals, which are closer to it than any real number.

1936: A back formation from surrealism, the construct being ; sur- +‎ realism, from the French surréalisme, the construct being sur- (beyond) +‎ réalisme (realism).  Sur- ((over in the sense of “on top of” & over- in the sense of “excessive; excessively; too much”)) was from the Old French sur-, sour-, sor- & soure-, from a syncopation of the Latin super- (above, on top, over; upwards; moreover, in addition, besides) from the Proto-Italic super, from the primitive Indo-European upér (over, above (and cognate with the Ancient Greek ὑπέρ (hupér) (above) and the Proto-Germanic uber (which in English became “over”)).  The English sur- was from the Middle English sur-, from the Old French sur-, sour-, sor- & soure-, a syncopic form of the Latin super.  Sur is a doublet of super-, over- and hyper-.  Real was from the Middle English real, from the Old French reel, from the Late Latin reālis (actual), from the Latin rēs (matter, thing), from the primitive Indo-European rehís (wealth, goods).  Surreal is a noun & adjective, surreally is an adverb, surrealism & surreality are nouns and surrealistic is an adjective; the noun plural is surreals.

Lobster Telephone (1936) by Salvador Dali, one of a dozen-odd originals (in colors and shades of cream created by the artist).

In French, the noun surréalisme appeared first in the preface to Guillaume Apollinaire's (1880-1918) play Les Mamelles de Tirésias (1916-1917 and first performed in 1917).  The word was taken up in the 1920s by French intellectuals who created a number of (competing) Manifeste de Surréalisme (Surrealist manifesto) which were documents exploring the nature of human psychology and the way the radical imagination could produce transformative art.  Such was the nature of their texts, inspiration was offered to groups as diverse as landscape painters and anarchists and anyone else attracted to the idea (if not the business) of revolution.  The English form of the word appeared first in 1931, the French spelling having been in use since 1927.  Surrealist as an adjective and noun (from the 1917 French surréaliste) has been in use since 1925 while the adjective surrealistic dates from 1930.

La Trahison des Images (The Treachery of Images) (1929), oil on canvas, by Rene Magritte (1898-1967), Los Angeles County Museum of Art.

The French text Ceci n’est pas une pipe (This is not a pipe) is an act of deconstruction, a statement that a painting is a representation of something, not the object itself.  It’s a statement of the obvious but is both in the artistic tradition of opposition to oppressive rationalism and an influential strand in the history of Surrealism and Pop Art.

Mama, papa is wounded! (1927) by Yves Tanguy (1900-1955), oil on canvas, Museum of Modern Art, New York.

One of the motifs of surrealist painters was a deliberate disconnection between the title of a work and any immediately obvious meaning. Tanguy’s Mama, papa is wounded! was a painting in one of the recognized surrealist styles: a landscape of wide vista littered with abstract shapes, the title taken from a case-study in a psychiatry textbook.  Beyond mentioning he’d imagined the whole canvas before lifting a brush, Tangay gave no clue about the meaning, but coming so soon after Great War, many focused on a link with the many French causalities of the conflict, the depiction of their horrific injuries also part of an artistic movement in the post-war years.

Swans Reflecting Elephants (1937), oil on canvas by Salvador Dali (1904-1989)

Salvador Dali remains the best-known surrealist painter and Swans Reflecting Elephants is an example of his paranoiac-critical method, which attempted to use art to represent how subconscious thought might summon the irrational imagery when in a state of psychosis or paranoia.  The work is interesting too in that it’s the most perfect example of a double image, the trees and swans reflected in the mirror-like surface of the water as lake as elephants.  Dali himself would sometimes discuss the usefulness of the mirror as a device to explore the divergence between conscious reality and the world of the subconscious.

Jean-Martin Charcot, documentary photographs of hysteria patients at La Salpêtrière Asylum 1878, printed in Le Cinquantenaire de L’hystérie (La Révolution Surréaliste (1928)) by André Breton (1896–1966) & Louis Aragon (1897–1982).  Breton & Aragon lamented that hysteria (which they called "the greatest poetic discovery of the late nineteenth century") was being redefined by the new discipline of psychiatry as merely a symptom of mental illness which could be eliminated by suggestion alone.

The link between surrealist art and madness long intrigued the medical community and the interest later extended to the relationship with modernism in general.  Remarkably, it wasn’t until 1980 with the publication of the third edition (DSM-III) that the diagnosis “hysteria” was removed from the Diagnostic and Statistical Manual of Mental Disorders.  Hysteria had for centuries been a kind of omnibus diagnosis, applied to those (almost always women) displaying an extraordinary array of mental and physical symptoms, the gendered hysteria derived from the Ancient Greek word for uterus.  To many Surrealists, hysteria was the state in which a poetic expression of the mind’s wilder impulses could be unleashed, meaning that instead of being silenced, this fundamental condition of being female could usefully be objectified.  History and art met in the decade of the surrealists because the 1930s was a time to be hysterical, less about what was happening than the fear of what was to come but the reaction to the Exposition Internationale du Surréalisme, an exhibition by surrealist artists held in Paris in January-February 1938 was not despair or shock but indifference, the novelty of the form having passed, the claim the exhibition needed to be understood as a single installation convincing few.  In the history of the movement, the peak had actually passed and although surrealist works would continue to be produced (and actually mass-produced as wildly popular prints) in the post-war world, the output was repetitive.  The avant-garde having plundered from surrealism what could be carried off, explored other directions.

Woman’s Dinner Dress (February 1937) by Elsa Schiaparelli (1890-1973), printed silk organza and synthetic horsehair, Philadelphia Museum of Art.

The fragments however endure.  Elsa Schiaparelli was an Italian fashion designer who took the objects made famous by the Futurists, Dadaists, & Surrealists and integrated them into clothing, her most memorable piece a white evening gown adorned with a large Daliesque lobster.  A design which would now attract little attention, at the time it was a sensation, its audacity a contrast with the solid pastels and other subdued hues with which Coco Chanel (1883-1971) had defined Parisian sophistication.  The playful designs she adopted (a telephone-shaped handbag, buttons in the shape of lollipops, fingernail gloves and hats in shapes borrowed from industry and agriculture) were not always original but she lent them a respectability in the world of high-fashion. 

In the surreal style: Salvador Dali (2021) by Javier Peña and Lindsay Lohan by Mohamad Helmi on Displate.

Binge

Binge (pronounced binj)

A period or bout, usually brief, of excessive indulgence in something, historically strong drink but later food and of late, popular culture in digital form.

1854: Etymologists regard binge an adaptation of the northern English dialectical binge, of unknown origin and noted originally as a Northampton dialect word with meanings in Lincolnshire and Northamptonshire including “drinking bout, drink heavily & soak up alcohol” although the original meaning was likely “soak” in the sense of "to soak in water a wooden vessel, that would otherwise leak" to make the wood swell (a meaning free of any association with alcohol), a use noted in Leicestershire Words, Phrases and Proverbs (1848) by English academic Arthur Benoni Evans (1781–1854) who recorded it was "extended locally to excessive drinking", usually in the form "soaking".

During World War I (1914-1918), it came to be applied to eating as well as drinking and binge-eating is now a recognized disorder although the phrase is casually used in a non clinical context.  In the twenty-first century, after the roll-out of fast broadband reached critical-mass, real-time streaming services became viable and binge watching came to be used to describe the practice among youth of streaming many hours of the one programme in one session, something which historically would have been done over weeks or even months.  "Binge watching" however pre-dates the mass-adoption of broadband, recorded first in 1996 when the technology (of necessity) tended to be tapes, or for the early adopters, the DVD (digital versatile disc), introduced that year.  The related forms are binged & bingeing.

Binche: Binging in Belgium

The modern construct which today is Belgium wasn’t created at the Congress of Vienna (1814-1815), emerging as an independent country only in 1830 after the Belgian Revolution when it it seceded from the Netherlands, itself a political creation of the congress.  Having borders with France and Germany always focused Belgium thoughts on defense and in Medieval times, walls were constructed around many cities.

Of these, the city of Binche retains the longest remains of walls, with some 1¼ miles (2.1 km) of fortifications, some dating from as early as 1230.  Binche is also known for its annual beer festival which takes place just before the start of Lent each year, the highlight the surreal sight of men in clown masks parading through the streets, drinking beer, beating drums and throwing oranges into the crowd.  Visiting foreigners, often unaware Belgium beers are brewed with alcohol content four or five times greater than that to which they’re accustomed, especially enjoy Binche.  Despite that, the alleged connection between Binche drinking and the English term binge drinking is apocryphal; just fake news.

Sleeping beauty re-imagined.

According to the US Center for Disease Control (CDC), binge drinking is associated with many health problems including (1) unintentional injuries such as motor vehicle crashes, falls, burns, and alcohol poisoning, (2) violence including homicide, suicide, intimate partner violence, and sexual assault, (3) sexually transmitted diseases, (4) unintended pregnancy and poor pregnancy outcomes, including miscarriage and stillbirth, (5) fetal alcohol spectrum disorders, (6) sudden infant death syndrome (SIDS), (7) chronic diseases such as high blood pressure, stroke, heart disease, and liver disease, (8) cancer of the breast (among females), liver, colon, rectum, mouth, pharynx, larynx, and esophagus (9) cognitive decline and (10) memory and learning problems.

Flaccid

Flaccid (pronounced flas-id or flak-sid)

(1) Soft and limp; not firm; flabby.

(2) Lacking force; weak.

(3) Slang for individuals or institutions tending towards indolence, indecisiveness or bloat.

(4) In the fitness industry, lacking muscle tone.

1610–1620: From the Latin flaccidus (flabby) from flaccus (flap-eared) a construct of flacc(ēre) (to grow weak, to languish) + -idus (the suffix used to denote “tending to” (-idus (feminine); -ida, (neuter)).  English borrowed the word from the French flaccide.  The linguistic process(es) by which the meaning evolved from “flap-eared” is undocumented and the OED (Oxford English Dictionary) suggests it was imitative.  Flacid & flaccider are adjectives, flaccidity & flaccidness are nouns and flaccidly is an adverb.

Flaccidity in Surrealist Art

La persistència de la memòria (1931).

La persistència de la memòria (The Persistence of Memory) is Salvador Dalí’s (1904-1989) most reproduced and best-known painting.   Completed in 1931 and first exhibited in 1932, since 1934 it’s hung in New York’s MoMA (Museum of Modern Art) and in popular culture, the work is often referred to as the more evocative “Melting Clocks”.  Despite the gushing of some critics, surrealism's intellectual undercoating was patchy, some of the latter output being openly imitative but with Dalí, critics seemed often ready to find something.  His "theory of softness and hardness" has been called "central to his artistic thinking" at the time The Persistence of Memory was painted and some suggested the flaccidity of the watches is an allusion to Albert Einstein's (1879-1955) theory of special relativity (1905), a surreal pondering of the implications of relativity on our once-fixed notions of time and space.  Dalí was earthier, claiming the flaccidity of the clocks was inspired not by Einstein but by imagining a wheel of camembert cheese melting in the Catalan sun, although in Conquest of the Irrational (1935) he did write:  Conquest of the Irrational (1935): “The famous soft watches are nothing else than the tender, extravagant, solitary paranoiac-critical camembert of time and space.”

 

Parmesan

Parmesan (pronounced pahr-muh-zahn, pahr-muh-zan, pahr-muh-zuhn; pahr-muh-zahn, or pahr-muh-zan).

(1) Of or from Parma, in northern Italy.

(2) A hard, dry variety of Italian cheese made from skim milk, often grated and sprinkled over pasta dishes and soups.  It’s known also as Parmesan cheese and it appears with and without the initial capital.

(3) By extension, a similar cheese produced in places other than Parma.

(4) In slang, money in the sense of physical cash.

1510–1520: From the Middle French parmesan, from the Italian parmigiano (of Parma; pertaining to Parma), from an earlier Vulgar Latin parmēsānus, a restructuring of the Classical Latin parmēnsis (from Parma).  Parma is a province of Italy’s Emilia-Romagna region, the locality name thought to be of Etruscan origin.  In the Romance languages the related forms include the Italian parmigiano, the Catalan parmesà, the Portuguese parmesão, the Sicilian parmisanu and the Spanish parmesano.  Parmesan is a noun and parmesany & parmeasnlike (also as parmesan-like) is an adjective; the noun plural is parmesans.  An initial capital is always used with the proper noun (except sometimes in advertizing).

The real parmesan: Parmigiano Reggiano, cut from a wheel.

Within the European Union (EU), the cheese called Parmigiano Reggiano has been granted legal protection (a la hermitage, champagne, cognac etc) as a protected designation of origin (PDO) although around the world, “parmesan” is widely used as a generic term for similar cheeses.  The PDO cheese Parmigiano Reggiano, made only from cow’s milk and salt, is produced in “wheels” which take at least two years to mature, each wheel sealed with a unique identity tag recording the dairy farm and the month in which it was laid down to “cure”.  It may be apocryphal but industry folklore is that when food critics and chefs were asked in a survey which they would choose if ordered to live in a world with only one cheese, most answered: Parmigiano Reggiano.  Eating cheese can be part of a healthy diet, but it depends on the type and amount consumed.   Cheese is a good source of protein, is rich in calcium and contains vitamins such as B12 and A but it tends also to be high in saturated fat, is calorie-dense and usually has a high sodium (salt) content.  One noted advantage of parmesan is it’s naturally low in lactose, making it easier to digest for people with lactose intolerance.

Wheels of parmesan and other wheels

Italian artistic gymnast Signorina Giorgia Villa with wheels of cheese, Parmigiano Reggiano promotional photo-shoot, 2022.

Many consumers buy their parmesan in pre-grated packs or in a powered form so may not have been aware it is, in its original form, a wheel.  That was until the publication of a set of photographs of Signorina Giorgia Villa (b 2003), an Italian artistic gymnast and member of her country’s team at the 2024 Paris Olympics.  Signorina Villa is a brand ambassador for Parmigiano Reggiano and the images from her 2022 photo-shoot featured her posing with the now famous wheels, the promotion’s original caption being: “Always together with my best friend @parmigianoreggiano, ready to start again and face new challenges!”

Wheels of cheese in cheese storehouse.

Wheels of cheese can weigh more than 40 kg (90 lb) and during the maturation process they are stored in warehouses, usually on shelves.  In August 2023, Giacomo Chiapparini, (1949-2023) from Romano di Lombardia, was killed when a shelf broke in his cheese store, the falling wheels of cheese crushing him.  According to the police report, the event was triggered by a SPF (single point of failure) in a high shelf, the weight of the dislodged wheels creating a “domino effect”, bringing down thousands of wheels on the unfortunate victim.  A spokesman for the Lombardy Fire Department which attended the scene reported emergency staff “had to move the wheels of cheese and the shelves by hand”, adding it “took about twelve hours” to find the deceased.  The wheels were of grana padano, a hard cheese that resembles parmesan, some 25,000 of which were in storage and Signor Chiapparini had been checking on the ripening wheels, the highest of which sat on metal shelves 10 metres (33 feet) tall.

The flaccid cheese wheel in surrealist art: La persistència de la memòria (The Persistence of Memory) is Salvador Dalí’s (1904-1989) most reproduced and best-known painting.   Completed in 1931 and first exhibited in 1932, since 1934 it hangs in New York’s Museum of Modern Art (MoMA).  In popular culture, the work is often referred to as the more evocative “melting clocks”.

Surrealism’s intellectual undercoating was patchy, some of the latter output being openly imitative but with Dalí, critics seemed often ready to find something.  His "theory of softness and hardness" has been called "central to his artistic thinking" at the time The Persistence of Memory was painted and some suggested the flaccidity of the watches was an allusion to Einstein's theory of special relativity, a surreal pondering of the implications of relativity on our once-fixed notions of time and space.  Dalí was earthier, claiming the clocks were inspired not by Einsteinian physics but by imagining a wheel of camembert cheese melting in the Catalan sun.

Lindsay Lohan in Miami, Florida, clothes by Amiparism (AMI), Interview magazine photo-shoot, December 2022.  

The car is a Jaguar XJS convertible with the factory-fitted BBS basketweave (or lattice) wheels.  The BBS wheels appealed on the XJS (1975-1996 and originally XJ-S) when the last version was released in 1991, sometime after the company had been absorbed by the Ford Motor Company (FoMoCo).  There were a number of detail changes for the final run, the most notable being the enlargement in 1992 of the V12 engine from 5.3 litres (326 cubic inches) to 6.0 (366), coupled with the latest (four-speed) version of the General Motors (GM) Turbo-Hydramatic 400 which, (as a three-speed), dated from 1963.  No XJ-S with a manual transmission was built after 1976 and the 352 produced existed only because Jaguar had some 400 in their warehouse which had been intended for the Series 3 E-Types (XKE, 1971-1974).

Remarkably for a brand which has a reputation for quality and expertise in design as well as an enviable record in top-line competition, Germany’s BBS Autotechnik GmbH in July 2024 declared insolvency, the second time this has been done in the last year and the fifth time since 2007.  To borrow a phrase, one bankruptcy is unfortunate; five in the last 17 years suggests carelessness.  Analysts have suggested a number of factors have contributed to the troubled corporate history and some did note the recent practice of BBS being passed between private equity firms shouldn’t be ignored (apparently private equity firms have techniques which make bankruptcies profitable) but there were also questionable marketing practices.  What has long puzzled the supply chain is that despite BBS having one of the industry’s most desirable back-catalogs with many older designs enjoying a resurgence of popularity, that market is being supplied by other manufacturers blatantly copying the BBS originals which the company has made no attempt to re-introduce.  There was also the curious matter of “BBS Unlimited”, one of engineering’s weirdest niches: a design of a single wheel which can be fitted to a variety of cars, all wheels shipped with a 5×117.5 mm bolt pattern (used by nothing on planet Earth), necessitating the fitting of a special BBS adapter.  Rarely has a non-existent problem so assiduously been fixed.  The BBS name has such a cachet that analysts expect the German operation to survive in some form (BBS in the US & Japan unaffected by what’s happening in Europe) and the suspicion is the current problems are likely linked to the rising interest rates which have seen a number of leveraged buy-outs by private equity firms flounder: in the same week BBS’s predicament was announced, the seat maker Recaro also entered bankruptcy.

Philip Ruddock Water Playground, Dundas Park, Dundas Valley, NSW, Australia.  Politicians are remembered for many things.

Ever since a former Australian minister for immigration (the Liberal Party’s Philip Ruddock (b 1943; Minister for Immigration and Multicultural and Indigenous Affairs 1996-2003) asserted that the country's indigenous peoples “didn’t invent the wheel”, it’s been repeated as a racist trope in far-right (a misleading term but the one in popular use) gatherings and their social medial channels, often with the claim indigenous Australians were the only culture on Earth not to invent (or discover) what is humanity’s simplest machine and the one which underpinned or made possible progress in a number of fields.  However, a number of cultures did not independently develop the wheel including several in Sub-Saharan Africa, a number of the Pacific Islands and those living in the pre-Columbian Americas (although in the latter wheels were used in toys, just not for transportation or tasks such as lifting).  Anthropologists suggest that cultures which didn’t develop the wheel usually had no need for such a device, lacked the large domesticated animals needed to pull wheeled vehicles or lived in an environment which made the use of wheeled carts or trolleys impractical (dense forests, mountainous terrain etc).

Camembert & Brie

Camembert (pronounced kam-uhm-bair or ka-mahn-ber (French))

(1) A village in the Normandy region of France.

(2) A mellow, soft cheese, the centre of which is creamy and of a golden cream color, made from cow's milk.

1867 (the cheese): The cheese is named after Camembert, the village near Argentan, Normandy where it originated.  The village name was from the Medieval Latin Maimberti (field of Maimbert), a West Germanic personal name derived from the Proto-Germanic maginą (strength, power, might) and the Proto-Germanic berhtaz (bright).  A rich, sweet, yellowish cream-cheese with the name Camembert was first sold in 1867, but the familiar, modern form of the cheese dates from 1791.  Camembert is a masculine form; there is no plural.

Camembert labels from the Serge Schéhadé collection.

A tyrosemiophile is one for whom collecting the colorful (usually round) labels affixed to wooden boxes of Camembert cheese wheels is (depending on where they sit on the spectrum) variously a hobby, calling or obsession.  The practice is called tyrosemiophilia (the construct being the Ancient Greek tyro (cheese) + semio (sign; label) + philos (love) and while there appears to be no documented use of tyrosemiophobia (morbid dread or aversion to Camembert cheese labels), there’s no reason why someone who suffered some disturbing experience with a wheel of Camembert wouldn’t become a tyrosemiophobe.  Collecting objects with a high degree of structural similarity (Camembert cheese labels, beer bottle tops etc) has much appeal for some and in cultural studies is classed as “connoisseurial collecting”, described as a collecting focused on variations within a narrow type (which can be structural, thematic chronologic etc but tends to exclude much within the field collected by those casting a wider net).  The hobby (or whatever) falls under the rubric of “typological accumulation” in which objects are exemplars of a “type” and while each is to some degree different, their attraction lies in the similarity, something like Karl Marx’s (1818-1883) exasperated description of peasants as “…like a sack of potatoes, all the same, yet all different”.

Camembert labels from the Serge Schéhadé collection.

Whether such things especially draw “obsessional collectors” doesn’t seem to have been studied but the characteristics of the stuff (Camembert cheese labels a classic example): (1) structurally similar objects, (2) tiny differences (colors, typography etc) and (3) adaptability to being stored or displayed in a precise, geometrical form may hint at the personality type attracted.  Cognitive psychology has identified how pleasing some find “variation within sameness” and that seemed in some way linked to PRDW (pattern recognition dopamine reward) in which the brain rewards the subject for creating, modifying or spotting subtle distinctions within a structured set.  Cheese production being an ongoing business, the collecting of Camembert labels is obviously not a closed system but within the whole, it can be possible to achieve “complete sets” (a single producer, region, period etc) and this aspect too is a thing among collectors.

Camembert labels from the Serge Schéhadé collection.

Among producers, there is something of a tradition of making the labels miniature “works of art” with themes including, florals, farm animals, fields of grass, famous (dead) figures from history and, of course, comely milkmaids in period costumes.  There is in France the CTF (Club Tyrosémiophile de France), which has existed since 1960 and still conducts annual conferences (a significant part of which are the “swap-meet” sessions at which members can sell or exchange labels and like any commodity, based on desirability (the prime determinate usually rarity), the value of items varies.  Collectively the club’s inventory now includes several million labels, many of which are on display at the Camembert Museum in Vimoutiers, Normandy and there are plans to digitize the collection and make them publicly accessible.  That millions of different cheese labels exist may not surprise those who recall the (apparently apocryphal) quote attributed to Charles de Gaulle (1890-1970; President of France 1959-1969): “How can one govern a country which has 246 varieties of cheese?” because, even in Le Général’s time, the true count was well into four figures.  In a sign of the times, as the CTF’s membership roll dies off, numbers are shrinking because the young seem not attracted to the cause.  Interestingly, it’s said the artistic labels (called étiquettes in French) date from circa 1910 where they were used as means of attracting children, the idea being the same as the little trinkets distributed in breakfast cereal boxes; the small proto-consumers being trained as “influencers” there to persuade their parents to buy more cheese so they could afforce their label collection.

La persistència de la memòria (1931).

La persistència de la memòria (The Persistence of Memory) is Salvador Dalí’s (1904-1989) most reproduced and best-known painting.   Completed in 1931 and first exhibited in 1932, since 1934 it’s hung in New York’s MoMA (Museum of Modern Art) and in popular culture, the work is often referred to as the more evocative “Melting Clocks”.  Despite the gushing of some critics, surrealism's intellectual undercoating was patchy, some of the latter output being openly imitative but with Dalí, critics seemed often ready to find something.  His "theory of softness and hardness" has been called "central to his artistic thinking" at the time The Persistence of Memory was painted and some suggested the flaccidity of the watches is an allusion to Albert Einstein's (1879-1955) theory of special relativity (1905), a surreal pondering of the implications of relativity on our once-fixed notions of time and space.  Dalí was earthier, claiming the flaccidity of the clocks was inspired not by Einstein but by imagining a wheel of camembert cheese melting in the Catalan sun, although in Conquest of the Irrational (1935) he did write:  Conquest of the Irrational (1935): “The famous soft watches are nothing else than the tender, extravagant, solitary paranoiac-critical camembert of time and space.”  Dali's distortions were of course a deliberate device.  Celebrities who manage inadvertently to produce their own by not quite mastering Photoshop or other image-editing software quickly find the internet an unforgiving critic.  For better or worse, AI (artificial intelligence) has now reached the point where such manipulation is often close to undetectable.

Brie (pronounced bree)

(1) A mainly agricultural region in north-east France, between the Seine and the Marne, noted especially for its cheese.

(2) A salted, creamy, white, soft cheese, ripened with bacterial action, originating in Brie and made from cow's milk.

(3) A female given name (with the spelling variant Bree), from the French geographical region but also as a truncation of Brianna.

1848 (the cheese): The name of the cheese is derived from the name of the district in department Seine-et-Marne, southeast of Paris, the source being the Gaulish briga (hill, height).  The English brier (a type of tobacco pipe introduced circa 1859) is unrelated to the cheese or the region in France which shares the name.  The pipes were made from the root of the Erica arborea shrub from the south of France and Corsica, from the French bruyère (heath plant) from the twelfth century Old French bruiere (heather, briar, heathland, moor), from the Gallo-Roman brucaria, from the Late Latin brucus (heather), from the Gaulish bruko- (thought linked with the Breton brug (heath), the Welsh brwg and the Old Irish froech).  The noun plural is bries.

Lindsay Lohan with cheese board, rendered by Vovsoft as a pen drawing: Clockwise from top left, Camembert, Shropshire, Morbier, Nerina & Appenzeller.

Before the French crown assumed full-control in the thirteenth century, the region of Brie was from the ninth century divided into three sections ruled by different feudal lords, (1) the western Brie française (controlled by the King of France), corresponding approximately to the modern department of Seine-et-Marne in the Île-de-France region, (2) the eastern Brie champenoise (controlled by the Duke of Champagne), forming a portion of the modern department of Marne in the historic region of Champagne (part of modern-day Grand Est) and (3) the northern Brie pouilleuse, forming part of the modern department of Aisne in Picardy.  As well as the cheese, Brie is noted for the culturing of roses, introduced circa 1795 by the French explorer Admiral Louis-Antoine, Comte de Bougainville (1729–1811).  Papua New Guinea’s (PNG) Bougainville Island and the Bougainvillea flower were both named after him.

Whipped Brie dip.

A trick of commercial caterers, wedding planners and others who have to gain the maximum visual value from the food budget is whipped Brie dip.  Often a feature of charcuterie boards or a flourish at wine & cheese events, apart from the taste, the main attraction is that aerating Brie almost doubles its volume, making it a cost-effective component.  Technically, the reason the technique works so well as a base is the aeration increases the surface area of the material which comes into contact with the taste receptors.  There are few rules about what goes into a whipped Brie dip although honey, salty bacon & lemon-infused thyme tend often to be used, some including crushed walnuts.  Timing has to be managed because it’s at its best just after being prepared and served at room temperature; if it’s chilled it sets hard and becomes difficult to spread and will break any cracker being dipped.  So, it can be a last-minute task but preparation time is brief and it’s worth it.

Brie & Camembert

Wheel of Camembert.

Both thought delicious by cheese fiends, Brie & Camembert are often confused because the appearance is so similar, both soft, creamy cheeses with an edible white rind and tending to be sold in wheels (squat little cylinders) though it’s easier to tell the difference with cheeses made in France because there they usually maintain the convention that a Camembert will be smaller (unless it’s a baby Brie or petit Brie which will be indicated on the label).  Because most Brie is matured in larger wheels, it’s often sold in wedges, rare among Camembert because the wheels are so small.  However, in the barbaric English-speaking world where anything goes, Brie is sometimes sold in smaller sizes.  Traditionally, like most, they were farmhouse cheeses, but have long been produced mostly in larger artisanal cheeseries or on an industrial scale.

Wheel of Brie.

Both originally created using unpasteurized cow's milk, thanks to the dictatorial ways of humorless EU eurocrats and their vendetta against raw milk, they’re now almost always made with pasteurized milk although there remain two AOP (Appellation d'origine protégée (Protected designation of origin)) unpasteurised Bries, Brie de Meaux & Brie de Melun and one AOP Camembert, Camembert de Normandie, said best to be enjoyed with French cider.  As a cheese, Brie is characterized as being refined, polite and smooth whereas a Camembert is more rustic, the taste and texture earthier (food critics like to say it has more of a “mushroomy taste”), cream being added to the curd of Brie which lends it a milder, more buttery finish and double and triple Brie are even more so.  To ensure the integrity of the brand, French agricultural law demands that a double-cream cheese must contain 60-70% butterfat (which results a fat content around 30%+ in the finished product.  Although variations exist, according to calorieking.com.au, Brie contains 30.5g fat and 18.5g protein per 100g and the same amount of Camembert, 25g fat and 19.5g protein.

Visually, if left for a while at room temperature, it’s easier to tell the difference because a Camembert will melt whereas Brie will retain its structure.  Because of the marked propensity to melt into something truly gooey, Camembert is often used in cooking, sometimes baked and paired with cranberry sauce or walnuts but. Like Brie, is also a staple of cheese plates, served with things like grapes or figs and eaten with crackers, crusty bread and just about any variety of wine.  One local tradition in the Brie region was the Brie Noir (a type of longer-ripened Brie) which villagers dipped into their café au lait over breakfast.

Turkey, Camembert and cranberry pizza (serves 4)

Ingredients

4 medium pita breads
Olive oil spray
120ml cranberry sauce
1 small garlic clove, minced
80g Camembert, sliced and torn
200g lean shaved turkey breast
8 table spoons parmesan cheese
1 cup rocket leaves

Instructions

(1) Heat oven to 390°F (200°C) conventional or 360°F (180°C) fan-forced and line 2 oven trays with baking paper.

(2) Place pita bread on trays and spray lightly with olive oil.

(3) Mix cranberry sauce with garlic and smear onto the pita bread.

(4) Top with Camembert, shaved turkey and finish with a sprinkling of parmesan.

(5) Bake in the oven for 10-15 minutes until golden and the cheese has melted.

(6) Remove from the oven, sprinkle over rocket leaves and serve.

Phyllo-Wrapped Brie With Hot Honey and Anchovies (serves 10-12)

Ingredients

¼ cup chopped roasted red bell pepper (pre-packaged is fine as well as fresh)
3 oil-packed anchovy fillets, minced
1 garlic clove, finely grated or minced
¾ teaspoon finely grated lemon zest
1 pound phyllo (or filo) dough (must be thawed if bought frozen)
10 tablespoons (1¼ sticks) unsalted butter, melted
1 large (about 26 ounces (750 grams)) wheel of Brie
Hot honey (or regular honey (see below)) for serving
Crackers and/or sliced bread, for serving

Instructions

(1) Heat the oven to 425°F (220°F). In a small bowl, stir together the roasted bell pepper, anchovies, garlic, and lemon zest. Set aside.

(2) On a clean work surface, lay out the phyllo dough and cover it with a barely damp kitchen towel to keep it from drying out. Take 2 phyllo sheets and lay them in an 11 × 17-inch rimmed baking sheet. Brush the top sheet generously with melted butter, then lay another 2 phyllo sheets on top the opposite way, so they cross in the centre and are perpendicular to the first two (like making a plus sign). Brush the top sheet with butter. Repeat the layers, reserving 4 sheets of phyllo.

(3) Using a long sharp kitchen knife, halve the Brie horizontally and lay one half, cut-side up, in the centre of the phyllo (you will probably need another set of hands to help lift off the top layer of cheese). Then spread the red pepper mixture all over the top. Cover with the other half of Brie, cut-side down, and then fold the phyllo pieces up around the Brie. There will be a space in the centre on top where the Brie is uncovered, and that’s okay.

(4) Lightly crumple one of the remaining sheets of phyllo and place it on top of the phyllo/Brie package to cover up that space. Drizzle a little butter on top, then repeat with the remaining phyllo sheets, scattering them over the top of the pastry and drizzling a little butter each time. It may look messy but will bake up into gorgeous golden waves of pastry, so fear not.

(5) Bake until the phyllo is golden, 20 to 25 minutes. Remove it from the oven and let it rest for about 15 minutes before drizzling it with the hot honey. Slice (it will be runny) and serve with crackers or bread, and with more hot honey as needed.

Most baked Bries tend to the sweet with layers of jam or chutney beneath the crust but this is a savoury variation using anchovies, garlic, and roasted bell peppers.  A drizzle of honey and the pinch of lemon zest lends the dish a complexity and for the best effect it should be served straight from the oven because that’s when the Brie is at its most seductively gooey.  It’s ideal with crisp crackers or crusty bread for crunch.  The hot honey is a bit of a novelty and those who want to enhance or tone-down the effect can create their own by stirring a pinch or more of cayenne into any mild honey.