Showing posts sorted by relevance for query Verisimilitude. Sort by date Show all posts
Showing posts sorted by relevance for query Verisimilitude. Sort by date Show all posts

Wednesday, November 23, 2022

Verisimilitude

Verisimilitude (pronounced ver-uh-si-mil-i-tood (alt –tyood))

(1) The appearance or semblance of truth; likelihood; probability, quality of seeming true.

(2) Something that merely seems to be true or real, such as a doubtful statement.

(3) In literary fiction, faithfulness to its own rules; internal cohesion.

(4) In film & TV etc, props, sets, backdrops et al assembled to create as accurate as possible an emulation of reality.

1595-1605: From the 1540s French verisimilitude (appearance of truth or reality, likelihood), from the Latin vērīsimilitūdō (likeness to truth), the construct being veri (genitive of verum, neuter of verus (true)) + similis (similar; like, resembling; of the same kind).  In Classical Latin, it was more correctly written as vērī similitūdō.  The Latin verus was from the primitive Indo-European root were-o- (true, trustworthy).  Verisimilitude & verisimilarity are nouns and verisimilar, verisimilitudinous & verisimilous are adjectives.

A word for critics, directors, students etc

In modern philosophy, verisimilitude is a philosophical concept which distinguishes between the relative and apparent (or seemingly so) truth and falsity of assertions and hypotheses.  Able at least to approach perfection in mathematics, applied to other fields, the problem arises in trying to define what it takes for one false theory to be closer to the truth than another false theory; analogies with string theory are tempting.  For Austrian philosopher Karl Popper (1902-1994), for whom truth was (and must be) the object of scientific inquiry, the problem was the acknowledgment that most scientific theories in history have been shown to be false.  Therefore, it must, from time to time, be at least possible for one false theory to be closer to the truth than others.

In literary fiction, verisimilitude, even if cleverly executed, can attract disapprobation.  Those writings of Phillip Roth (1933-2018) which in some way document the author’s construct of how women think (and he had a bit of previous there) usually reflect a perfect internal logic without which, as literature, his text wouldn’t have worked.  Solid verisimilitude therefore but more than one feminist critic has both deconstructed and demurred, finding his world-view a bogus male fantasy.  Perhaps more than other living writers, Roth’s literary relationships tended more to be with his critics than his readers; in less unforgiving times he might have received the Nobel Prize his body of work may have deserved.  In popular culture, verisimilitude is most commonly used to describe things which make film and television “realistic”; props, costumes and such.  It’s a popular word in university courses with studies in their titles (peace studies, media studies, gender studies, communications studies etc).  Academics in these fields adore words like verisimilitude and paradigm, encouraging their students to use them wherever possible.

Failures in verisimilitude in Mean Girls (2004): One of the props was a framed photograph representing Cady Heron during her childhood in Africa, sitting atop an elephant.  The elephant is of a different taxonomy, being an Asian elephant (Elephas maximus) instead of the appropriate African savanna bush elephant (Loxodonta africana) known in Kenya.  The left hand's inadvertent srpski pozdrav (a three-fingered Serbian salute originally expressing the Holy Trinity and used in rituals of the Orthodox Church which has (like much in the Balkans) been re-purposed as a nationalist symbol) is a Photoshop fail.

Sunday, July 30, 2023

Probe

Probe (pronounced prohb)

(1) To search into or examine thoroughly; question closely; an investigation, especially by a legislative committee, of suspected illegal activity.

(2) To examine or explore with or as if with a probe; the act of probing.

(3) A slender surgical instrument for exploring the depth or direction of a wound, sinus, or the like.

(4) In aerospace, an unmanned exploration spacecraft.

(5) A projecting, pipe-like device on a receiving aircraft used to make connection with and receive fuel from a tanker aircraft during refuelling in flight.

(6) A device, attached by cord to an oven that can be inserted into food so the oven shuts off when the desired internal temperature of the food is reached.

(7) In biochemistry, any identifiable substance that is used to detect, isolate, or identify another substance, as a labelled strand of DNA that hybridizes with its complementary RNA or a monoclonal antibody that combines with a specific protein.

(8) In electronics, a lead connecting to or containing a measuring or monitoring circuit used for testing; a conductor inserted into a waveguide or cavity resonator to provide coupling to an external circuit

1555–1565: From the Medieval Latin proba (examination (“test” in Late Latin)), derivative of probāre (to test, examine, prove), from probus (good).  The Spanish tienta (a surgeon's probe) came from tentar (try, test).  The dual meanings in Latin ((1) instrument for exploring wounds etc and (2) an examination) persist in English.  The sense "act of probing" is from 1890, from the verb; the figurative sense of "penetrating investigation" is from 1903.  The use to describe a "small, unmanned exploratory spacecraft" is attested from 1953; unrelated to this is the curious popularity of aliens subjecting humans to examinations with anal probes in stories of alien abduction.  Probe is a noun & verb, probing & probed are verbs, probeable is an adjective and probingly is an adverb; the noun plural is probes.

The Voyager 1 space probe launched by NASA in 1977.
Originally (with companion probe Voyager 2) a twelve-year mission, it’s expected to remain a functional scientific instrument until 2025 and is now some 24 billion km (15 billion miles) away, the most distant human-made object from Earth (only our radio waves have travelled further).  There are some who claim the probes have already reached inter-stellar space while other astronomers  maintain the edge of our solar system extends much further than was once thought and they're travelling still through a sort of cosmic limbo.  The Voyager probes, even after they're long inert, may continue their journeys for thousands or millions of years because, although the universe is a violent, destructive swirl, there is vast distance between threatening stuff.

Of the many inconsistencies in English spelling, none must be seem more mystifying to anyone learning the language than those words affected by the “mute e rule”: the inflections and derivatives formed from words ending in a “silent e”.  The question always is: to e or not to e?  Deciding whether to retain or omit the last letter is easier than once it was because dictionaries seem now to be more consistent in their approach, presumably one of the benefits of their shift to becoming on-line resources although, for historic reasons, we seem stuck with what seem ancient, arbitrary decisions such as ageing and icing continuing in peaceful co-existence.  So, there are words where centuries of particular spellings have become entrenched that to suggest a change would be absurd and that means any rule would have both examples which conform and those which defy.  Henry Fowler (1858–1933) in his A Dictionary of Modern English Usage (1926) acknowledged the impossibility of constructing a rule of absolute validity but as a guide offered (1) an indicative rule and (2) a guide to the exceptions.  The (1) rule was “when a suffix is added to a word ending in a mute e, the mute e should be dropped before a vowel but not before a consonant”.  The condition for (2) an exception was “the mute e should be kept even before a vowel if it is needed to indicate the soft sound of a preceding g or c or to distinguish a word from another with the same spelling”.  Probe is such an exception because if one has a probe, it’s helpful to know if something (or someone according to those who have been abducted by aliens) is probeable and that adjective can’t be spelled “probable” because that has another meaning.

The Mazda MX-6-based Ford Probe (1988-1997, left) and the car it was once mooted to replace, the long-serving “Fox” Mustang (1978-1993).

A competent, inoffensive coupé, the Ford Probe would probably have existed for a decade as a moderate success and then, having been discontinued without a direct replacement, been soon forgotten, had it not been for the furore which ensued when the idea surfaced it might be the company’s replacement for the Mustang.  In 1987, by means of a “controlled leak” the pro-Mustang faction (the beer drinkers) within the corporation let it be known Ford was planning to replace the Mustang with a modified version of a Mazda (championed by the chardonnay faction).  The reaction was vociferous & voluminous, Ford’s mailbox (and in 1987 mail came in envelopes with stamps attached) soon overflowing with complaints, the idea of a front-wheel-drive (FWD) Mustang anathematic, the absence of a V8 apparently beyond comprehension (although the Mustang II had suffered that fate in 1973-1975).  They also put their money where their poison pens were because the previously moribund sales of Mustangs suddenly spiked, the thought that this might be the last chance to buy a “proper” rear-wheel-drive (RWD), V8 powered Mustang enough to push the thing back up the sales chart.  The flow of letters and cash proved enough to persuade Ford and the platform was reprieved, the Mustang surviving to this day as a unique and highly profitable niche.  The Mazda co-project however was well advanced so the decision was taken to proceed and offer both and, badged as the Ford Probe, the modified Mazda lasted a decade-odd and it’s doubtful it cannibalized much of the Mustang’s market, its competition the other mid-sized, FWD Japanese coupés which had become popular.  A typical Japanese product, well engineered with a high build-quality, the Probe was a success (though it never realised Ford’s hopes in overseas markets) and when production ended, the only reason it wasn’t replaced was because the demographic buying the things had shifted to other segments, notably the sports utility vehicles (SUV) which would soon dominate.

1969 M-505 Adams Brothers Probe 16 (Durango 95)

The still controversial film A Clockwork Orange (1971) was based on the dystopian 1962 novel of the same name by Anthony Burgess (1917–1993).  At the time shocking in its depiction of violence, it's set some time in the future and as part of the verisimilitude the car used in the "driving scene" was a M-505 Adams Brothers Probe 16, one of three built.  Only 34 inches (864 mm) high (the prototype was 5 inches (125 mm) lower!), it emerged from the studios of the designers of the quirky Marcos sports cars which were idiosyncratic even by the standards of the cottage industry of low-volume sports cars which flourished in the UK until the early 1970s.  Although utterly impractical (passengers entered and exited through a sliding glass roof) it certainly looked futuristic but performance was disappointing because of the limited power. To create the mid-engined Probe, the designers used the engine and gearbox from the modest Austin 1800, moving the FWD package amidships, an approach later adopted by a number of manufacturers.  Had it been built using the mechanicals from the contemporary Cadillac Eldorado (which improbably had a 472 cubic inch (7.7 litre) V8 driving the front wheels through a chain-drive transaxle), assuming such a thing could be made to fit, it would have offered performance to match the promise of the looks.  In the film, the Probe was given the name “Durango 95” a name which seems to have chosen for no particular reason although the “95” may have been an allusion to 1995, decades away when the book was written.  Although A Clockwork Orange is perhaps not something with which manufacturers would like their products to be associated, many have since used the Durango name for a variety of purposes.

Newspaper headline writers like the word “probe”.  Within the industry, short, punchy words like “probe”, “jab”, “fix”, “bid” et al are part of a subset of English called “headline language”.

Driving scene in A Clockwork Orange (1971): 1969 M-505 Adams Brothers Probe 16 (Durango 95).

Monday, October 2, 2023

Fasces

Fasces (pronounced fas-eez)

(1) In ancient Rome, one or more bundles of rods (historically wooden sticks) containing an axe with its blade protruding, borne before Roman magistrates as an emblem of official power.

(2) In modern Italy, a bundle of rods containing an axe with the blade projecting, used as the symbol of Fascism (sometimes used imitatively in other places).

1590–1600: From the Latin fasces (bundle of rods containing an axe with the blade projecting), the plural of fascis (bundle or pack of wood), from the Proto-Italic faski- (bundle) possibly from the primitive Indo-European bhasko- (band, bundle), (the source also of the Middle Irish basc (neckband), the Welsh baich (load, burden) and possibly the Old English bæst (inner bark of the linden tree)).  In Ancient Rome, the bundle (the “fascio littorio”) was carried by a functionary before a lictor (a senior Roman magistrate) as a symbol of the judiciary’s power over life and limb (the sticks symbolized the use of corporal punishment (by whipping or thrashing with sticks) while the axe-head represented capital jurisdiction (execution by beheading)).  From this specific symbolism, in Latin the word came to be used figuratively of “high office, supreme power”.  Fasces is a noun (usually used with a singular verb); the noun plural is fascis but fasces is used as both a singular & plural.  For this reason, some in the field of structural linguistics suggest fascis remains Latin while (and thus a foreign word) fasces has been borrowed by English (and is thus assimilated).

The Italian term fascismo (a fascist dictatorship; fascism) was from fascio (bundle of sticks) and ultimately from the Latin fasces.  The name was picked up by the political organizations in Italy known as fasci (originally created along the lines of guilds or syndicates, the structures surviving for some time even as some evolved into “conventional” political parties).  Benito Mussolini’s (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) recollections of events were not wholly reliable but there are contemporary documents which support his account that he co-founded Fasci d'Azione Rivoluzionaria (Fasces of Revolutionary Action), the organisation publishing the Fascio Rivoluzionario d'Azione Internazionalista (the Revolutionary Internationalist Action League) in October 1914.  As far as is known, the future Duce’s embryonic movement was the first use of the terminology the world would come to know as “fascism”, the organizational structure of the Partito Nazionale Fascista (National Fascist Party) first discussed in 1919 and codified in 1919 when the party was registered.

Surviving art from Ancient Rome confirms the fascio littorio was represented both  with the head of the axe protruding from the centre of the bundled rods of the fasces and through a gape in the sides (left) but in Fascist Italy (1922-1943), the official images issued by the state used almost exclusively the latter arrangement (right).   

The Fascists choose the ancient Roman fascio littorio (a bundle of rods tied around an axe) because (1) the literal suggestion of strength through unity; while a single rod (an individual) is easily broken, a bundle (the collective) is more resilient and resistant to force and (2) the symbolic value which dated from Antiquity of the strong state with the power of life & death over its inhabitants.  The evocation of the memories of the glories of Rome was important to Mussolini who wished to re-fashion Italian national consciousness along the lines of his own self-image: virile, martial and superior.  When he first formed his political movement, Italy had been a unified nation less little more than fifty years and Mussolini, his envious eye long cast at Empire builders like the British and Prussians, despaired that Italians seemed more impressed by the culture of the decadent French for whom “dress-making and cooking have been elevated to the level of art”.  The use by the Nazis of the swastika symbol was a similar attempt at linkage although less convincing; at least the history of the fasces was well documented.  The Nazis claimed the swastika as a symbol of the “Aryan People” which they quite erroneously claimed was a definable racial identity rather than a technical term used by linguistic anthropologists studying the evolution of European languages.  Although there was much overlap in style, racist ideology, fascist movements in different countries tended to localize their symbols and Falange in Spain was one of the few to integrate the fasces although the yoke & arrows of the Falange flags were actually an adoption of a design which had long appeared on the standards of the Spanish royal house.

Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945 was at least honest in private conversation when he admitted that of human beings that “scientifically, there is only one race” but the propaganda supporting his (ultimately genocidal) racist philosophy was concerned with effect, not facts.  Hitler too, had no wish to too deeply to dig into an inconvenient past.  It annoyed him that Heinrich Himmler (1900–1945; Reichsführer SS 1929-1945) went about commissioning archaeological excavations of prehistoric sites which could only “…call the whole world’s attention to the fact we have no past?  It isn’t enough that the Romans were erecting great buildings when our forefathers were still living in mud huts; now Himmler is starting to dig up those villages of mud huts and enthusing over every potsherd and stone axe he finds.  All we prove by that is that we were still throwing stone hatchets and crouching around open fires when Greece and Rome had already reached the highest stage of culture”.  Perhaps with the Duce in mind, he added “The present-day Romans must be having a laugh at these revelations”.

The fascist salute has become so associated with Hitler and Nazism that in recent years some jurisdictions have banned its use, emulating the prohibition which has existed in Germany (the sanction pre-dating unification in 1990) for decades.  Because the salute is the same gesture as that used for purposes ranging from waving to one's mother to hailing a taxi, prosecutions are expected to be initiated only in cases of blatant anti-Semitism or other offensive acts.  The "salute" is so widely used that photographs exist of just about every politician in the act and they're often published; usually it's just a cheap journalistic trick but if carefully juxtaposed with something, it can be effective.     

The Duce’s reverence for the Ancient Rome of popular imagination accounts at least in part also for the Fascist’s adoption of the Roman salute although Mussolini did also object to the shaking of hands on the basis it was “effete, un-Italian and un-hygienic” and as the reduced infection rates of just about everything during the “elbow-bumping” era of the COVID-19 social isolation illustrated, on that last point, he had a point.  Other fascist regimes and movements also adopted the salute, most infamously the Nazis although none were as devoted as Hitler who, quite plausibly, claimed to have spent hours a day for weeks using a spring-loaded “chest expander” he’d obtained by mail-order so he’d strengthen his shoulder muscles sufficiently to enable him to stand, sometimes for a hour or more with his right arm extended as parades of soldiers passed before him.

A much-published image of the Duce, raising his arm in the fascist salute next to the bronze statue of Nerva (Marcus Cocceius Nerva) (30–98; Roman emperor 96-98) in the Roman Forum.

However, historians maintain there’s simply no evidence anything like the fascist salute of the twentieth century was a part of the culture of Ancient Rome, either among the ruling class or any other part of the population.  Whether the adoption as a alleged emulation of Roman ways was an act of cynicism of self-delusion on the part of the Duce isn’t known although he may have been impressed by the presence of the gesture in neo-classical painting, something interesting because it wasn’t a motif in use prior to the eighteenth century.  This “manufacturing” of Antiquity wasn’t even then something new; the revival of interest in Greece and Rome during the Renaissance resulted in much of the material which in the last few hundred years has informed and defined in the popular imagination how the period looked and what life was like.  By the twentieth century, it was this art which was reflected in the props and sets used in the newly accessible medium of film and the salute, like the architecture, was part of the verisimilitude.  Mussolini enjoyed films and to be fair, there were in Italy a number of statutes from the epoch in which generals, emperors, senators and other worthies had a arm raised although historians can find no evidence which suggests the works were a representation of a cultural practice anything like a salute.  Indeed, an analysis of many statues revealed that rather than salutes, many of the raised arms were actually holding things and one of the best known was revealed to have been repaired after the spear once in the hand had been damaged.

Adolf Hitler showing the "long arm" & "short arm" variants of the fascist salute (left) and examples of the long arm & short arm penalty being awarded in rugby union (right).

In fascist use, what evolved was the “long-arm” salute used on formal occasions or for photo opportunities and a “short-arm” variation which was a gesture which referenced the formal salute which was little more than a bending of the elbow and involved the hand rising at a 45o angle only to the level of the shoulder; in that the relationship of the short to the long can be thought symbiotic.  Amusingly and wholly unrelated to fascism, the concept was re-appropriated in the refereeing of rugby union where a “short-arm” penalty (officially a “free-kick”) is a penalty awarded for a minor infringement of the games many rules.  Whereas a “full-arm” penalty offers the team the choice of kicking for goal, kicking for touch or taking a tap to resume play, a “short-arm” penalty allows a kick at goal, a kick for touch or the option of setting a scrum instead of a lineout.  The referee signals a “short-arm” penalty by raising their arm at an angle of 45o.

Sometimes, a wave is just a wave.

Tuesday, April 12, 2022

Flagstaff

Flagstaff (pronounced flag-staf or flag-stahf)

The forms flag-staff & flag staff both exist, the original mistake often replicated and often seen in commercial use.  Flagstaff is a noun; the noun plural is flagstaves or flagstaffs, the latter now more common.

(1) A pole on which a flag is flown (by convention, a flagstaff is shorter, often portable and used with miniature flags while a “flagpole” is used taller, used for full-sized flags and usually a permanent structure.

(2) A locality name in a number of countries.

Circa 1610: The construct was flag + staff.  Dating from the late fifteenth century, Flag was from the Middle English flag & flagge (flag), the origins of which are uncertain.  Possible sources include (1) the early Middle English flage (name for a baby's garment), (2) the Old English flagg & flacg (cataplasm, poultice, plaster), (3) a blend of the nouns flap & fag (in obsolete sense “flap”) or (4) an imitative form of something unknown.  Although it’s speculative, there is support for a link with the Proto-Germanic flaką (something flat), from the primitive Indo-European pleh- (flat, broad, plain), the reference obviously to the shape of a flag.  The Germanic cognates included the Saterland Frisian Flaage (flag), the West Frisian flagge (flag), the Dutch vlag (flag), the German Flagge (flag), the Swedish flagga (flag) and the Danish flag (flag, ship's flag).  The words may be compared with the Middle English flacken (to flutter, palpitate), the Swedish dialectal flage (to flutter in the wind) and the Old Norse flögra (to flap about), all akin to the Old High German flogarōn (to flutter), the Old High German flogezen (to flutter, flicker), the Middle English flakeren (to move quickly to and fro) and the Old English flacor (“fluttering, flying).  Staff (in the sense of a “stick or pole”) was from the Middle English staf (stick or pole, especially one up to 6 feet (1.8 metres) in length and carried in the hand (typically “a military standard”)), from the Old English stæf (plural stafas) (walking stick, strong pole used for carrying, rod used as a weapon, pastoral staff), probably originally stæb, from the Proto-Germanic stab- (the source also of the Old Saxon staf, the Old Norse stafr, the Danish stav, the Old Frisian stef, the Middle Low German & Middle Dutch staf, the Old High German stab, the German Stab, the Gothic stafs and the Middle Dutch stapel (pillar, foundation).

The locality names are probably usually in some way related to the presence of a flagstaff (or flagpole) and there are some romantic tales about how the city of Flagstaff, Arizona (county seat of Coconino County) gained the name, most in some way related to the US centennial celebrations of 4 July 1876 when a large flag was flown from a tall tree (in some tellings it was raised on an actual flagpole made from an impressively straight and tall pine tree felled for the occasion).  The actual details remain murky but all seem convinced the flag flown on the day was the central feature.  Flagstaff is the location of the Museum of Northern Arizona which holds a collection of ten sandpainting reproductions (by an unknown Navajo artist) of photographic images taken by Barry Goldwater (1909–1998), the Republican Party nominee at the 1964 US presidential election.  An avid photographer, Goldwater captured many images of Western landscapes and Native Americans subjects, publishing three books of his photographs between the 1940s & 1970s.  The terms flagstaff and a flagpole often are used interchangeably but among specialists there is a convention distinguishing use:

Flagstaff: (1) A shorter pole or staff, often portable or decorative and seen on tables at international conferences, inform of each representative or delegation. (2) With the exception of those used on vessels or vehicles, the flagstaff is most associated with ceremonial, indoor use. (3) Flagstaffs are often fitted with an ornamental finial (a decorative topper) which is often styled to match the base (which, if fitted, is typically wide and relatively heavy to provide stability.

Flagpole: (1) A typically taller and more robust structure, used outdoors (although there are “full-sized” flagpoles in enclosed buildings. (2) Flagpoles usually are fixed installations and designed to withstand severe weather, holding a flag (or flags) in a permanent or semi-permanent position. Flagpoles can be installed in the ground or attached to a building (or some custom structure), usually with a mechanism for raising or lowering the flag, the most common of which is the halyard system.

Lindsay Lohan with flagstaff equipped Mercedes-Benz 600 (W100, 1963-1981) Pullman during filing for Liz & Dick (2012).  The Even more then forty years after the last was built, the 600 remains a popular choice for film directors wishing to summon the verisimilitude of wealth, power and evil, the latter because of the roll-call of kleptomaniac, megalomaniac and occasionally genocidal heads of state who formed a great fondness for the things.

Breakdown of Mercedes-Benz flagstaff part numbers for W116 (1972-1980, left) and W123 (1976-1986, right).  Despite the appearance, as the numbers indicate, the shafts were different although some of the fittings were interchangeable.  Although the W123 (equating with the modern E-Class) was in the “mid-range” market, it was popular in governmental and diplomatic use, being much cheaper than the bigger S-Class (and certainly the gargantuan Großer (Grosser (the W100)) and there was a long-wheelbase (LWB) version with seating for seven to eight.

The term flagstaff is now associated mostly with the devices attached to limousines (and increasingly, armored, truck-like SUVs) used by the military, the corps diplomatique or other government dignitaries.  These are used to fly national flags, personal standards or whatever is appropriate to the occupant’s station.  Because they are used on vehicles which, being used for ceremonial purposes, often travel at low speed in parades, the flags used are sometimes rigid to emulate the appearance of one in a stiff breeze, a similar trick to that NASA (National Aeronautics and Space Administration) used for the flag “flown” on the moon to mark the Apollo 11 landing in 1969.

Flagstaff-equipped Mercedes-Benz 600s (W100, 1963-1981): comrade Josip Broz Tito (1892–1980; prime-minister or president of Yugoslavia 1944-1980) (left), comrade Nicolae Ceaușescu (1918–1989; general secretary of the Romanian Communist Party 1965-1989) and Pope Paul VI (1897-1978; pope 1963-1978).

Although not a technically difficult device to create, some manufacturers who serviced the market (Rolls-Royce, Mercedes-Benz, Cadillac, Lincoln & Imperial) offered the flagstaffs as a factory part-number (technically, some coming from third-party coach-builders).  On the Mercedes-Benz 600 they were available either as a pair or single fitting (installed either left or right although they were interchangeable and a single part-number) but there doesn’t seem to have been any asymmetrical installs.  There are photographs of 600s with bumper-bar mounted flagstaff but these were an after-market, third-party fitting and not a factory variation.  Because many Lincolns, Cadillacs, Imperials et al were built by independent coach-builders on either a “commercial chassis” or as a “stretch”, there’s much variation in both the design and placement of flagstaffs.

1960 Rolls-Royce Phantom V Canberra state limousine by Park Ward, Buckingham Palace, 1990.  On limousines, although the most common location of flagstaffs is the front fender (almost always paired), the cars of the Royal Mews (what the British royal family call their garage) fly a standard from a single, central mount at the front of the roof.

Friday, June 30, 2023

Verecund

Verecund (pronounced ver-i-kuhnd)

Bashful; shy modest, unassuming (rare).

1560–1570: A learned borrowing from the Latin verēcundus (shy, diffident, modest), the construct being verē() (to fear or revere) + -cundus (the adjectival suffix).  The Latin verērī in the hands of medieval translators caused a minor theological dispute which lasted into the twentieth century.  In Latin verērī meant (1) “I have respect for, revere, stand in awe” & (2) “I am afraid, fear; dread”.  What entered ecclesiastical use and ultimately English translations of the Bible was the phrase “fear of God” which most modern scholars think was intended to covey the idea of being “in awe of” Almighty God but because of the way “fear” came to be understood, the other sense was generally assumed.  Of course, the idea of the “vengeful God” was popular among many clergy and theologians so there were those who would prefer their congregations to be afraid rather than merely reverential.  The equally rare adjective inverecund of course means “not modest” but in literary use (it’s doubtful if often appears elsewhere) it can be deployed to convey not only that but also something in the range of shameless to slutty; it’s surprising it’s so rare.  Verecund is an adjective and verecundity is a noun; the noun plural is verecundities.

Verecund entered the language about the same time as some others which have rather better sustained popularity including flare, gondola, monitor, parallel & vacuum but it was never common.  In the nineteenth century it seems to have enjoyed the odd spike but that was always from a low base although the Oxford English Dictionary’s (OED) entry in 1916 makes no mention of it being rare, or archaic, let alone obsolete.  It has thus never quite gone extinct but it’s not hard to suspect much of the use in the internet age is in lists of rare words confirming the rarity although it was in the script of the play Translations by Brian Friel (1929-2015), first performed in 1980.  That though was set in 1833 and part of the verisimilitude was that some members of the cast were well versed in the classics.

Verecund fashion is an amusing way of describing women’s clothing which displays rather less skin than much of which draws the eye of magazine editors deciding what to publish.  As something new "modest fashion" is almost wholly illusory because, by volume, most of the clothing sold around the word is, and has long been, of a modest cut which doesn’t reveal enough skin much to be noticed.  There are exceptions to that such as the somewhat misleadingly named burkini (the construct a portmanteau of bur(k)a + (bi)kini)) which was an ankle-to-hair-to-wrist swimsuit which while it showed little flesh was still sufficiently figure-hugging to be condemned by a number of mullahs and muftis.  The novelty is the publicity granted to "modest fashion" 

As a specific market segment however, modest fashion represents various industry players indentifying a way of applying their labels to quite unexceptional styles and marketing them to women with higher disposable income who for whatever reason wish to dress in a manner described usually as “conservative”.  The ideas of modesty can adhere to principles associated with religious belief and cultural practice or simply be personal preference.  There are suggestions modest fashion has introduced a higher level of style to a previously under-serviced market but it’s doubtful what has been displayed in recent shows differs greatly from what could have been found in catalogues in years gone by but as a high-priced range to be added to designer labels, it should deliver a solid profit especially in emerging markets where there are an increasing number of upper middle-class women anxious to spend disposable income and show the label.

In philosophy, the ad verecundiam fallacy deals with aspects of appeals to authority or expertise.  Essentially, the fallacy describes the acceptance as evidence for a proposition the pronouncement of someone taken to be an authority actually lacks the required expertise or position.  This typically happens when someone offers an opinion on a matter in which they have no particular competence and is not restricted to pop culture celebrities because more than one Nobel laureate has noted the absurdity of them being invited to comment on subjects about which they know no more than any intelligent layman. The phrase was a clipping of the Latin expression argumentum ad verecundiam, which deconstructs as argumentum (argument) + ad ("to" or "at") + verecundiam, the accusative singular of verecundia (coyness, modesty; shame).  The idea has a similar manifestation in law where the question of “real or ostensible authority” is involved.  In many common law jurisdictions, there are circumstances where it can be a defense that an unlawful act was undertaken because a person who the defendant could reasonably believe to possess the requisite authority to give permission for the act to be performed did so.  If a defendant acting in reliance on the belief the permission was lawfully and correctly granted, it can be a defense.  In one Australian case, a member of a parliament (a senator) gave "permission" for a protestor to stand in a certain place within the environs of the parliament and after doing so the protester was duly charged with trespass.  The court found (1) the senator had no authority to grant permission for an act of trespass to be immune from prosecution and (2) it was unreasonable for the defendant to believe a senator possessed either real or ostensible authority in this matter.  It seems still a rather harsh ruling but the conviction stood.

Portrait of John Locke (1697), oil on canvas by Godfrey Kneller (1646–1723).

Although he wouldn’t have recognized the term “ad-fallacies”, it was the English philosopher and physician John Locke (1632-1704) who unintentionally laid the basis for the class of what are in philosophy now known as the “ad-arguments” or “ad-fallacies”. In his An Essay Concerning Human Understanding (1690), he identified three kinds of arguments, the ad verecundiam, ad ignorantiam, and ad hominem, each of which he contrasted with ad judicium arguments (those based on “the foundations of knowledge and probability” which are reliable routes to truth and knowledge).  Locke did not use the word “fallacies” but instead described the three as the kinds of arguments “that men, in their reasoning with others, do ordinarily make use of to prevail on their assent; or at least so to awe them as to silence their opposition.”

While the latter two have been embellished in application beyond Locke’s original thoughts, his characterization of the ad verecundiam is considered still the classic example of appeal-to-authority arguments.  When considered a fallacy, it’s either on the basis that the relevant authority is fallible or because an appeal to authority is an abdication of an individual’s responsibility to determine the veracity of knowledge.  Read literally of course, that would imply Locke was suggesting nobody should ever rely on the expertise of others but that seems improbable.  What is more likely is that he was contrasting the legitimate authority of knowledge with the illusory authority of social standing; the granting of respect and deference to others purely on the basis of their place in the social hierarchy, something even more pronounced in the seventeenth-century than today.  The language Locke used in connection with the ad verecundiam (“eminency”, “dignity”, “breach of modesty” & “having too much pride”) does hint what he had in mind was the kind of authority that demands respect merely for “being who they are” rather than for “what they know”, compelling someone to accept a conclusion because of their modesty or shame, rather than the quality of argument.  In deference to Locke therefore, it’s best to translate ad verecundiam literally, as “appeal to modesty.”

Wednesday, October 9, 2024

Decker

Decker (pronounced dek-er)

(1) Something (typically a bus, ship, aircraft, bed, sandwich et al), having a specified number of decks, floors, levels, layers and such (used usually in combination with a numerical or other expression indicating the number in the construction (double decker, triple decker, upper decker, five decker etc (sometimes hyphenated).

(2) As “table decker” an employee who “decks” (ie sets or adorns) a table used for entertaining (used also as a “coverer”) (archaic).  The idea lives on in the verb “bedeck” (to adorn).

(3) In boxing slang, a fighter with a famously powerful punch, able to “deck” an opponent (ie knock them to the canvas with a single punch).

(4) In historic naval slang, as “quarter-decker”, a label applied to officers known more for their attention to matters of etiquette or trivial regulations than competent seamanship or ability in battle.  It was an allusion to a warship’s “quarter deck” (the part of the spar-deck of a man-of-war (warship) between the poop deck and main-mast (and originally (dating from the 1620s), a smaller deck above the half-deck, covering about a quarter of the vessel’s LOA (length overall)).  In many navies, the quarter-deck was reserved as “a promenade for officers only”.

1785–1795: The construct was deck + -er.  Deck in this context was from the Middle English dekke (covering extending from side to side over part of a ship), from a nautical use of the Middle Dutch decke & dec (roof, covering), from the Middle Dutch decken, from the Proto-Germanic thakam (source also of the noun “thatch” and from the primitive Indo-European root steg & teg- (to cover) and the Old Dutch thecken, from the Proto-West Germanic þakkjan, from the Proto-Germanic þakjaną and related to the German Decke (covering, blanket).  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  The noun double-decker was first used in 1835 of ships with two decks above the water line and this extended to land transport (trains) in 1867.  Decker is a noun & adjective; the noun plural is deckers.

Flight deck of the US Navy's Nimitz-class aircraft carrier USS Carl Vinson (CVN 70).

The reason ships, trains, buses, aircraft and such have "decks" while buildings have "floors” or “stories (or storeys)” is traceable to nautical history and the nomenclature used in shipbuilding.  English picked up “deck” from the Middle Dutch decke & dec (roof, covering) where the use had been influenced by the Old Norse þekja (to cover) and in early shipbuilding, a “deck” was the structure which covered the hull of the ship, providing both a horizontal “working surface” and enclosing the vessel, creating a space for stores, cargo or accommodation which was protected from the elements.  In that sense the first nautical decks acted as a “roof”.  As ships became larger, the nautical architects began to include multiple decks, analogous with the floors of buildings in that they fulfilled a similar function, providing segregated layers (ie the storeys in buildings) used for cannons, crew quarters, storage and such.  As the terminology of shipbuilding became standardized, each deck came to have a specific name depending on its purpose or position (main deck, flight deck, poop deck, gun deck etc).

Ford Mustang convertible (1965–1973) replacement floor pan (complete, part number 3648B) by Moonlight Drive Sheet Metal.

Until the nineteenth century, although the vehicles used on land became larger, they tended to get longer rather than higher but the advent of steam propulsion made possible trains which ran on railways and these could pull carriages carrying freight or passengers.  The first “double decker” versions appeared in France in 1867 and were described as voitures à imperial, (imperial cars) were used on the Chemin de Fer de l'Ouest (Western Railway), the upper deck roofless and thus an “open-air experience”,  Rapidly, the idea spread and double-deck carriages became common for both long-distance and commuter services.  An outlier in the terminology is car design; cars have a floor (sometimes called the “floor pan”) rather than a deck, presumably because there’s only ever one.  In the narrow technical sense there have been cars with “two floors” but they were better understood as a “double-skinned” single floor and they were used for armor or to provide a space for something specialized such as hydrogen fuel-cells, the technique often called “sandwich construction”.

Boeing 314 Clipper flying boat cutaway (left) and front schematics of Boeing 747-300 (right).  Re-using some of an earlier design for a bomber which failed to meet the military’s performance criteria, between 1938-1941, Boeing built twelve 314 Clippers, long-range flying boats with the range to cross both the Atlantic and Pacific oceans.  Although used by the military during World War II, most of their service was with the two commercial operators Pan Am (originally Pan American Airways) and BOAC (British Overseas Airways Corporation).  Very much a machine of the pre-war age, the last Clippers were retired from service between 1946-1948, the advances in aviation and ground infrastructure built during war-time rendering them obsolete and prohibitively expensive to maintain.

Because train designers adopted the nautical terminology, it naturally came to be used also in buses, and aircraft, the term “flight deck” (where the pilot(s) sat) common even before multiple decks appeared on flying boats and other long-distance airframes.  The famous “bubble” of the Boeing 747 (1968-2023) remains one of the best known decks and although most associated with the glamour of first-class international travel, was designed originally as a freight compartment.  The multi-deck evolution continued and the Airbus A380 (2005-2021) was the first “double decker” with two passenger decks extending the full length of the fuselage (with cargo & baggage) carried in the space beneath hence the frequent description of the thing as a “triple decker”.

Lindsay Lohan contemplating three decker sandwich, now usually called a “club sandwich”.  Many menus do specify the number of decks in the clubs.

Deck widely was used of many raised flat surface which people could walk or stand upon (balcony, porch, patio, flat rooftop etc) and came to be used of the floor-like covering of the horizontal sections or compartments, of a ship, a use later extended to land transport (trains, busses etc) and in the twentieth century, to aircraft.  A pack or set of playing cards can be called a deck as (less commonly), can the dealt cards which constitute the “hand” of each player and the notion was extended to sets of just about anything vaguely similar (such as a collection of photographic slides). , Because slides tended to be called a “deck” only when in their magazine, this influenced the later use in IT when certain objects digitally were assemble for storage or use and in audio and video use when cartridges or cassettes were loaded into “tape decks”.  In print journalism, a deck is a headline consisting of one or more full lines of text (applied especially to a sub-headline).  The slang use in the trade of illicit narcotics to describe the folded paper used for distributing drugs was a US regionalism.  There are dozens of idiomatic and other uses of deck, the best known including “all hands on deck”, “swab the decks”, “hit the deck” “clear the decks”, “deck-chair”, “deckhand”, “deck shoes”, “flight deck”, “gun deck”, “observation deck”, “play with a full deck”, “promenade deck”, “re-arranging the deck chairs on the Titanic”, “decked out”, “stack the deck”, “sun deck”, “top deck” & “to deck someone”.

Schematic of the Royal Navy’s HMS Victory, a 104-gun first-rate ship of the line, laid down in 1759 and launched in 1765, most famous as the flagship of Admiral Lord Nelson’s (1758-1805) flagship at the Battle of Trafalgar on 21 October 1805; it was on her Nelson was killed in battle.  Uniquely, after 246 years on the active list, she is the world's oldest naval vessel still in commission.  Although the term wasn’t in use until the 1830s, Victory was a “five decker” configured thus:

Orlop Deck: The lowest deck, mainly used for storage and ship's equipment.
Lower Gun Deck: The deck housing the heaviest cannons.
Middle Gun Deck: This deck contained another set of guns, slightly lighter than those on the lower gun deck.
Upper Gun Deck: The third level of guns, with even lighter cannons.
Quarterdeck and Forecastle: The uppermost decks, where the captain and officers usually directed the ship during battle.

The early meanings in English evolved from “covering” to “platform of a ship” because of the visual similarity and it’s thought the idea of a deck being a “pack of cards” (noted in the 1590s) was based on them being stacked like the decks of a multi-deck man-of-war (warship).  The tape-deck was first so described in 1949 an was a reference to the flat surface of the old reel-to-reel tape recorders.  The first deck chairs were advertised in 1844, an allusion to the use of such thing on the decks of passenger ocean liners and deck shoes were those with sturdy rubber soles suitable for use on slippery surfaces; the modern “boat shoes” are a descendent.  The old admiralty phrase “clear the decks” dated from the days of the tall-masted warships (the best known of which was the big “ship-of-the-line”) and was a reference to the need to remove from the main deck the wreckage resulting from an attack (dislodged masts, sails, spas etc) to enable the battle to be rejoined without the obstructions.  Being made of wood, the ships were hard to sink but highly susceptible to damage, especially to the rigging which, upon fragmentation, tended to fall to the deck.  It may have been a adaptation of the French army slang débarasser le pont (clear the bridge).

Ford 302 cubic inch (4.9 litre) Windsor V8 with the standard deck (left) and the raised deck 351 (5.8) (right).  In production in various displacements between 1961-2000, the 221 (3.6), 255 (4.2), 260 (4.3), 289 (4.7) & 302 (4.9) all used what came retrospectively to be called the “standard deck” while the 351 (5.8) was the sole “raised deck” version.

For decades, it was common for US manufacturers to increase the displacement of their V8 engines but means of creating a “raised deck” version, the process involving raising the height of the engine block's deck surface (the surface where the cylinder heads bolt on).  What this allowed was the use of longer connecting rods while using the original heads and pistons which in combination with a “longer stroke crankshaft” increases the displacement (the aggregate volume of all cylinders).  The industry slang for such things was “decker” and the technique was used with other block configurations but is best known from the use in the 1960s & 1970s for V8s because it’s those which tend to be fetishized.  The path to greater displacement lay either in lengthening the stroke or increasing the bore (or a combination of the two) and while there were general engineering principles (longer stroke=emphasis on more torque at the cost of reducing maximum engine speed and bigger bore=more power and higher engine speeds) but there were limitations in how much a bore could safely be increased including the available metal.  A bigger bore (ie increasing the internal diameter of the cylinder) reduces the thickness of the cylinder walls and if they become too thing, there can be problems with cooling, durability or even the structural integrity of the block.  The piston size also increases which means the weight increases and thus so too does the reciprocating mass, increasing friction, wear and has the potential to compromise reliability, especially at high engine speeds.

Increasing the stroke will usually enhance the torque output, something of greater benefit to most drivers, most of the time than the “top end power” most characteristic of the “big bore” approach.  In street use, most engines spend most time at low or mid-range speed and it’s here a longer stroke tends to produce more torque so it has been a popular approach and the advantage for manufacturers is that creating a “decker” almost always is easier, faster and cheaper than arranging one which will tolerate a bigger bore, something which can demand a new block casting and sometimes changes to the physical assembly line.  With a raised deck, there can be the need to use different intake and exhaust manifolds and some other peripheral components but it’s still usually a cheaper solution than a new block casting.  Ford’s “thinwall” Windsor V8 was one of the longest-serving deckers (although the raised-deck version didn’t see out the platform’s life, the 351 (introduced in 1969) retired in 1997).  Confusingly, during the Windsor era, Ford also produced other 351s which belonged to a different engine family.  Ford didn’t acknowledge the biggest Windsor's raised deck in its designation but when Chrysler released a decker version of the “B Series” big-block V8 (1958-1978), it was designated “RB” (Raised B) and produced between 1959-1979.

1964 AEC Routemaster double decker Bus RM1941 (ALD941B) (left), two sightseeing AEC Routemasters in Christchurch, New Zealand (centre) and one of the "new" Routemasters, London 2023 (right).

London’s red, double-decker busses are one of the symbols most associated with the city and a fixture in literature, art and films needing something with which to capture the verisimilitude.  The classic example of the breed was the long-running AEC Routemaster, designed by the London Transport Board and built by the Associated Equipment Company (AEC) and Park Royal Vehicles.  The Routemaster entered service in 1956 and remained in production until 1968, changed over those years in many details but visually there was such continuity that it takes an expert (and buses are a thing so experts there are) to pick the model year.  They entered service in 1956 and remained in regular service until 2005 although some were retained as “nostalgia pieces” on designated “tourist” routes until COVID-19 finally saw their retirement; since then, many have been repurposed for service around the world on sightseeing duties and other tourist projects.

Boris Johnson (b 1964; UK prime-minister 2019-2022) will leave an extraordinary political legacy which in time may came to be remembered more fondly than it now may appear but one of his most enduring achievements is likely to be the “New Routemaster” which had the typically bureaucratic project name “New Bus for London” but came to be known generally as the “Boris Bus”, the honor accorded by virtue of him championing the idea while serving as Lord Mayor of London (2008-2016).  In truth, the original Routemaster, whatever its period charm, was antiquated years before it was withdrawn from service and although the doorless design made ingress and egress convenient, it was also dangerous and apparently a dozen passenger fatalities annually was not uncommon.  The Borisbus entered service in 2012 and by 2024 almost 1200 were in service.

1930 Lancia Omicron with 2½ deck coachwork and a clerestoried upper windscreen (left) and a “three decker” bus in Pakistan (right).

The Lancia Omicron was a bus chassis produced between 1927-1936; over 600 were built in different wheelbase lengths with both two and three-axle configurations.  Most used Lancia's long-serving, six-cylinder commercial engine but, as early as 1933, some had been equipped with diesel engines which were tested in North Africa where they proved durable and, in the Sudan, Ethiopia, Libya and Algeria, once petrol powered Omicron chassis were being re-powered with diesel power-plants from a variety of manufacturers as late as the 1960s.  Typically of bus use, coachbuilders fabricated many different styles of body but, in addition to the usual single and double deck arrangements, the Omicron is noted for a number of two and a half deck models, the third deck configured usually as a first-class compartment but in at least three which operated in Italy, they were advertised as “smoking rooms”, the implication presumably that the rest of the passenger compartment was smoke-free.  History doesn't record if the bus operators were any more enthusiastic about or successful in enforcing smoking bans than the usual Italian experience.  For a variety of reasons, busses with more than 2.something decks were rare and the Lancias and Alfa Romeos which first emerged in the 1920s were unusual.  However, the famously imaginative and inventive world of Pakistani commerce has produced a genuine “three decker” bus, marketed as the “limousine bus”.  What the designer did was take a long-distance, double decker coach and use the space allocated usually as a luggage compartment to configure as the interior of a long wheelbase (LWB) limousine, thereby creating a “first class” section, the four rows of seating accessible via six car-like (ie limousine) doors.