Teleology

Teleology (pronounced tel-ee-ol-uh-jee or tee-lee-ol-uh-jee)

(1) In philosophy, the study of final causes; the doctrine that final causes exist; the belief that certain phenomena are best explained in terms of purpose rather than cause (a moral theory that maintains that the rightness or wrongness of actions solely depends on their consequences is called a teleological theory).

(2) The study of the evidences of design or purpose in nature; such design or purpose; in the cult of intelligent design, the doctrine that there is evidence of purpose or design in the universe, and especially that this provides proof of the existence of a Designer

(3) The belief that purpose and design are a part of or are apparent in nature.

(4) In the cult of vitalism, the doctrine that phenomena are guided not only by mechanical forces but that they also move toward certain goals of self-realization.

(5) In biology, the belief that natural phenomena have a predetermined purpose and are not determined by mechanical laws

1728: From the New Latin teleologia a construct of the Ancient Greek τέλος (télos) (purpose; end, goal, result) genitive τέλεος (téleos) (end; entire, perfect, complete) + λόγος (lógos) (word, speech, discourse).  Teleology is a noun, teleological & teleologic are adjectives, teleologism & teleologist are nouns and teleologically is an adverb.; the noun plural is teleologies.

Christian von Wolff (circa 1740), mezzotint by Johann Jacob Haid (1704-1767).

Although teleology concepts had been discussed in the West (and likely too elsewhere) since at least antiquity, the word teleology appears first in Philosophia rationalis, sive logica (Rational philosophy or logic), a work published in 1728 by German philosopher Baron Christian von Wolff (1679-1754), an author whose writings cover an extraordinary range in formal philosophy, metaphysics, ethics and mathematics.  He used the word to mean something like "the study of stuff in terms of purpose and final cause" and were it not for the way in which Immanuel Kant’s (1724-1804) work has tended to be the intellectual steamroller which has flattened the history of German Enlightenment rationality, he’d probably now be better remembered beyond the profession.

Teleological Ethical Theories

Ethical Egoism posits that an action is good if it produces or is likely to produce results that maximize the person’s self-interest as defined by him, even at the expense of others.  It is based on the notion that it is always moral to promote one’s own good, but at times avoiding the personal interest could be a moral action too. This makes the ethical egoism different from the psychological egoism which holds that people are self-centred and self-motivated and perform actions only with the intention to maximize their personal interest without helping others, thereby denying the reality of true altruism.  Utilitarianism theory holds that an action is good if it results in maximum satisfaction for a large number of people who are likely to get affected by the action.  Eudaimonism is a teleological theory which holds an action is good if it results in the fulfilment of goals along with the welfare of the human beings.  In other words, the actions are said to be fruitful if it promotes or tends to promote the fulfilment of goals constitutive of human nature and its happiness.

Lindsay Lohan and her layer in court, Los Angeles, December 2011.

At the first of the Nuremberg trials, convened to try two-dozen odd  of the senior surviving Nazis, one of the criticisms of the conceptual model adopted by the US prosecution team under Justice Robert Jackson (1892–1954; US Supreme Court Justice 1941-1954; Chief US Prosecutor at the Nuremberg (IMT) trials of Nazi war criminals 1945-1946) was that it was teleological: "the final crimes being implicit in the very origins of the regime".  His approach was of benefit to historians and added to the drama (and sometimes the tedium) of the event but was viewed by the British team, all highly experienced trial lawyers, as a needless diversion from the core business of simply winning the cases.

As a concept in philosophy, teleology can be applied practically or in the abstract to the study of purpose or design in natural phenomena.  Because the idea of teleology is there is (or can be) some inherent purpose or goal in the development and existence of things and events, it implies they are (at least sometimes) directed toward realizing that purpose.  As a tool of philosophers it can be helpful because usually it's contrasted with a mechanistic world view in which everything in the universe exists (or is perceived) as a series of cause-and-effect interactions with no inherent purpose.  Teleology is thus ultimately one extreme of a spectrum onto which observations and theories can be mapped, shifting around as need be.  Well and good, but teleological arguments do seem to exert a powerful attraction on those with some point to make, notably among those who like to assert the existence of a purposeful creator or designer of the universe and these people are inclined to conflate elegance of argument with proof.  Ultimately, the application of teleology can provide a framework of arguments for conclusions which, however audacious and compelling, remain wholly speculative and there is the suspicion that the internal logic which a teleological map can lend does lead some to be convinced of what are, just arguments.  Advances in knowledge have in some fields have diminished the appeal.  There was a time when in the biological sciences, teleology was associated with the notion vitalism which held that living organisms possess a purpose or life force guiding their development and their role on the planet (and presumably the universe).  More recently however, the functionality and complexity of life has come to be understood through evolutionary processes, genetics, and natural selection, there being neither the need nor any apparent evidence for a predetermined purpose.

Chartreuse

Chartreuse (pronounced shahr-trooz or shahr-troos or shar-trœz (French))

(1) As a color range, varying from a clear yellowish-green to a strong greenish-yellow.

(2) Of the color chartreuse used, inter-alia, to describe the color now used for tennis balls when people can’t agree whether they’re a shade of yellow or green (officially they are "optic yellow").

(3) A aromatic liqueur produced in a number of varieties (mainly one green, one yellow), distilled by the Carthusian monks at Grenoble, France (and formerly at Tarragona, Spain) (initial capital).

(4) A kind of enamelled pottery.

(5) In cooking, a dish of French origin in which vegetables (and sometimes meat) are wrapped tightly in a decorative layer of salad or vegetable leaves and cooked in a mould (historically dome-shaped many are now used).  The original recipe used by the monastic order of Carthusians was exclusively vegetarian.

(6) A female given name (the use of English origin).

1865–1870: From the French, named after La Grande Chartreuse, the Carthusian monastery near Grenoble, where the liqueur is distilled (the massif de la Chartreuse (Carthusianus in the Medieval Latin) a mountain group in the French Prealps).  Charterhouse, one of the great English public schools (upon which the framework of the British establishment continues to be built) was founded in London in 1611, the name a folk etymology alteration of chartreux which was chosen because the school’s location was the site of a Carthusian monastery.  Chartreuse is a noun & adjective; the noun plural is chartreuses.

The Order of Carthusians was founded in 1084 and, in separate institutions, includes both monks and nuns, the name derived from the massif de la Chartreuse, a mountain group the French Prealps; the order’s first buildings were erected close to Chartreux, a village in Dauphiné, near Grenoble.  The Ordo Cartusiensis (the Order of Carthusians and styled usually as “the Carthusians” (“the Certosini” the collective)) is a Latin enclosed religious order of the Roman Catholic Church.  A “Latin Religious Order” describes a religious institution which follows the Latin Rite (sometimes referred to as “Roman Rite” or “Roman Ritual”), the liturgical tradition used predominantly used in the Western Church and notable distinct from the practices of the Eastern Catholic Churches (the Orthodox).  The Carthusians retain the Carthusian Rite, a unique liturgy.  An “Enclosed Religious Order” is a community of men or women (never the twain shall meet) who have taken religious vows (typically perfect poverty, chastity & obedience (ultimately to the pope)) and live a contemplative or monastic life.  As the term “enclosed” implies, the members live in secluded from the outside world, usually in a monastery or convent although it’s now rare to find institutions where the seclusion from society is absolute.  A “Latin enclosed religious order” is thus a combination of these criteria, a Roman Catholic religious order adhering to the Latin Rite and following a contemplative or monastic lifestyle within an enclosed setting.  There are between orders variations in how the vows are discharged but the essence is that members dedicate themselves to prayer, contemplation, and a life of asceticism, this thought a contribution to the spiritual life of the Church and it can have practical manifestations such as publications on matters which historically have not exclusively been thematically religious.

Chartreuse VEP Green (500 ml).  The VEP (Vieillissement Exceptionnellement Prolongé (exceptionally prolonged aging) releases are available in both yellow & green and are aged in oak casks.

Sometimes, the output is less in abstractions and more in stuff which benefits many including liqueurs, the Benedictines making Benedictine and the Carthusians, Chartreuse.  In one form or another, the Certosini monks have been distilling the liqueur since 1737 (although some experts insist, on arcane technical grounds, that it should be considered an “alcoholic cordial”).  Both Green Chartreuse and Yellow Chartreuse are made using a recipe of herbs, plants, and botanicals, the mix said to be “secret” and only ever revealed to two living monks at any time (a protocol later adopted by both the Coca-Cola Company and Kentucky Fried Chicken (KFC)).  The green Chartreuse is more intense, spicy and herbal and has a higher alcohol content than the yellow but both have a role, yellow more suited to a flambé while green is better to drink straight or in cocktails.  That said, because yellow is milder and sweeter, there are those who prefer it for all purposes, the honeyed sweetness the essence of the appeal.  There are also special mixes of (related often to aging) and in the past, others were available including a White Chartreuse.

Chartreuse ("optic yellow" according to the IFT) tennis balls were introduced because they worked better than white on color television but the players also expressed support for the change because they were easier to see when on or over a court's white lines: Model Jordan Carver (Ina-Maria Schnitzer (b 1986)) demonstrates the color contrast by bouncing (the tennis balls).

The use of chartreuse as a color name dates from 1884 and was drawn from the apple-green hue of the finest of the liqueurs.  Because the best known versions of the drink have been both a yellow and green hue, the color chartreuse is understood as a spectrum and often described as a “greenish yellow” or “yellowish green”, the color a helpful compromise in disputes about how modern tennis balls should be described.  It’s actually a relatively recent argument because until the 1970s tennis balls were almost always white (although when playing on many surfaces they quickly discolored) but the (inexplicable to some) popularity of the sport on television changed that because when in the 1960s & 1970s the industry transitioned to broadcasting in color, it was soon apparent colored balls were more visible than white (or whatever they became).  At scale, the switch began in the early 1970s although the All England Club (really not approving of anything which has happened since 1914) held out, Wimbledon not adopting optic yellow balls until 1986.

ColorHex’s spectrum chart of colors close to #ccff00.

According to the ITF (International Tennis Federation), the shade is “optic yellow” although the online color decoder ColorHexa redirects “optic yellow” requests to #ccff00 which is described as “fluorescent yellow” or “electric lime” and its spectrum chart displays a spread from yellow to green in accord with the range usually understood as “chartreuse”.

The chartreuse trend on the red carpet (left to right): Sofia Resing, Cannes Film Festival 2021; Ella Purnell, Critics Choice Awards 2022; Niecy Nash, Screen Actors Guild (SAG) Awards 2023; Jessica Chastain, Emmy Awards 2024.

Although in recent years it’s been the “nude” (or “naked” depending on what the writer wishes to imply) dress which has caught the eye and focused the mine, since the COVID-19 pandemic, critics have noted chartreuse, a long neglected (almost ignored) color has been trending on red carpets of which there are now many.  It’s unlikely this has anything to do with COVID-19 at the biological level but the bright, vibrant look may initially have been part of the general reaction to the gloom of lockdowns and the look just caught on.  It won’t last but while it’s here, it should be enjoyed.

Lindsay Lohan leaving the Whisky Mist nightclub, London, June 2014, security staff in hi-viz chartreuse (left), chartreuse mixed & matched in hi-viz gear (centre) and country & western (C&W) singer-songwriter Priscilla Block (b 1995) on the red carpet, Country Music Association (CMA) awards ceremony 2023 (right).

On specialized garments chartreuse has of course become familiar as the symbol of the onrush of occupational health & safety (OHS) regulations although on safety jackets and such it tends to be called “Hi-Viz (high-visibility) Yellow” which, along with “Hi-Viz Orange” was one of the first shades used.  The yellow was found so effective its use spread to applications such as emergency vehicles, mainly because it was found to work in darkness so much better than the traditional reds and oranges.  Others quickly followed and some institutions have formal rules about who wears which color, the distinction tied variously to role, location, place in the hierarchy etc.  The rules seem most enforced in the allocation of the colors used for safety helmets.  C&W singer-songwriter Priscilla Block added a post-modern touch by eschewing a gown in any hue, appearing on the red carpet wearing actual hi-viz gear over a chartreuse outfit, the ensemble complemented by the a traffic cone in hi-viz orange.  When interviewed, she indicated the novel choice was something she thought in keeping with the demographic of her audience who were quite likely to work in jobs requiring hi-viz gear.

Actually, although the stylists and fashionistas probably imagined they had spotted a new red carpet trend, the appearance of all that chartreuse swishing around would have been greeted with a yawn by the real trendsetters, the electricians, cablers and construction staff who have for decades been rocking the look.

Cameo

Cameo (pronounced kam-ee-oh)

(1) A technique of engraving upon a gem or other stone, as onyx, in such a way that an underlying stone of one color is exposed as a background for a low-relief design of another color.

(2) A gem or other stone so engraved; a medallion, as on a brooch or ring, with a profile head carved in relief

(3) A literary sketch, small dramatic scene, or the like, that effectively presents or depicts its subject.

(4) As "cameo, "cameo role" or "cameo appearance", a minor part played by a prominent performer in a single scene of a production, originally un-credited yet deliberately obvious (a la Alfred Hitchcock (1899–1980)).  In modern use, the sense has extended to any brief appearance, credited or not.

(5) In commercial use, a color of creamy neutral ivory, the name an allusion to the hue most associated with the jewelry.

(6) The industry slang for "cameo lighting", a technique used on stage or set usually by restricting the output of a spotlight to a narrower beam and the reverse effect of "silhouette lighting" (a complementary chiaroscuro technique).  

1375–1425: From the Italian cam(m)eo from the Old French camaieu, of uncertain origin; replacing late Middle English camew & cameu both direct borrowings from the Old French.  The ultimate root is held usually to be the Medieval Latin cammaeus (later camaeus), of unknown origin but both the Arabic qamaa'il (flower buds) and the Persian chumahan (agate) have been suggested as the source.  Cameo is a noun & verb and cameoed & cameoing are verbs; the noun plural is cameos or cameoes.

In the early fifteenth century, kaadmaheu, camew, chamehieux and many other spellings, all from the early thirteenth century in Anglo-Latin circulated, all meaning "engraving in relief upon a precious stone with two layers of colors" (such as onyx, agate, or shell and done so as to utilize the effect of the colors).  These fell soon from use as the words derived from the Medieval Latin cammaeus and the Old French camaieu prevailed.  By the nineteenth century, use extended to other raised, carved work on a miniature scale.  The transferred sense of "small character or part that stands out from other minor parts" in a plays etc is from 1928, a derivation from the earlier meaning "short literary sketch or portrait", first noted in 1851, a transferred sense from cameo silhouettes.  A cameotype was a small, vignette daguerreotype mounted in a jeweled setting, the first examples of which were produced in 1864.

Cameo & Silhouette

A classic, simple silhouette (left), a nineteenth century hardstone cameo in 18 karat yellow gold in the mid-nineteenth century Etruscan Revival style (centre) and a  silhouette with the detailing which became popular in the late 1700s (right).

As artistic representations, there's obviously some overlap between a silhouette and a cameo but they are different forms.  A silhouette is inherently a two dimensional rendering of a shape (typically a portrait but they can be of any scene or object) which classically were simple and of a solid colour (usually black) on a contrasting (usually white or cream) background.  Originally, there was no detailing of features but that soon became common.  Silhouette portraits were highly popular in the eighteenth & nineteenth centuries and the form was especially popular with untrained (indeed unskilled) amateurs because of the cheapness and simplicity of the form, a finished work requiring little more than two sheets of paper (black & white), a pair of scissors and a pot of glue.  A cameo differs in that it is three-dimensional, an embossed or raised piece, usually in relief.  The most prized antique cameos are those engraved on semi-precious gemstones, agate, forms of onyx, shells and lava but in modern use synthetic materials are not uncommon and, being small and able to be rendered in a single piece, can be 3D printed although the quality of these doesn’t (yet) match something hand-carved.

Cameo.com

Launched in March 2017, cameo.com is a US-based distribution & content-sharing website, its niche being a platform on which celebrities and others can sell personalized video messages to fans or anyone else prepared to pay, the site claiming more than thirty-thousand sources are available.  The price per clip is said to extend from US$5 to US$3000 and operates as a dynamic supply and demand curve, the price said to rise or fall in response to elasticity in demand, all determined by an AI algorithm which is predictive (able to anticipate a rise in demand and adjust prices accordingly).

For US$400 (or US$20 for a DM), one can receive a personalized video message from Lindsay Lohan.  The service limits the text to two-hundred and fifty (250) characters so economy of language is encouraged.  The client is able to request the theme and possible topics might include relationship counselling, fashion advice, career management & international relations.  In most cases, it seems not necessary to approach this with undue urgency, many of the celebrities available on Cameo.com "for a limited time!" have been listed for some years.

Lindsay Lohan at the Mean Girls (2024) premiere, New York, January 2024.

Lindsay Lohan’s cameo in the 2024 (musical) re-make of Mean Girls (2004) attracted comment for a number of reasons but what most impressed many was the fee, reported by entertainment industry magazine Variety as US$500,000.  While that sum is unverified, what has been confirmed is that her cameo (in the math competition scene) required four hours on set; given the simplicity of the math, Variety didn’t bother printing its calculation of the hourly rate but given the 2004 production was shot over three months for which Ms Lohan was paid a reputed US$1 million, it’s clear inflation alone doesn’t account for the differential.  Still, any commodity is worth only what a buyer is prepared to pay and it’s a specialized supply & demand curve because there’s only one Lindsay Lohan.

Braid & Plait

Braid (pronounced breyd)

(1) To weave together strips or strands of; plait.

(2) To form by such weaving.

(3) To bind or confine (the hair) with a band, ribbon etc.

(4) A braided length or plait, especially of hair; a hair style formed by interweaving three or more strands of hair.

(5) To mix, or make uniformly soft, by beating, rubbing, or straining, as in preparing food (a now rare verb).

(6) To reproach; to upbraid (obsolete).

(7) A narrow, rope-like band formed by plaiting or weaving together several strands of silk, cotton, or other material, used as trimming for garments, drapery, etc; a band, ribbon, etc, for binding or confining the hair.

(8) A stranded wire composed of a number of smaller wires twisted together.

(9) A tubular sheath made of braided strands of metal placed around a central cable for shielding against electromagnetic interference.

(10) A tubular sheath made of braided strands of metal placed around a (usually) rubber) tube carrying (cooling or lubricating etc) fluids.

Pre 950: From the Middle English braiden, breiden & bræiden, from the Old English breġdan (to move quickly, pull, shake, swing, throw (wrestling), draw (sword), drag; bend, weave, braid, knit, join together; change color, vary, be transformed; bind, knot; move, be pulled; flash), from the Proto-Germanic bregdaną (to flicker, flutter, jerk, tug, twitch, flinch, move, swing), from the primitive Indo-European bhrēḱ- & bhrēǵ- (to shine, shimmer).  It was cognate with Scots brade & braid (to move quickly or suddenly), the Saterland Frisian braidje (to knit), the West Frisian breidzje, the Dutch breien (to knit), the Low German breiden, the Bavarian bretten (to move quickly, twitch), the Icelandic bregða (to move quickly, jerk), the Faroese bregða (to move quickly, react swiftly; to draw (sword)) and the Faroese bregda (to plaid, braid, twist, twine). From the same root came the Old High German brettan (to draw a sword).

The sense of "a deceit, stratagem, trick" is attested from circa 1300, the related meaning "sudden or quick movement" (in part from the Old English stems gebrægd (craft, fraud) & gebregd (commotion)) noted in the same era.  The Old Norse bragð (deed, trick) existed in the same sense as the Old English.  The meaning "anything plaited or entwined" is from the 1520s and soon cam especially to be associated with hair.  Braided, the past-participle adjective from braid, came in 1901 to be used by geographers to describe the flow of certain rivers and streams.  The Old English upbregdan (bring forth as a ground for censure) the construct being the adverb up + bregdan (move quickly, intertwine) was mirrored by a similar formation in Middle Swedish: upbrygdha.  The meaning "scold" is first attested from the late thirteenth century.  Braid is a noun, verb & adjective, braiding is a noun & verb, braidless is an adjective, braided is a verb & adjective and braider is a noun; the noun plural is braids.  Forms (hyphenated and not regardless of the conventions) such as re-braid, de-braid & un-braid are created as required.

Plait (pronounced pleyt or plat)

(1) A braid, especially of hair or straw.

(2) A pleat or fold, as of cloth.

(3) To braid, as hair or straw.

(4) To make, as a mat, by braiding.

(5) A loaf of bread of several twisting or intertwining parts

(6) A rare spelling of pleat

1350–1400: From the Middle English pleit & pleyt, from the Middle French pleit, from the Old French ploit, from the Latin plicitum, neuter of plicitus, past participle of plicāre (to fold).  The Latin plectō was akin to Old Norse flétta, the Danish flette and the Russian сплетать (spletatʹ).  Ultimate root was the primitive Indo-European plek- (to plait).  The late fourteenth century spelling of the verb was pleiten, (to fold (something), gather in pleats, double in narrow strips (also "to braid or weave (something)) directly from the noun plait and the Old French pleir (to fold), a variant of ploier & ployer (to fold, bend), again from the Latin plicāre (to fold).

The often confused platt is from the Middle English platten, and is an obsolete spelling of plat (material made by interweaving, especially material made by interweaving straw, used to make hats); thus the connection.  The verb plat (to interweave) was a late fourteenth century variant of plait, the related forms being platted & platting.  Pleat (to fold or gather in pleats) was from the 1560s, used as the verb version of the noun plait and may even have represented an alternative pronunciation.  The noun pleat (a fold) is from the 1580s and was another variant of the noun plait.  Curiously, all etymologists note the absence of the word from the printed records of the in the seventeenth and eighteenth centuries so either it continued only as an oral form or was revived, most suspecting the former.  Plait is a noun, verb & adjective, plaiting is a noun & verb, plaited is a verb & adjective, plaitless is an adjective and plaiter is a noun; the noun plural is plaits.  Forms (hyphenated and not regardless of the conventions) such as re-plait, de-plait & un-plait are created as required.

Famous weather forecaster Greta Thunberg (b 2003) often appears with either a single plait or a pair.  One of the few questions she’s never been asked is what goes through her mind when deciding which.

Although it’s a modern convention to make a distinction when involving hair, plaits and braids are the same thing.  A braid is a structure created by interlacing three or more strands of flexible material such as textile yarns, wire, or hair.  Whereas weaving usually involves two separate, perpendicular groups of strands (warp and weft), a braid is usually long and narrow, with each component strand functionally equivalent in zigzagging forward through the overlapping mass of the others.  The most simple and common hair braid is a flat, solid, three-stranded structure but more complex braids can be constructed from an arbitrary number of strands to create a wider range of structures.

Honeywell Genesis Unshielded Twisted Pair (UTP) Plenum Communication Cable (Cat6).

In engineering uses such as hoses (typically those which need to withstand high throughput volumes, temperature or pressure) “braided” is a common convention, even if “woven mesh” would often be a more accurate description of the description.  In data cabling (where usually only two strands are involved), the convention is to describe the result as a “twisted” length, a concept of some significance over the last half-century.  In 2023 the industry noted (rather than celebrated) the 50^th anniversary of Ethernet, the networking protocol which prevailed while others died; Ethernet at times wasn’t the best of the fastest of the competing alternatives but it was accessible and it turned out to be adaptable to new technologies with scope for development.  Cables were central to Ethernet and as the protocol evolved, so did the cables which along which travelled most of the packets transmitted: even data sent or received via a WiFi connection has probably spent some time in a twisted pair cable.  The twists are expressed in “twists per inch” (TpI) or (the less common) “twists per centimetre” although surprisingly, this is neither an ISO (a specification set by the International Standards Organization) nor an industry standard, TpIs determined by the manufacturer.  Cables with untwisted wires used to be common (and are fondly remembered by cablers because of the ease of use) but since the advent of the Cat5e standard, twisted pairs have become almost universal, the advantage being the reduction in electromagnetic interference (EMI) and crosstalk between adjacent pairs, twisting also helping to maintain signal integrity over longer distances.

Braided radiator hose on Chevrolet 427 cubic inch (7.0 litre) V8 (L89).

Once curious exception is the braided hose.  These are flexible, metallic structures used to strengthen the rubber, synthetic or composite hoses used to carry often pressurised fluids in a variety of machinery.  Fabricated usually with stainless-steel strands, they provide a wrapping around the hose and retain the necessary flexibility of movement while greatly increasing strength, pressure capacity and resistance to wear.  Why the hoses, which technically are a weaved mesh, are called braided is undocumented but it’s presumed the origin was in ad-hoc modifications created out of necessity, probably using braided fibres and the nomenclature became part of the pre-modern engineering vernacular, later to be adopted by commerce.  Used extensively in aviation, they’re popular too with those who build heavy-duty engines and even some who just like the cool visual effect.

A thick, three-strand braid which, by convention, is regarded as a hybrid, becoming a plait at the point at which the construction begins to hang free from the scalp.  The perception of thickness is accentuated by the use of a loose weave.  

Although etymologists insist plait and braid are synonyms, hairdressers distinguish between the two.  To them, a braid is a braiding of the hair where the strands are arranged in a manner which follows the contour of the scalp without hanging free.  A plait is a braid which separates from the scalp and hangs free.  There are also hybrids where the braid begins tightly adhered to the scalp before cascading free.

Celebrity Kim Kardashian (b 1980) with Fulani braids, 2018.

Hair has been braided for millennia across many cultures although it’s only in recent years the politics of hair-styles have been absorbed into identity politics.  Attempts have been made to assert exclusive cultural ownership of certain styles with the claim their adoption by the hegemonic class constitutes cultural appropriation.  In modern identity politics it means it’s wrong for the dominant group which enjoys inherent privilege to borrow cultural signifiers from minorities if they’re to be used merely for purposes of fashion or any other purpose beyond the original cultural context.  By contrast, defined minorities may adopt from the dominant culture because this is an aspect of assimilation (although within minority communities such acts may be criticized as a kind of "constructive cultural imposition").  Still, some continue to test the waters and Condoleezza Rice’s (b 1954; US secretary of state 2005-2009) performances of the works of Frédéric Chopin (1810–1849) have only ever been admired while recently, a clip circulated of African American musician Jon Batiste (b 1986) playing the opening notes of Ludwig van Beethoven’s (circa 1770–1827) Bagatelle No. 25 in A minor for solo piano (Für Elise (For Elise)) in the vein of Blues and Gospel Music without (much) adverse comment.

Singer Adele (b 1988), Notting Hill Carnival, 2020.  Instagram responded; posting on X (formerly known as Twitter) would probably have unleashed something worse.

The only exception to the rule appears to be where one is granted a kind of informal certificate as one who practices “cultural appreciation”.  This has no precise meaning and seems to be considered issued when the social media consensus (ie the volume of one pack shouting down another) emerges and is a thing based on the history of the individual who is a suspected appropriator rather than a specific act.  In other words, white folks with runs on the woke board are granted greater leeway.  Conscious perhaps there are no points to be gained from participation in this culture-battle, libertarians have generally stayed uncharacteristically silent but the right has objected.  Generally insensitive to the importance of signifiers to any culture except their own, the prevailing conservative view seems to be (1) that it’s absurd mere hair styles can be taken seriously and (2) part of the culture into which minorities wish to assimilate includes a tradition of tolerance.  The left has also commented, noting that in focusing on matters such as hair braids, activists are allowing themselves to be distracted from the issue of structural economic disadvantage which is the basic causative factor in inequality.  The debate continues.

As a general principle, the longer and thicker the hair, the more spectacular will be the braid or plat.  Ms Alyona Kravchenko (left) from Odessa last had a haircut some 27 years ago, her hair now 72 inches (1.8 m) in length.  Moscow-based Ms Olga Naumova (right) didn't make clear if she was truly an acersecomic but did reveal that in infancy her hair was so thin her parents covered her head, usually with a babushka headscarf.  It's obviously since flourished and her luxuriant locks are now 62 inches (1.57 m) long.  These are both classic three-strand braid-plait hybrids.

Lindsay Lohan with plait, Art Biennale Party, St Regis Venice San Clemente Palace, Venice, May 2015.

Tea Tray

Tea Tray (pronounced tee-trey)

(1) A tray used to carry a tea service.

(2) A tray of this type used for related purposes.

(3) The accepted descriptor of certain rear spoilers on some Porsches.

Mid-late 1600s: Trays in one form or another are probably one of mankind’s earliest inventions and the creation of the “tea tray” reflected the popularity of the brewed leaf and the place it assumed in polite society as the rich were able to purchase elaborate “tea services” (cups, saucers, milk jugs, tea pots, strainers et al).  In England and Europe, the “taking of tea” in such circles was sometimes formalized    

The noun tea entered English in the late sixteenth century, from the Dutch thee, from the Amoy (Xiamen) dialect of Hokkien 茶 (written both as “tê” & “t’e”), akin to the Chinese chá, from Old Chinese, thought ultimately from the primitive Sino-Tibetan s-la (leaf, tea).  It was the merchants of the Dutch East India Company (based in what is modern-day Indonesia) who after 1610 brought the leaf (and thus the word “tea”) to England and other parts of Western Europe.  The traders obtained the leaf in Amoy (the Malay teh was shipped along the same trade routes). The doublets chai and cha are from the same root.  Served in Paris by at least 1635, tea was introduced in England by 1644.  The spelling “tea” wasn’t at first the default, the variations including tay, thea, tey & tee and the popular early pronunciation seem to have been to rhyme with obey, the familiar modern tee not predominate until the late eighteenth century.  The Russian chai, the Persian cha, the Greek tsai, the Arabic shay and the Turkish çay all came overland from the Mandarin form.  The meaning “afternoon meal at which tea is served” dates from 1738 and is still used in certain regions to mean “evening meal” in the sense other use “dinner” (historically, for these folk “dinner was served around midday).  In US use, tea was slang for “marijuana” during the 1930s (apparently an allusion to it being often brewed in boiling water) but an onrush of newer slang rendered it obsolete as early as the early 1950s.

Lindsay Lohan in The Parent Trap (1998) with silver tea tray.

Tray (a small, typically rectangular or round, flat, and rigid object upon which things are carried) predates the eleventh century and was from the Middle English treye, from the Old English trēġ & trīġ (flat wooden board with a low rim), from the Proto-West Germanic trauwi, from the Proto-Germanic trawją or traujam (wooden vessel), from the primitive Indo-European dóru, a variant of the root drewo- (be firm, solid, steadfast (with also the specialized senses  “tree; wood” and derivatives referring to objects made of wood. The primary sense may have been “wooden vessel”).  It was cognate with the Old Norse treyja (carrier), the Old Swedish trø (wooden measure for grain & corn), the Low German Treechel (dough trough), the Ancient Greek δρουίτη (drouítē) (tub, vat) and the Sanskrit द्रोण (droṇa) (trough); trough and tree were influenced by the same sources.  The alternatives teatray and tea-tray are both accepted as standard forms but both are usually listed as “rare”, the former especially so.  Tea tray is a noun; the noun plural is tea trees.

George IV sterling silver tea set, hallmark from the silver workshop of Rebecca Emes (widow of silversmith John Emes (circa 1765-1810)) & Edward Bernard who were in partnership between 1808-1829.

The pieces are rendered in a melon shaped form with a textured leaf inspired frieze at the top register, rising from embellished shell form feet.  Originally a four piece set (teapot, coffee pot, cream jug and open sugar bowl) more than a century later a Canadian owner commissioned (through Birks (Canada)) a matching muffin dish.  The trademark on the muffin dish is that of Ellis & Co, Empire Works, Great Hampton Street & Hall Street, Birmingham (hallmarked 1937).  The tea tray is a sterling silver “George III” tea tray by Solomon Hougham,

High tea at the Savoy, London: High teas are events where ladies meet to talk about their feelings.

Although there are some striking modernist creations, the most sought after teas sets are those of porcelain or sterling silver, antique versions of the latter more common simply because they are less fragile, lasting centuries with only minimal care.  The first tea sets seem to have been the simple porcelain containers made in China during the Han Dynasty (206–220 BC).  From these humble, functional beginnings came eventually the intricately designed services of the eighteenth & nineteenth centuries which included not only the teapot and tea tray but also cups, sugar bowls with tongs, milk jugs, small plates for lemon slices and a remarkable variety of strainers and sieves to filter out pieces of the leaves.  In the sixteenth century porcelain tea sets arrived with the leaf and like many innovations from the East, consumption was originally limited to the rich who soon began to object to scalding their fingers on the handle-less cups; cups with handles (surely a marker of civilization) soon became essential in any drawing room.  Less pleasingly, adding milk and sugar also became fashionable so sugar bowls and milk jug (creamers) were added to sets along with the necessary teaspoons.  The tea craze thus influenced furniture, the “tea table” the item on which tea was served, sometime a place for the tea tray to sit but used also for more elaborate events which included cakes and such; this was the origin of the modern “high tea” which became such a profitable side-line for hotels.  Sterling silver tea sets began to appear in the late eighteenth century although it would be some decades before they attained great popularity, aided by Queen Victoria’s (1819–1901; Queen of the UK 1837-1901) fondness for tea and although the influence of the British royalty on the fashions of society was often negligible, in this she seems to have led the way.

Forks in evolution: The ducktail, the whale tail and the tea tray

There was much thoughtful engineering which made the 1973 Porsche 911 Carrera RS 2.7 such a formidable car in competition both in terms of what was taken out (most creature comforts) and what was put in (horsepower, light weight components and a braking system said to cost about as much as a new Volkswagen Beetle) but what caught the eye of most were the lurid graphics along the sides (Yellow, Blue, Green, Red and Blood Orange among the choices) and the spoiler which sprouted from the rear; it came to be called the “Ducktail” and was the subject of Patent 2238704: “The invention relates to a passenger car with a rear spoiler – one preferably mounted between side panels - and an aerodynamic device in the rear to increase the dynamic rear wheel pressure.”

1973 Porsche 911 Carrera RS 2.7 during wind tunnel testing of the Ducktail spoiler (left) and a production version with blue graphics (right).

The 911 Carrera RS 2.7 was a homologation special and Porsche planned to build only the 500 identical road-legal versions examples demanded to qualify the thing to be eligible competition under the Group 4 (Gran Turismo) regulations.  Although its 210 hp (156 kW) doesn’t sound impressive fifty years on (and even in the era there were many more powerful machines), weighing a svelte 960 KG (3086 lb), it could reach 100km/h (60 mph) in 5.8 seconds and touch 245 km/h (152 mph).  Given the performance, the Ducktail was a necessity to ensure there was at speed no dangerous lift at the rear but the factory was soon compelled to issue a bulletin warning that anyone fitting a ducktail to any other 911 would also have to fit the factory's front spoiler because, without the front unit, the rear down-force would become “excessive”, lifting the nose, the result: instant instability.  As it turned out, demand was greater than expected and eventually 1580 cars were built, many with a few of the creature comforts restored and today the 1973 Carrera is among the most collectable of the 911s; sales over US$2 million have been recorded.

1974 Porsche 911 Carrera RS 3.0 with whale tail.

The delicate lines of the 911 were spoiled when the 1974 models were released, the “impact” bumpers grafted on to satisfy US regulations an unhappy addition but in fairness to Porsche, their implementation was aesthetically more successful than many, notably their Stuttgart neighbors Mercedes-Benz which appeared to have taken for inspiration the naval rams once fitted beneath the waterlines of battleships and there to sink smaller vessels by ramming; at least on warships they couldn’t be seen.  The Ducktail however survived the legislative onslaught and became available on the new Carrera coupe (fitted as standard in North American markets) which was a pure road car without any of the compromises which made its raw-boned predecessor so engaging.

Later in the year however, a variant of the rear spoiler evolved for the 911 Carrera RS 3.0, this time rendered as a larger, flatter piece with rubber edges, the trailing edge rakishly upturned; it came to be called the “Whale Tail.”  Actually to speak of the Whale Tail as an item is a little misleading because the evolution continued and it was only the early examples which used the simple construction with a recessed grille which tracked the line of the engine cover, blending into the uninterrupted flat expanse of the spoiler itself.  By 1976 the (pre-intercooler) Turbo Carrera (the 930, the so-called “widow-maker”) was fitted with a Whale Tail with a second grille inset into the spoiler itself and to complicate the parts catalogue further, the secondary grille on the RoW (rest of the world) cars was smaller than that fitted to vehicles destined for North America; again the increasingly rigid US regulations the cause.  As the years went by, the Whale Tail continued to change.

The Whale Tail (left) and the Tea Tray (right)

By 1978, there was another evolutionary fork, the 911 Turbo’s spoiler becoming the “Tea Tray”, distinguished by a continuous raised rubber lip around the sides and rear edge.  The recessed grilles were replaced by a large, inset louvered plastic grille, needed to accommodate the additional height of the intercooler while the base of the assembly became a wide pedestal mounted through the engine cover and although there were detail changes, the Tea Tray was fitted to 930s (and atmospheric cars with the M491 option) until the retirement of the long-serving (the 1974-1989 911s often called “G Series” although technically that should apply only to the 1974 model year production but such is the visual similarity the use persists) platform in 1989.

Tea Tray on 930 Turbo Cabriolet (left) and Taco on 996.1 GT3 (right)

The Ducktail, Whale Tail and Tea Tray remain the best known of the Porsche spoilers but there were others including the “Swan Neck” but the most photogenic was the “Taco”.  It was introduced on the 911 GT3 (RoW 996.1) and was so admired the factory later made it available as part of an optional aero-kit.  The nickname is of course an allusion to the Mexican culinary staple, the resemblance quite obvious when viewed in profile although it has also been dubbed the “Pacman”.  The 996.1 GT3, production of which was limited to 1868 units, was first displayed at the 1999 Frankfurt Motor Show and was one of the dual-purpose 911s (for road and track, the GT3 badge appearing several times since) and like all the spoilers, the Taco was functional and it needed to be, the 300 lbs (136 KG) downforce generated at the top speed of 304 km/h (189 mph) required to ensure the thing remained in contact with planet Earth.

Spoilers and other aerodynamic aids can be re-purposed.  A young lady with a tea tray (with coffee pot) (left) and laundry hanging on a the wing of a 1969 Dodge Daytona (right).  In period, between stints on the tracks, drivers would hang their sweat-laden racing suits on the wings of Daytonas and Plymouth Superbirds.