Monthly Archives: May 2016

saturation

How much is too much? When can you hold no more, when are you sated, satisfied, saturated?

In chemistry, it’s not such a hard question. Any substance that can dissolve in another substance will have a saturation point for any given temperature, above which no more can be dissolved, and that’s that. When the weather person tells you the humidity, it’s always in percentages, and 100% would be full saturation: any more moisture entering the air would not be able to stay in it for even a moment; it would condense or precipitate. When air is colder, it can hold less moisture, so the relative humidity is higher on cold days even though it doesn’t feel all that humid.

In other things, however, it is a more flexible concept. We talk about media saturation, or about reaching a saturation point in our use of technology or any other thing we figure we could reach a maximum tolerable level of. We’re often wrong – we have yet (as a society) to reach a social-media saturation, for instance, or for that matter any kind of technology saturation – and even when we’re right, it’s very hard to judge, and it changes. When has everybody had enough of this or that famous person?

Socially, any given person may have a particular saturation point, too. I know that if I’m at a party, once it passes a certain number of people, I find myself becoming a wallflower or finding a less populated room. It’s paradoxical: in chemistry, the thing that there is too much of precipitates out; socially, by contrast, the person who gets too much precipitates out.

Saturation comes from Latin saturare, which comes from satur ‘full’, which is related to satis ‘enough’. So sate and satisfy really are related to saturate. There may be things you’re sure you just can’t get enough of, but you’re probably wrong – although you may never get enough of them to find out how much is too much. I once remarked to a roommate that there was no such thing as too much basil in a pasta sauce, and whaddya know, he proved me wrong. Oh boy did he put a lot of basil in that sauce. Wow.

I think the use of saturate in publishing and photography gives a nice illustration – literally. It referred originally to the purity of an ink – the more saturated, the less diluted with black or white (and the richer in the intended colour). In other words, more saturated colours are purer, more intense.

But what inks are you using? Today, when we do so much on screen, our “inks” are pixels of red, green, and blue. So saturation these days means how little mixing of other colours in with the colour at hand, and how bright that colour is too. While this is in one sense paradoxical (since saturation in chemistry is a question of increasing mixture), your eyes will tell you that this saturation is indeed saturation: an increasing intensity, like sugar in a beverage or humidity in the air.

When you adjust the saturation on an image in Adobe Photoshop, Lightroom, or Image Ready (or some non-Adobe product), you can go down to 0% or up to 100%. But that 100% isn’t truly the maximum. You can take the resulting image and increase the saturation even again. You could iterate this quite a few times to get a saturation that would be several hundred percent – chemically impossible, but this isn’t chemistry.

Here’s an old barn in Niagara-on-the-Lake, Ontario. This is the original, with no adjustment of the saturation.

If I reduce the saturation by 25%, you can see that the colours are less intense. They are, in fact, more evened out between the three colours that make up your screen. It may look a little “older,” because films of times past were not always quite so vivid, and because prints tend to lose their vividness over time.

Let me take it down 75% – that is, to just 25% of the original saturation.

It looks almost black and white, doesn’t it? You can barely discern the green of the grass. If you desaturate fully, you get a black-and-white image (there can be more to a good B&W conversion than that, but I don’t want to glaze your eyes here).

Now let’s increase the saturation. If I push the slider up to 100% increase, you can see that the grass and barn and everything are very vivid.

This is a popular thing to do these days. Look at your Facebook news feed and you’ll probably see some “amazing!” photos that have had the saturation cranked way up. It’s like adding sugar to a sauce. The focus groups love it. It just seems so… wow.

But why stop there? Do those colours look like pure red, green, or blue? I think not. Let’s add another 50% (which we do by taking the 100% saturated image and treating it as the base for increasing saturation).

That graffiti is beginning to be pretty colourful, isn’t it? But wait: what about that old wood? It still looks grey. We have already learned that grey is what you get when you desaturate. I bet that the grey of that barn is not perfectly balanced between red, green, and blue. If we crank up the saturation even more, whichever colour it tilts slightly towards will come out in full force. Here, let’s increase the saturation another 100% on top of the last image, to make it 300% from the original.

Whaddya think? LSD vision, pipe dream, nightmare, or “mind=blown” Instagram filter? You still see the darks and lights – relative lightness is a separate matter from saturation – so you can still see that it’s a barn. But all of a sudden it looks, um, tie-dyed or something.

Some people like to max their saturation. They go to impossibly packed bars, binge-watch TV shows, drink Red Bull iteratively. Others prefer a life less vivid (or “loud”), more austere. Do you think oversaturation is a problem? Do you want to find a solution? You may remember the old saying “If you’re not part of the solution, you’re part of the problem.” I prefer the chemists’ version: “If you’re not part of the solution, you’re part of the precipitate.” Consider that every oversaturation is just a solution that was taken too far. At which point something has to drop out. It may or may not be you.

laminate

Every surface, however numinously limned or lambently illuminated, is a limen, a veneer. The face of it is the phenomenon, and what lies behind it is no more real to the mind than a noumenon: its existence is more nominal than phenomenal. Light, sound, and our animal touch reflect off the first layer of atoms, while underneath is entombed the untameable atman.

Look at these lovely curves in this photo, sinuous, insinuating. The white wall is hard, textured but rectilinear; the stone arch is cold and durable. But the wood licks the light and shapes the shadows; it flows like water; it animates. And yet. What do you see? Surfaces, with joins. You don’t know what they are joined to beneath, but you must know that what is thinner bends easier. What veers is veneers: when it licks like “l” and is warm like “m,” its innate form is laminate. Thin cortices of wood applied to an unknown underneath.

What is this word, laminate? It comes from Latin lamina, ‘thin plate, scale, layer, or flake’ (thanks to the OED for that). It is animal backwards, as though we were looking at the obverse of an image painted on a film. The Latins had leaves, sure, but also metal pounded into peels, and woods shaved thin. So from that we laminate (verb) objects, and they are laminate (adjective) and are laminate (noun). The lovely outer layer is held on with glue; the laminate adheres to what inheres.

And so it is deception, unreal, just for show. Yes? We may think so. But it is real material, even if thin. And what you see on the outside is never quite like what lies within, no matter what the thing. For that matter, what you see on the outside is not what the outside is. You are using your eyes, after all, which sense reflected light in whatever colour and quantity it comes in, from whatever direction. The surface may look mottled and yet be smooth. We see layers through changes in intensity and colour, but that is all a phenomenon of the visual cortex – a bit of grey brain laminated on the white matter beneath.

What do you see when you look at the picture above? A sweeping staircase in front of an arch, perhaps. But if I were to remove the sweep from the photo, there would be no arch behind it; the photo is a flat arrangement of pixels. Flat? Not even that. It is all light shining from a single LCD layer on your screen. The reality you think you see has been eliminated, or at least minimalized to an illumination – a generation of waves to meet your retinas. And what is behind this laminate?

Books on linguistics for non-linguists

I recently asked Twitter for suggestions for introductory books on linguistics I could recommend to people who have no background in it and don’t want a full-on university text. Here’s what I got. If you have more suggestions, do add them in the comments!

Aitchison, Jean. Words in the Mind: An Introduction to the Mental Lexicon.

Crystal, David. What Is Linguistics?

Everett, Daniel. Language: The Cultural Tool.

Jackendoff, Ray. Patterns in the Mind: Language and Human Nature.

Matthews, Peter H. Linguistics: A Very Short Introduction.

Pinker, Steven. The Language Instinct and The Stuff of Thought.

Winkler, Elizabeth Grace. Understanding Language.

Vatikiotis-Bateson, Eric; Déchaine, Rose-Marie; and Burton, Strang. Linguistics for Dummies.

Yule, George. The Study of Language.

An online course was also recommended: Miracles of Human Language: An Introduction to Linguistics. Which reminded me that you can access MIT courseware online for free too (see Introduction to Linguistics, for example), but that is full-on university.

cantabank

“Why can’t a bank job be good enough for you?”

“Oh, mother,” Mark said, stepping down to pavement level, “I can’t abide it. I’d rather sing for my supper.”

“Why not go back to Cambridge,” Mark’s father said from the other side, “and become a scholar of note?”

“There shall be no Cantab ankh of immortality for me,” Mark said. “I am a scholar of notes.” He cleared his throat perfunctorily and hummed a couple of foreshortened notes. Then he mounted the bench again and started into a melody: “Like a song I have to sing, I sing it for you…” He paused, smiled down at his parents, and identified the source: “U2.” And at the same time, he said “You two” and “You too.” He straightened up and continued the song: “Like the words I have to bring, I bring it for you.”

His father looked over his shoulder nervously, then tugged on Mark’s coat. “Do stop, there’s no one around.”

“There will be.” Mark smiled.

“It all seems so… shady,” his mother said, looking down as she nervously kneaded the top of her oversize purse.

“Like a mountebank?” Mark said, stepping down again. He sat on the bench and propped his face on his fist as he lifted an eyebrow towards his mother. “Some charlatan hawking nostrums? A veritable saltimbanco? But the quality of what I give is not concealed. It is experienced first, then paid for. If you are not enchanted, you simply decamp.”

His father pursed his lips in a lemony moue and folded his arms. “With such a vocabulary, why don’t you do better than a street singer?”

“But that’s exactly it,” Mark said, looking up and then standing up. “I am a—” he sprung up once again onto the bench “—cantabank! Cantambanco! One who sings on a bench!” And again into song: “Volare! Ohh! Cantare… sul banco!”

“If you’re singing for your supper,” his father said, looking around again, “you can’t have much of a banquet awaiting.”

“Well, if it keeps me lean, then it keeps me leaning, and I so am banking one way or another.”

His mother reached into her purse and somehow presented a melon. “Have this.”

“Cantaloupe! Thank you, mother.” He took it and set it on the bench. “Can I sing for it?”

“No, just take it as a message, mister cantabank. If you can’t bank on a decent income, you also can’t elope with your girlfriend.”

Mark raised his eyebrows, took a breath, exhaled. “She has decamped. Recanted. Abandoned me…” he tilted his head… “for a banker.”

Then he stood at the canting edge of the bench and began, his eyes upwards: “E lucevan le stelle…”

capybara

Toronto is thrilling right now to the news that two huge rodents are on the loose. Huge. The size of dogs.

Well, I suppose that’s better than having two chupacabras on the loose. Much better, in fact. But these creatures at least have a similar name: they’re capybaras.

How is capybara pronounced? /kapɪˈbɑːrə/ – sort of like it should be the coffee bar at the Copacabana. I’m tempted to say that two of them are gone because the first one escapyed and the second one was a capycat, but that’s trite. You can read more of the saga in this Toronto Star article, “Fugitive High Park Zoo capybaras duo elude search party after morning escape.”

The word capybara comes to us probably from Tupi, a language of South America; it appears to mean ‘grass eater’. The Latin name for these beasties is Hydrochoerus hydrochaeris, which is a Latinization of Greek for ‘water pig’ – twice. (They’re not pigs, true, but neither are guinea pigs, which are capybaras’ closest relatives.) One way or another, they’re tailless things that seem generally inoffensive. Here’s a pet capybara repeatedly doing something like what the High Park duo may have done:

Well, if the door is open, they’re capyble of using it…

My first introduction to the capybara came thanks to the cartoon character The Tick, a prodigiously stupid superhero who, in one concussion-induced daze, encounters a capybara and adopts it as a pet:

Good luck for the capybara that The Tick wasn’t looking for a low-carb lunch. Its meat is eaten in some places, and in fact it can even be eaten during Lent by Catholics in some parts of South America. It’s not threatened – there are lots of them (capyous numbers?), so hunting is quite legal.

But where do you look if you want to find a capybara? Start by looking for other capybaras. They’re very gregarious animals. And where do you find the other capybaras? Down by the water, eating grass, of course. You haven’t forgotten the etymologies already, have you?

We can only assume that when the High Park duo are finally found, that is where they will be. The only problem is that there’s a lot of water and grass in High Park, so it may take a while…

scenicest

“It’s not the scenicest day,” I said to Aina, looking out the train window at a cloudy sky as we headed to Niagara for some wine and walking.*

Or perhaps I should spell that scenic-est, so you know I wasn’t saying it like “see nicest,” even though what is scenicest is nicest to see.

“Is that a word?” you may be thinking – or perhaps typing in an email to me. Well, I used it and you understood it, so yes. But is it a well attested word? No. You can find a couple hundred hits for it on Google, but it’s a safe bet most of them are – as I was – self-consciously using it as an awkward construction rather as Lewis Carroll used curiouser.

Why wouldn’t I just say most scenic? Because I like playing with words. Now it’s your turn: Tell me why scenicest shouldn’t be allowed. It’s a two-syllable word, after all, and it’s quite common to append –er and –est to one- and two-syllable words. The selection of those for which more and most are reserved is almost random-seeming. At the very least, the distinction is not black and white. For some words, it is a matter of personal taste which to use: beautifuller and beautifullest were formerly common enough, but now it seems we see the two-word version as the more beautiful.

I do think that what we see is part of the problem here. For assorted historical reasons (mostly to do with palatalization before front vowels in Latin and Romance languages), c “softens” before e and i. But the sound /k/ does not have an actual allophonic alternation with /s/ in modern English. We just retain the rule about c because of our borrowings from French and Latin. This makes a problem when we have something that sounds fine but runs into a spelling issue. Take chic. Lovely word, stylish, smart. Borrowed from French. By borrowed I mean adopted – actually I mean stolen. Anyway, it’s treated like an English word: it’s one syllable, so instead of saying most chic we often just add the –est and make it chicest.

Which looks horrible on the page. And chic-est looks at least as bad. And you can’t add or swap in a k because chikest would look completely wrong and incomprehensible and would conduce to yet another inaccurate pronunciation, and chickest is chick plus est. Somehow the chicest word to say is one of the unchicest (let’s say least chic) words to write.

Well, what do we expect? It should be supercalifragilisticexpialidocious?

Am I the only one who feels certain that supercalifragilisticexpialidocious should be two words? Normally, morphologically, we can add only other suffixes after a suffix, not a whole new root, let alone a prefix plus a root plus a suffix. And yet that’s what appears to come after the the ic in supercalifragilistic. Another bit of evidence to marshal for its being two words is that the spelling would seem to require a pronunciation like “–listi sexpi–,” which is clearly wrong.

Which takes us back to our problem of the orthographic scenery. Now, –ic words often used to be spelled with a k, as in musick and magick. So could we borrow on that and make it scenickest? Hmm. It looks a bit of a snickerfest. It may also tempt a person to shift the accent onto the second syllable because of the “heavy” consonant ck.

Or we could just keep using it and writing it and people will get used to seeing it and saying it. That’s how a lot of things in English have come to be as they are.

We ought not to be distracted by looks, anyway. A cloudy day may be warm and lovely. Indeed, when the sun is out and it looks most scenic, you are at greater risk of getting burned.

 

*It was not a reference to the fact that we would not be taking in a play at the Shaw Festival, even though scenic referred to the stage a century before it referred to the natural environment – it comes from a Greek word for a stage.

“ಠ ಠ what is that alphabet?” “ ツ easy!”

Another article for The Week! Actually, I wrote this a couple of weeks ago, but it took a while getting posted because they were busy with the thing I wrote my other piece this week about, which shall not be mentioned here.

Anyway, this piece is the necessary sequel to the “How to identify languages” piece. That one focused on the Latin alphabet. This one looks at all the other alphabets. (Well, most of them. The Cree and Cherokee syllabic alphabets were cut to save length. And I skipped a few others that you really are unlikely to bump into.) It even has tips on telling apart languages that use the Cyrillic alphabet – and ones that use Arabic script!

How to identify Asian, African, and Middle Eastern alphabets at a glance