I like how different the language of the sky is from everyday English – indeed, we might give it its own name, Aeroese (though it’s also sometimes, and less aspirationally, called Aviation English). Above all, I love how Aeroese can somehow manage, in its technical, obscuring precision, to capture the high romance of flight – an aspect of my job, no matter how much I love it, that in the cockpit we rarely have reason to consider directly.
(Aeroese may be Vanhoenacker’s coinage: all the citations I found led back to his Aeon essay.)
Good news for liberal-arts majors: “Behind Apple’s Siri, Amazon’s Alexa and Microsoft’s Cortana are not just software engineers. Increasingly, there are poets, comedians, fiction writers, and other artistic types charged with engineering the personalities for a fast-growing crop of artificial intelligence tools.” (“The Next Hot Job in Silicon Valley Is for Poets,” Washington Post.)
I spotted the sign on Van Ness Avenue, near San Francisco’s Civic Center and some distance from Google headquarters (35 miles away), Pier 48 (four miles away and the site of the Google Cloud Platform Users Conference, which begins today), or any other relevant landmark. It’s a short stroll from the ad to the symphony hall and opera house, but I doubt music aficionados are in the target demographic.
Here, for the benefit of everyone who isn’t fluent in Techlish, is my attempt at decryption:
Stuart Elliott, who used to be the New York Times’s advertising columnist, now writes about ads for Media Village. Here’s his take on the commercials that aired during Super Bowl 50. (“Though it's the biggest feel-good day of the year, Madison Avenue tried hard to bring viewers down – not only with those commercials, but also with spots with strange, off-putting and downright weird characters and premises.”
The ABC Family network, stigmatized by that F-word in its name, now calls itself Freeform. Network president Tom Ascheim told the Television Critics Association that the new name “not only elicits the moment of transition in the medium and a sense of ‘creativity’ and ‘spontaneity’ but also evokes [a] younger 14 to 34-year-old audience, whom he’s dubbed ‘becomers’.” So much to ponder in that single sentence. (Hollywood Reporter)
As for the Freeform logo, Brand New dismisses it as “atrocious in either its stacked or horizontal form.”
Into the final weeks of 2015 with one final link roundup!
Lucy Kellaway,who writes about language and writing for the Financial Times,has created Guffipedia, “a repository for the worst jargon I’ve seen over the years.” All the devils are here: onboard more resource, flex-pon-sive, diverse hairdos, etc. ad nauseam. “The point of Guffipedia,” writes Kellaway, “is not just for you to admire the extent of my guff collection, but to help me curate it going forward, as they say in Guffish.” Good point of entry: the many Guffish euphemisms for you’re fired. (Hat tip: Molly Walker.)
In the very beginning, it wasn’t clear that television – coined from Greek tele (far) and Latin-derived vision, and first used in 1907 to describe a purely hypothetical technology – would be the name of the new medium. The alternative telephote was proposed as far back as 1880, and televista in 1904. The American inventor Charles Francis Jenkins, who transmitted pictures of U.S. Secretary of Commerce (and later President) Herbert Hoover in 1923, called his system radiovision. Philo T. Farnsworth, who developed the first working electronic camera tube in 1927, called his invention an image dissector.
Purists like C.P. Scott, the British publisher and politician, sniffed at television’s hybrid origins. “Television? The word is half Latin and half Greek. No good can come of it,” Scott said in 1936.
Read the rest of “Television, in Other Words,” including an explanation of new TV terms such as OTT, cord-never, and household-addressable.