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Journal articles on the topic 'Andreev edge state'

Author: Grafiati
Published: 6 September 2023

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1

Frombach, Daniel, and Patrik Recher. "Tunable effective length of fractional Josephson junctions." Journal of Physics: Condensed Matter 34, no. 16 (February 23, 2022): 164005. http://dx.doi.org/10.1088/1361-648x/ac4dbc.

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Abstract Topological Josephson junctions (TJJs) have been a subject of widespread interest due to their hosting of Majorana zero modes. In long junctions, i.e. junctions where the junction length exceeds the superconducting coherence length, TJJs manifest themselves in specific features of the critical current (Beenakker 2013 Phys. Rev. Lett. 110 017003). Here we propose to couple the helical edge states mediating the TJJ to additional channels or quantum dots, by which the effective junction length can be increased by tunable parameters associated with these couplings, so that such measurements become possible even in short junctions. Besides effective low-energy models that we treat analytically, we investigate realizations by a Kane–Mele model with edge passivation and treat them numerically via tight binding models. In each case, we explicitly calculate the critical current using the Andreev bound state spectrum and show that it differs in effectively long junctions in the cases of strong and weak parity changing perturbations (quasiparticle poisoning).
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2

Verma, Sachin, and Ajay Singh. "Non-equilibrium thermoelectric transport across normal metal–quantum dot–superconductor hybrid system within the Coulomb blockade regime." Journal of Physics: Condensed Matter 34, no. 15 (February 7, 2022): 155601. http://dx.doi.org/10.1088/1361-648x/ac4ced.

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Abstract A detailed investigation of the non-equilibrium steady-state electric and thermoelectric transport properties of a quantum dot (QD) coupled to the normal metallic and s-wave superconducting reservoirs (N–QD–S) are provided within the Coulomb blockade regime. Using non-equilibrium Keldysh Green’s function formalism, initially, various model parameter dependences of thermoelectric transport properties are analysed within the linear response regime. It is observed that the single-particle tunnelling close to the superconducting gap edge can generate a relatively large thermopower and figure of merit. Moreover, the Andreev tunnelling plays a significant role in the suppression of thermopower and figure of merit within the gap region. Further, within the non-linear regime, we discuss two different situations, i.e., the finite voltage biasing between isothermal reservoirs and the finite thermal gradient in the context of thermoelectric heat engine. In the former case, it is shown that the sub-gap Andreev heat current can become finite beyond the linear response regime and play a vital role in asymmetric heat dissipation and thermal rectification effect for low voltage biasing. The rectification of heat current is enhanced for strong on-dot Coulomb interaction and at low background thermal energy. In the latter case, we study the variation of thermovoltage, thermopower, maximum power output, and corresponding efficiency with the applied thermal gradient. These results illustrate that hybrid superconductor–QD nanostructures are promising candidates for the low-temperature thermal applications.
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3

Pereg-Barnea, T., and H. H. Lin. "Andreev edge state on semi-infinite triangular lattice: Detecting the pairing symmetry in Na 0.35 CoO 2 · y H 2 O." Europhysics Letters (EPL) 69, no. 5 (March 2005): 791–97. http://dx.doi.org/10.1209/epl/i2004-10424-x.

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4

Zhitlukhina, E. S., and Paul Seidel. "Detecting Helical Andreev Edge States by Shot-Noise Measurements." METALLOFIZIKA I NOVEISHIE TEKHNOLOGII 44, no. 3 (May 6, 2022): 289–96. http://dx.doi.org/10.15407/mfint.44.03.0289.

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5

Berthe, Julie, Felix Segerer, Emily C. Jennings, Alma Andoni, Marco Testori, Megha Saraiya, Miljenka Vuko, et al. "Abstract 1711: A multi-modal analysis approach leveraging multiplexed spatial phenotyping and multi-omics analysis to better understand the prognostic value of tertiary lymphoid structures in non-small cell lung cancer." Cancer Research 82, no. 12_Supplement (June 15, 2022): 1711. http://dx.doi.org/10.1158/1538-7445.am2022-1711.

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Abstract Introduction: Tertiary Lymphoid Structures (TLS) are highly organized ectopic lymphoid structures found in inflamed or tumor tissues, acting as sites of lymphoid recruitment and immune activation. A high TLS density within the tumor is commonly associated with an increased prognostic effect of TILs and with an improved disease free survival and overall survival for patients. However, the existence of conflicting studies suggest that multiple TLS features should be taken into account when assessing their prognostic value, such as their location, cellular composition, maturation stage and spatial organisation, as those may affect their functionalities. Methods: With the aim of gaining insights into TLS biology and evaluating the prognostic role of TLS in Non-Small Cell Lung Carcinoma (NSCLC) according to their multiple features, we developed a TLS multiplex immunofluorescent (mIF) panel that includes T cell (CD3, CD8), B cell (CD20), Follicular Dendritic cell (CD21, CD23) and mature dendritic cell (DC-LAMP) markers. We deployed this panel across a cohort of primary tumors from NSCLC patients (n=408) and established a mIF image analysis workstream to assess the status and spatial location of each cell within the tissue. A H&E staining of the same tissue section was performed to evaluate mIF spatial data in relation to the tumor context. Additional multi-omics assessments were conducted across the same cohort including; whole exome sequencing, NanoString transcriptomics, and immunohistochemistry (e.g. PD-L1, FOXP3). We have leveraged clinical metadata, including demographics (e.g. age, sex, smoking status) and clinical risk factors (e.g. stage, grade, Standard of Care treatment) with clinical follow up (e.g. OS, PFS) for prevalence analysis, novel biomarker identification, and survival association. Results: Assessment of the prevalence of each cell phenotype within the tumor tissue and TLS (tumor centre vs invasive margin; tumor epithelium vs stroma), the distance between each cell type, and the distance of non-TLS immune cells to the closest TLS will be described, demonstrating the different types of lymphoid aggregates and TLS and their functional status. An integrative analysis combining these spatial biology data with multi-omics and clinical data will be presented evaluating the prognostic value of TLS composition, maturation status and spatial organization, in correlation with additional biomarkers and clinical characteristics. Conclusion: This exploratory study using cutting-edge technologies enables us to better understand how TLS orchestrate an organised anti-tumour response, defining TLS spatial biomarker signatures, TLS gene signatures, and TLS features associated with NSCLC patient outcomes to evaluate in the clinic. Citation Format: Julie Berthe, Felix Segerer, Emily C. Jennings, Alma Andoni, Marco Testori, Megha Saraiya, Miljenka Vuko, Harald Hessel, Andreas Spitzmüller, Mari Heininen-Brown, Jorge Blando, Felicia Ng, Emma Jones, Sophie Willis, Michael Surace, Rieneke van de Ven, Tanja De Gruijl, Helen Angell. A multi-modal analysis approach leveraging multiplexed spatial phenotyping and multi-omics analysis to better understand the prognostic value of tertiary lymphoid structures in non-small cell lung cancer [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 1711.
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6

Abdelhedi, Fatma, and Nabil Derbel. "Volume 2, Issue 3, Special issue on Recent Advances in Engineering Systems (Published Papers) Articles Transmit / Received Beamforming for Frequency Diverse Array with Symmetrical frequency offsets Shaddrack Yaw Nusenu Adv. Sci. Technol. Eng. Syst. J. 2(3), 1-6 (2017); View Description Detailed Analysis of Amplitude and Slope Diffraction Coefficients for knife-edge structure in S-UTD-CH Model Eray Arik, Mehmet Baris Tabakcioglu Adv. Sci. Technol. Eng. Syst. J. 2(3), 7-11 (2017); View Description Applications of Case Based Organizational Memory Supported by the PAbMM Architecture Martín, María de los Ángeles, Diván, Mario José Adv. Sci. Technol. Eng. Syst. J. 2(3), 12-23 (2017); View Description Low Probability of Interception Beampattern Using Frequency Diverse Array Antenna Shaddrack Yaw Nusenu Adv. Sci. Technol. Eng. Syst. J. 2(3), 24-29 (2017); View Description Zero Trust Cloud Networks using Transport Access Control and High Availability Optical Bypass Switching Casimer DeCusatis, Piradon Liengtiraphan, Anthony Sager Adv. Sci. Technol. Eng. Syst. J. 2(3), 30-35 (2017); View Description A Derived Metrics as a Measurement to Support Efficient Requirements Analysis and Release Management Indranil Nath Adv. Sci. Technol. Eng. Syst. J. 2(3), 36-40 (2017); View Description Feedback device of temperature sensation for a myoelectric prosthetic hand Yuki Ueda, Chiharu Ishii Adv. Sci. Technol. Eng. Syst. J. 2(3), 41-40 (2017); View Description Deep venous thrombus characterization: ultrasonography, elastography and scattering operator Thibaud Berthomier, Ali Mansour, Luc Bressollette, Frédéric Le Roy, Dominique Mottier Adv. Sci. Technol. Eng. Syst. J. 2(3), 48-59 (2017); View Description Improving customs’ border control by creating a reference database of cargo inspection X-ray images Selina Kolokytha, Alexander Flisch, Thomas Lüthi, Mathieu Plamondon, Adrian Schwaninger, Wicher Vasser, Diana Hardmeier, Marius Costin, Caroline Vienne, Frank Sukowski, Ulf Hassler, Irène Dorion, Najib Gadi, Serge Maitrejean, Abraham Marciano, Andrea Canonica, Eric Rochat, Ger Koomen, Micha Slegt Adv. Sci. Technol. Eng. Syst. J. 2(3), 60-66 (2017); View Description Aviation Navigation with Use of Polarimetric Technologies Arsen Klochan, Ali Al-Ammouri, Viktor Romanenko, Vladimir Tronko Adv. Sci. Technol. Eng. Syst. J. 2(3), 67-72 (2017); View Description Optimization of Multi-standard Transmitter Architecture Using Single-Double Conversion Technique Used for Rescue Operations Riadh Essaadali, Said Aliouane, Chokri Jebali and Ammar Kouki Adv. Sci. Technol. Eng. Syst. J. 2(3), 73-81 (2017); View Description Singular Integral Equations in Electromagnetic Waves Reflection Modeling A. S. Ilinskiy, T. N. Galishnikova Adv. Sci. Technol. Eng. Syst. J. 2(3), 82-87 (2017); View Description Methodology for Management of Information Security in Industrial Control Systems: A Proof of Concept aligned with Enterprise Objectives. Fabian Bustamante, Walter Fuertes, Paul Diaz, Theofilos Toulqueridis Adv. Sci. Technol. Eng. Syst. J. 2(3), 88-99 (2017); View Description Dependence-Based Segmentation Approach for Detecting Morpheme Boundaries Ahmed Khorsi, Abeer Alsheddi Adv. Sci. Technol. Eng. Syst. J. 2(3), 100-110 (2017); View Description Paper Improving Rule Based Stemmers to Solve Some Special Cases of Arabic Language Soufiane Farrah, Hanane El Manssouri, Ziyati Elhoussaine, Mohamed Ouzzif Adv. Sci. Technol. Eng. Syst. J. 2(3), 111-115 (2017); View Description Medical imbalanced data classification Sara Belarouci, Mohammed Amine Chikh Adv. Sci. Technol. Eng. Syst. J. 2(3), 116-124 (2017); View Description ADOxx Modelling Method Conceptualization Environment Nesat Efendioglu, Robert Woitsch, Wilfrid Utz, Damiano Falcioni Adv. Sci. Technol. Eng. Syst. J. 2(3), 125-136 (2017); View Description GPSR+Predict: An Enhancement for GPSR to Make Smart Routing Decision by Anticipating Movement of Vehicles in VANETs Zineb Squalli Houssaini, Imane Zaimi, Mohammed Oumsis, Saïd El Alaoui Ouatik Adv. Sci. Technol. Eng. Syst. J. 2(3), 137-146 (2017); View Description Optimal Synthesis of Universal Space Vector Digital Algorithm for Matrix Converters Adrian Popovici, Mircea Băbăiţă, Petru Papazian Adv. Sci. Technol. Eng. Syst. J. 2(3), 147-152 (2017); View Description Control design for axial flux permanent magnet synchronous motor which operates above the nominal speed Xuan Minh Tran, Nhu Hien Nguyen, Quoc Tuan Duong Adv. Sci. Technol. Eng. Syst. J. 2(3), 153-159 (2017); View Description A synchronizing second order sliding mode control applied to decentralized time delayed multi−agent robotic systems: Stability Proof Marwa Fathallah, Fatma Abdelhedi, Nabil Derbel Adv. Sci. Technol. Eng. Syst. J. 2(3), 160-170 (2017); View Description Fault Diagnosis and Tolerant Control Using Observer Banks Applied to Continuous Stirred Tank Reactor Martin F. Pico, Eduardo J. Adam Adv. Sci. Technol. Eng. Syst. J. 2(3), 171-181 (2017); View Description Development and Validation of a Heat Pump System Model Using Artificial Neural Network Nabil Nassif, Jordan Gooden Adv. Sci. Technol. Eng. Syst. J. 2(3), 182-185 (2017); View Description Assessment of the usefulness and appeal of stigma-stop by psychology students: a serious game designed to reduce the stigma of mental illness Adolfo J. Cangas, Noelia Navarro, Juan J. Ojeda, Diego Cangas, Jose A. Piedra, José Gallego Adv. Sci. Technol. Eng. Syst. 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7

Biran, Yahav, George Collins, Borky John M, and Joel Dubow. "Volume 2, Issue 3, Special issue on Recent Advances in Engineering Systems (Published Papers) Articles Transmit / Received Beamforming for Frequency Diverse Array with Symmetrical frequency offsets Shaddrack Yaw Nusenu Adv. Sci. Technol. Eng. Syst. J. 2(3), 1-6 (2017); View Description Detailed Analysis of Amplitude and Slope Diffraction Coefficients for knife-edge structure in S-UTD-CH Model Eray Arik, Mehmet Baris Tabakcioglu Adv. Sci. Technol. Eng. Syst. J. 2(3), 7-11 (2017); View Description Applications of Case Based Organizational Memory Supported by the PAbMM Architecture Martín, María de los Ángeles, Diván, Mario José Adv. Sci. Technol. Eng. Syst. J. 2(3), 12-23 (2017); View Description Low Probability of Interception Beampattern Using Frequency Diverse Array Antenna Shaddrack Yaw Nusenu Adv. Sci. Technol. Eng. Syst. J. 2(3), 24-29 (2017); View Description Zero Trust Cloud Networks using Transport Access Control and High Availability Optical Bypass Switching Casimer DeCusatis, Piradon Liengtiraphan, Anthony Sager Adv. Sci. Technol. Eng. Syst. J. 2(3), 30-35 (2017); View Description A Derived Metrics as a Measurement to Support Efficient Requirements Analysis and Release Management Indranil Nath Adv. Sci. Technol. Eng. Syst. J. 2(3), 36-40 (2017); View Description Feedback device of temperature sensation for a myoelectric prosthetic hand Yuki Ueda, Chiharu Ishii Adv. Sci. Technol. Eng. Syst. J. 2(3), 41-40 (2017); View Description Deep venous thrombus characterization: ultrasonography, elastography and scattering operator Thibaud Berthomier, Ali Mansour, Luc Bressollette, Frédéric Le Roy, Dominique Mottier Adv. Sci. Technol. Eng. Syst. J. 2(3), 48-59 (2017); View Description Improving customs’ border control by creating a reference database of cargo inspection X-ray images Selina Kolokytha, Alexander Flisch, Thomas Lüthi, Mathieu Plamondon, Adrian Schwaninger, Wicher Vasser, Diana Hardmeier, Marius Costin, Caroline Vienne, Frank Sukowski, Ulf Hassler, Irène Dorion, Najib Gadi, Serge Maitrejean, Abraham Marciano, Andrea Canonica, Eric Rochat, Ger Koomen, Micha Slegt Adv. Sci. Technol. Eng. Syst. J. 2(3), 60-66 (2017); View Description Aviation Navigation with Use of Polarimetric Technologies Arsen Klochan, Ali Al-Ammouri, Viktor Romanenko, Vladimir Tronko Adv. Sci. Technol. Eng. Syst. J. 2(3), 67-72 (2017); View Description Optimization of Multi-standard Transmitter Architecture Using Single-Double Conversion Technique Used for Rescue Operations Riadh Essaadali, Said Aliouane, Chokri Jebali and Ammar Kouki Adv. Sci. Technol. Eng. Syst. J. 2(3), 73-81 (2017); View Description Singular Integral Equations in Electromagnetic Waves Reflection Modeling A. S. Ilinskiy, T. N. Galishnikova Adv. Sci. Technol. Eng. Syst. J. 2(3), 82-87 (2017); View Description Methodology for Management of Information Security in Industrial Control Systems: A Proof of Concept aligned with Enterprise Objectives. Fabian Bustamante, Walter Fuertes, Paul Diaz, Theofilos Toulqueridis Adv. Sci. Technol. Eng. Syst. J. 2(3), 88-99 (2017); View Description Dependence-Based Segmentation Approach for Detecting Morpheme Boundaries Ahmed Khorsi, Abeer Alsheddi Adv. Sci. Technol. Eng. Syst. J. 2(3), 100-110 (2017); View Description Paper Improving Rule Based Stemmers to Solve Some Special Cases of Arabic Language Soufiane Farrah, Hanane El Manssouri, Ziyati Elhoussaine, Mohamed Ouzzif Adv. Sci. Technol. Eng. Syst. J. 2(3), 111-115 (2017); View Description Medical imbalanced data classification Sara Belarouci, Mohammed Amine Chikh Adv. Sci. Technol. Eng. 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J. 2(3), 153-159 (2017); View Description A synchronizing second order sliding mode control applied to decentralized time delayed multi−agent robotic systems: Stability Proof Marwa Fathallah, Fatma Abdelhedi, Nabil Derbel Adv. Sci. Technol. Eng. Syst. J. 2(3), 160-170 (2017); View Description Fault Diagnosis and Tolerant Control Using Observer Banks Applied to Continuous Stirred Tank Reactor Martin F. Pico, Eduardo J. Adam Adv. Sci. Technol. Eng. Syst. J. 2(3), 171-181 (2017); View Description Development and Validation of a Heat Pump System Model Using Artificial Neural Network Nabil Nassif, Jordan Gooden Adv. Sci. Technol. Eng. Syst. J. 2(3), 182-185 (2017); View Description Assessment of the usefulness and appeal of stigma-stop by psychology students: a serious game designed to reduce the stigma of mental illness Adolfo J. Cangas, Noelia Navarro, Juan J. Ojeda, Diego Cangas, Jose A. Piedra, José Gallego Adv. Sci. Technol. Eng. Syst. 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J. 2(3), 520-531 (2017); View Description Homemade array of surface coils implementation for small animal magnetic resonance imaging Fernando Yepes-Calderon, Olivier Beuf Adv. Sci. Technol. Eng. Syst. J. 2(3), 532-539 (2017); View Description An Encryption Key for Secure Authentication: The Dynamic Solution Zubayr Khalid, Pritam Paul, Khabbab Zakaria, Himadri Nath Saha Adv. Sci. Technol. Eng. Syst. J. 2(3), 540-544 (2017); View Description Multi-Domain Virtual Network Embedding with Coordinated Link Mapping Shuopeng Li, Mohand Yazid Saidi, Ken Chen Adv. Sci. Technol. Eng. Syst. J. 2(3), 545-552 (2017); View Description Semantic-less Breach Detection of Polymorphic Malware in Federated Cloud." Advances in Science, Technology and Engineering Systems Journal 2, no. 3 (June 2017): 553–61. http://dx.doi.org/10.25046/aj020371.

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8

Kurilovich, Vladislav D., Zachary M. Raines, and Leonid I. Glazman. "Disorder-enabled Andreev reflection of a quantum Hall edge." Nature Communications 14, no. 1 (April 19, 2023). http://dx.doi.org/10.1038/s41467-023-37794-1.

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AbstractWe develop a theory of charge transport along the quantum Hall edge proximitized by a superconductor. We note that generically Andreev reflection of an edge state is suppressed if translation invariance along the edge is preserved. Disorder in a “dirty” superconductor enables the Andreev reflection but makes it random. As a result, the conductance of a proximitized segment is a stochastic quantity with giant sign-alternating fluctuations and zero average. We find the statistical distribution of the conductance and its dependence on electron density, magnetic field, and temperature. Our theory provides an explanation of a recent experiment with a proximitized edge state.
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Takagaki, Y. "Magnetotransport in graphene nanoribbons sandwiched by superconductors at side edges." Journal of Physics: Condensed Matter, May 16, 2022. http://dx.doi.org/10.1088/1361-648x/ac7024.

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Abstract Magnetotransport properties of the graphene nanoribbons that are in contact with superconductors at side edges are investigated numerically with respect to oscillations caused by the cyclotron motion. In terms of the modelling, the superconductors are incorporated as superconducting graphene nanoribbons to make the Andreev reflection at the graphene-superconductor interface almost perfect. The classical commensurability oscillation appears at low magnetic fields where the cyclotron radius is larger than the width of the nanoribbons. A transition to the circumstance dominated by the quantum interference between Andreev- and normal-reflected components takes place when the Andreev reflection probability is reduced by introducing a barrier at the interface. The near perfection of the Andreev reflection enlarges the period of the oscillation associated with skipping orbits a few orders of magnitude in the quantum limit. Chaotic fluctuations emerge furthermore in the regime of Hofstadter’s butterfly. The periodicity of a transmission modulation at the onset of the chaos is revealed to change continuously over eight orders of magnitude of the magnetic-field variation. The commensurability and edge-state oscillations are examined additionally for the situations with specular Andreev reflection.
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Michelsen, Andreas Bock, Patrik Recher, Bernd Braunecker, and Thomas L. Schmidt. "Supercurrent-enabled Andreev reflection in a chiral quantum Hall edge state." Physical Review Research 5, no. 1 (January 31, 2023). http://dx.doi.org/10.1103/physrevresearch.5.013066.

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Lian, Biao, Jing Wang, and Shou-Cheng Zhang. "Edge-state-induced Andreev oscillation in quantum anomalous Hall insulator-superconductor junctions." Physical Review B 93, no. 16 (April 7, 2016). http://dx.doi.org/10.1103/physrevb.93.161401.

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Sahu, Manas Ranjan, Arup Kumar Paul, Jagannath Sutradhar, K. Watanabe, T. Taniguchi, Vibhor Singh, Subroto Mukerjee, Sumilan Banerjee, and Anindya Das. "Quantized conductance with nonzero shot noise as a signature of Andreev edge state." Physical Review B 104, no. 8 (August 18, 2021). http://dx.doi.org/10.1103/physrevb.104.l081404.

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13

Yao, Cheng-Zhe, and Wei-Min Zhang. "The differential conductance tunnel spectroscopy in an analytical solvable two-terminal Majorana device." New Journal of Physics, June 28, 2022. http://dx.doi.org/10.1088/1367-2630/ac7c85.

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Abstract In this paper, we investigate the non-Markovian quantum transport dynamics of a two-terminal Majorana device that is made of an asymmetric topological superconducting chain coupled to two leads. This asymmetric superconducting chain is analytically solvable and can be realized by a hybrid system of semiconductor nanowire coupled to superconductors or by 1D transverse-field Ising chains. In such asymmetric superconducting chains, by the change of chemical potential, its ground state undergoes a topological quantum phase transition from the topological Majorana bound state to the trivial Andreev bound state while the ground state energy remains zero. We solve the exact transient transport current and the corresponding dierential conductance. The results show that the presence or absence of the interference between the left and right Majorana zero modes plays an important role on the topological phase transition of conductance. It cause the edge-localized topologically trivial states to be insulated with zero conductance, while the nonlocally distributed topologically nontrivial states always have a quantized conductance 2e^2/h. This dramatic change associated with topological phase transition for zero-mode dierential conductance at zero bias is independent of the structure of leads and the coupling strength. We also examine the finite size effect of the superconducting chain and the coherence effect between zero mode and non-zero energy modes on the differential conductance in this two-terminal Majorana device.
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Matsubara, Shun, and Hiroshi Kontani. "Emergence of d±ip -wave superconducting state at the edge of d -wave superconductors mediated by ferromagnetic fluctuations driven by Andreev bound states." Physical Review B 101, no. 23 (June 1, 2020). http://dx.doi.org/10.1103/physrevb.101.235103.

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Misra, S., S. Oh, D. J. Hornbaker, T. DiLuccio, J. N. Eckstein, and A. Yazdani. "Formation of an Andreev bound state at the step edges ofBi2Sr2CaCu2O8+δsurface." Physical Review B 66, no. 10 (September 30, 2002). http://dx.doi.org/10.1103/physrevb.66.100510.

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Hauksson, Egill, and Lucile M. Jones. "Seismicity, Stress State, and Style of Faulting of the Ridgecrest-Coso Region from the 1930s to 2019: Seismotectonics of an Evolving Plate Boundary Segment." Bulletin of the Seismological Society of America, June 2, 2020. http://dx.doi.org/10.1785/0120200051.

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ABSTRACT Decadal scale variations in the seismicity rate in the Ridgecrest-Coso region, part of the Eastern California Shear Zone, included seismic quiescence from the 1930s to the early 1980s, followed by increased seismicity until the 2019 Mw 6.4 and 7.1 Ridgecrest sequence. This sequence exhibited complex rupture on almost orthogonal faults and triggered aftershocks over an area of ∼90 km long by ∼5–10 km wide, which is a fraction of the area of the previously seismically active Indian Wells Valley and Coso range region. During the last 40 yr, the seismicity has been predominantly the result of strike-slip motion, extending north from the Garlock fault, along the Little Lake and Airport Lake fault zones, and approaching the southernmost Owens Valley fault to the north. The Coso range forms an extensional stepover between these two strike-slip fault systems. This evolution of a plate boundary zone is driven by the northwestward motion of the Sierra Nevada, and crustal extension along the southwestern edge of the Basin and Range Province. Stress inversion of focal mechanisms shows that the postseismic stress state consists of almost horizontal σ1 and vertical σ2. The σ1 is spatially rotated across the Coso range stepover with σ1-trending ∼N17° E to the north, whereas, along the Mw 7.1 mainshock rupture, the trend is ∼N6° E. The friction angles as measured between fault strikes and the σ1 trends correspond to a frictional coefficient of 0.75, suggesting average fault strength. In comparison, the mature Garlock fault has a smaller frictional coefficient of 0.28, similar to weak faults like the San Andreas fault. Thus, it appears that the heterogeneously oriented and spatially distributed but strong Ridgecrest-Coso faults accommodate seismicity at seemingly random places and times within the region and are in the process of self-organizing to form a major throughgoing plate-boundary segment.
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Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (July 24, 2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growing acceptability of devoting academic effort to texts that would once have fallen outside of the remit of “serious” study. In the seventies, when Gothic studies was just beginning to establish itself, there was a perception that the Gothic was “merely a literature of surfaces and sensations”, and that any Gothic of substantial literary worth had transcended the genre (Thompson 1). Early specialists in the field noted this prejudice; David Punter wrote of the genre’s “difficulty in establishing respectable credentials” (403), while Eve Kosofsky Sedgwick hoped her work would “make it easier for the reader of ‘respectable’ nineteenth-century novels to write ‘Gothic’ in the margin” (4). Gothic studies has gathered a modicum of this longed-for respectability for the texts it treats by deploying the methodologies used within literature departments. This has yielded readings that are largely congruous with readings of other sorts of literature; the Gothic text tells us things about ourselves and the world we inhabit, about power, culture and history. Yet the Gothic remains a production of popular culture as much as it is of the valorised literary field. I do not wish to argue for a reintroduction of the great divide described by Andreas Huyssen, but instead to suggest that we have missed something important about the ways in which popular Gothics—and perhaps other sorts of popular text—function. What if the popular Gothic were not a type of work, but a kind of play? How might this change the way we read these texts? Johan Huizinga noted that “play is not ‘ordinary’ or ‘real’ life. It is rather a stepping out of ‘real’ life into a temporary sphere of activity with a disposition all of its own. Every child knows perfectly well he is ‘only pretending’, or that it was ‘only for fun’” (8). If the Gothic sometimes offers playful texts, then those texts might direct readers not primarily towards the real, but away from it, at least for a limited time. This might help to account for the wicked spectacle offered by Dennis Wheatley’s The Devil Rides Out, and in particular, its presentation of the black mass. The black mass is the parody of the Christian mass thought to be performed by witches and diabolists. Although it has doubtless been performed on rare occasions since the Middle Ages, the first black mass for which we have substantial documentary evidence was celebrated in Hampstead on Boxing Day 1918, by Montague Summers; it is a satisfying coincidence that Summers was one of the Gothic’s earliest scholars. We have record of Summer’s mass because it was watched by a non-participant, Anatole James, who was “bored to tears” as Summers recited tracts of Latin and practiced homosexual acts with a youth named Sullivan while James looked on (Medway 382-3). Summers claimed to be a Catholic priest, although there is some doubt as to the legitimacy of his ordination. The black mass ought to be officiated by a Catholic clergyman so the host may be transubstantiated before it is blasphemed. In doing so, the mass de-emphasises interpretive meaning and is an assault on the body of Christ rather than a mutilation of the symbol of Christ’s love and sacrifice. Thus, it is not conceived of primarily as a representational act but as actual violence. Nevertheless, Summers’ black mass seems like an elaborate form of sexual play more than spiritual warfare; by asking an acquaintance to observe the mass, Summers formulated the ritual as an erotic performance. The black mass was a favourite trope of the English Gothic of the nineteen-sixties and seventies. Dennis Wheatley’s The Devil Rides Out features an extended presentation of the mass; it was first published in 1934, but had achieved a kind of genre-specific canonicity by the nineteen-sixties, so that many Gothics produced and consumed in the sixties and seventies featured depictions of the black mass that drew from Wheatley’s original. Like Summers, Wheatley’s mass emphasised licentious sexual practice and, significantly, featured a voyeur or voyeurs watching the performance. Where James only wished Summers’ mass would end, Wheatley and his followers presented the mass as requiring interruption before it reaches a climax. This version of the mass recurs in most of Wheatley’s black magic novels, but it also appears in paperback romances, such as Susan Howatch’s 1973 The Devil on Lammas Night; it is reimagined in the literate and genuinely eerie short stories of Robert Aickman, which are just now thankfully coming back into print; it appears twice in Mervyn Peake’s Gormenghast books. Nor was the black mass confined to the written Gothic, appearing in films of the period too; The Kiss of the Vampire (1963), The Witches (1966), Satan’s Skin, aka Blood on Satan’s Claw (1970), The Wicker Man (1973), and The Satanic Rites of Dracula (1974) all feature celebrations of the Sabbat, as, of course do the filmed adaptations of Wheatley’s novels, The Devil Rides Out (1967) and To the Devil a Daughter (1975). More than just a key trope, the black mass was a procedure characteristic of the English Gothic of the sixties; narratives were structured so as to lead towards its performance. All of the texts mentioned above repeat narrative and trope, but more importantly, they loosely repeat experience, both for readers and the characters depicted. While Summers’ black mass apparently made for tiresome viewing, textual representations of the black mass typically embrace the pageant and sensuality of the Catholic mass it perverts, involving music, incense and spectacle. Often animalistic sex, bestiality, infanticide or human sacrifice are staged, and are intended to fascinate rather than bore. Although far from canonical in a literary sense, by 1969 Wheatley was an institution. He had sold 27 million books worldwide and around 70 percent of those had been within the British market. All of his 55 books were in print. A new Wheatley in hardcover would typically sell 30,000 copies, and paperback sales of his back catalogue stood at more than a million books a year. While Wheatley wrote thrillers in a range of different subgenres, at the end of the sixties it was his ‘black magic’ stories that were far and away the most popular. While moderately successful when first published, they developed their most substantial audience in the sixties. When The Satanist was published in paperback in 1966, it sold more than 100,000 copies in the first ten days. By 1973, five of these eight black magic titles had sold more than a million copies. The first of these was The Devil Rides Out which, although originally published in 1934, by 1973, helped by the Hammer film of 1967, had sold more than one and a half million copies, making it the most successful of the group (“Pooter”; Hedman and Alexandersson 20, 73). Wheatley’s black magic stories provide a good example of the way that texts persist and accumulate influence in a genre field, gaining genre-specific canonicity. Wheatley’s apparent influence on Gothic texts and films that followed, coupled with the sheer number of his books sold, indicate that he occupied a central position in the field, and that his approach to the genre became, for a time, a defining one. Wheatley’s black magic stories apparently developed a new readership in the sixties. The black mass perhaps became legible as a salacious, nightmarish version of some imaginary hippy gathering. While Wheatley’s Satanists are villainous, there is a vaguely progressive air about them; they listen to unconventional music, dance in the nude, participate in unconventional sexual practice, and glut themselves on various intoxicants. This, after all, was the age of Hair, Oh! Calcutta! and Oz magazine, “an era of personal liberation, in the view of some critics, one of moral anarchy” (Morgan 149). Without suggesting that the Satanists represent hippies there is a contextual relevancy available to later readers that would have been missing in the thirties. The sexual zeitgeist would have allowed later readers to pornographically and pleasurably imagine the liberated sexuality of the era without having to approve of it. Wheatley’s work has since become deeply, embarrassingly unfashionable. The books are racist, sexist, homophobic and committed to a basically fascistic vision of an imperial England, all of which will repel most casual readers. Nor do his works provide an especially good venue for academic criticism; all surface, they do not reward the labour of careful, deep reading. The Devil Rides Out narrates the story of a group of friends locked in a battle with the wicked Satanist Mocata, “a pot-bellied, bald headed person of about sixty, with large, protuberant, fishy eyes, limp hands, and a most unattractive lisp” (11), based, apparently, on the notorious occultist Aleister Crowley (Ellis 145-6). Mocata hopes to start a conflict on the scale of the Great War by performing the appropriate devilish rituals. Led by the aged yet spry Duke de Richleau and garrulous American Rex van Ryn, the friends combat Mocata in three substantial set pieces, including their attempt to disrupt the black mass as it is performed in a secluded field in Wiltshire. The Devil Rides Out is a ripping story. Wheatley’s narrative is urgent, and his simple prose suggests that the book is meant to be read quickly. Likewise, Wheatley’s protagonists do not experience in any real way the crises and collapses that so frequently trouble characters who struggle against the forces of darkness in Gothic narratives. Even when de Richlieu’s courage fails as he observes the Wiltshire Sabbat, this failure is temporary; Rex simply treats him as if he has been physically wounded, and the Duke soon rallies. The Devil Rides Out is remarkably free of trauma and its sequelæ. The morbid psychological states which often interest the twentieth century Gothic are excluded here in favour of the kind of emotional fortitude found in adventure stories. The effect is remarkable. Wheatley retains a cheerful tone even as he depicts the appalling, and potentially repellent representations become entertainments. Wheatley describes in remarkable detail the actions that his protagonists witness from their hidden vantage point. If the Gothic reader looks forward to gleeful blasphemy, then this is amply provided, in the sort of sardonic style that Lewis’ The Monk manages so well. A cross is half stomped into matchwood and inverted in the ground, the Christian host is profaned in a way too dreadful to be narrated, and the Duke informs us that the satanic priests are eating “a stillborn baby or perhaps some unfortunate child that they have stolen and murdered”. Rex is chilled by the sound of a human skull rattling around in their cauldron (117-20). The mass offers a special quality of experience, distinct from the everyday texture of life represented in the text. Ostensibly waiting for their chance to liberate their friend Simon from the action, the Duke and Rex are voyeurs, and readers participate in this voyeurism too. The narrative focus shifts from Rex and de Richlieu’s observation of the mass, to the wayward medium Tanith’s independent, bespelled arrival at the ritual site, before returning to the two men. This arrangement allows Wheatley to extend his description of the gathering, reiterating the same events from different characters’ perspectives. This would be unusual if the text were simply a thriller, and relied on the ongoing release of new information to maintain narrative interest. Instead, readers have the opportunity to “view” the salacious activity of the Satanists a second time. This repetition delays the climactic action of the scene, where the Duke and Rex rescue Simon by driving a car into the midst of the ritual. Moreover, the repetition suggests that the “thrill” on offer is not necessarily related to plot —it offers us nothing new —but instead to simply seeing the rite performed. Tanith, although conveyed to the mass by some dark power, is delayed and she too becomes a part of the mass’ audience. She saw the Satanists… tumbling upon each other in the disgusting nudity of their ritual dance. Old Madame D’Urfé, huge-buttocked and swollen, prancing by some satanic power with all the vigour of a young girl who had only just reached maturity; the Babu, dark-skinned, fleshy, hideous; the American woman, scraggy, lean-flanked and hag-like with empty, hanging breasts; the Eurasian, waving the severed stump of his arm in the air as he gavotted beside the unwieldy figure of the Irish bard, whose paunch stood out like the grotesque belly of a Chinese god. (132) The reader will remember that Madame D’Urfé is French, and that the cultists are dancing before the Goat of Mendes, who masquerades as Malagasy, earlier described by de Richlieu as “a ‘bad black’ if ever I saw one” (11). The human body is obsessively and grotesquely racialized; Wheatley is simultaneously at his most politically vile and aesthetically Goya-like. The physically grotesque meshes with the crudely sexual and racist. The Irishman is typed as a “bard” and somehow acquires a second racial classification, the Indian is horrible seemingly because of his race, and Madame D’Urfé is repulsive because her sexuality is framed as inappropriate to her age. The dancing crone is defined in terms of a younger, presumably sexually appealing, woman; even as she is denigrated, the reader is presented with a contrary image. As the sexuality of the Satanists is excoriated, titillation is offered. Readers may take whatever pleasure they like from the representations while simultaneously condemning them, or even affecting revulsion. A binary opposition is set up between de Richlieu’s company, who are cultured and moneyed, and the Satanists, who might masquerade as civilised, but reveal their savagery at the Sabbat. Their race becomes a further symptom of their lack of civilised qualities. The Duke complains to Rex that “there is little difference between this modern Satanism and Voodoo… We might almost be witnessing some heathen ceremony in an African jungle!” (115). The Satanists become “a trampling mass of bestial animal figures” dancing to music where, “Instead of melody, it was a harsh, discordant jumble of notes and broken chords which beat into the head with a horrible nerve-racking intensity and set the teeth continually on edge” (121). Music and melody are cultural constructions as much as they are mathematical ones. The breakdown of music suggests a breakdown of culture, more specifically, of Western cultural norms. The Satanists feast, with no “knives, forks, spoons or glasses”, but instead drink straight from bottles and eat using their hands (118). This is hardly transgression on the scale of devouring an infant, but emphasises that Satanism is understood to represent the antithesis of civilization, specifically, of a conservative Englishness. Bad table manners are always a sign of wickedness. This sort of reading is useful in that it describes the prejudices and politics of the text. It allows us to see the black mass as meaningful and places it within a wider discursive tradition making sense of a grotesque dance that combines a variety of almost arbitrary transgressive actions, staged in a Wiltshire field. This style of reading seems to confirm the approach to genre text that Fredric Jameson has espoused (117-9), which understands the text as reinforcing a hegemonic worldview within its readership. This is the kind of reading the academy often works to produce; it recognises the mass as standing for something more than the simple fact of its performance, and develops a coherent account of what the mass represents. The labour of reading discerns the work the text does out in the world. Yet despite the good sense and political necessity of this approach, my suggestion is that these observations are secondary to the primary function of the text because they cannot account for the reading experience offered by the Sabbat and the rest of the text. Regardless of text’s prejudices, The Devil Rides Out is not a book about race. It is a book about Satanists. As Jo Walton has observed, competent genre readers effortlessly grasp this kind of distinction, prioritising certain readings and elements of the text over others (33-5). Failing to account for the reading strategy presumed by author and audience risks overemphasising what is less significant in a text while missing more important elements. Crucially, a reading that emphasises the political implications of the Sabbat attributes meaning to the ritual; yet the ritual’s ability to hold meaning is not what is most important about it. By attributing meaning to the Sabbat, we miss the fact of the Sabbat itself; it has become a metaphor rather than a thing unto itself, a demonstration of racist politics rather than one of the central necessities of a black magic story. Seligman, Weller, Puett and Simon claim that ritual is usually read as having a social purpose or a cultural meaning, but that these readings presume that ritual is interested in presenting the world truthfully, as it is. Seligman and his co-authors take exception to this, arguing that ritual does not represent society or culture as they are and that ritual is “a subjunctive—the creation of an order as if it were truly the case” (20). Rather than simply reflecting history, society and culture, ritual responds to the disappointment of the real; the farmer performs a rite to “ensure” the bounty of the harvest not because the rite symbolises the true order of things, but as a consolation because sometimes the harvest fails. Interestingly, the Duke’s analysis of the Satanists’ motivations closely accords with Seligman et al.’s understanding of the need for ritual to console our anxieties and disappointments. For the cultists, the mass is “a release of all their pent-up emotions, and suppressed complexes, engendered by brooding over imagined injustice, lust for power, bitter hatred of rivals in love or some other type of success or good fortune” (121). The Satanists perform the mass as a response to the disappointment of the participant’s lives; they are ugly, uncivil outsiders and according to the Duke, “probably epileptics… nearly all… abnormal” (121). The mass allows them to feel, at least for a limited time, as if they are genuinely powerful, people who ought to be feared rather than despised, able to command the interest and favour of their infernal lord, to receive sexual attention despite their uncomeliness. Seligman et al. go on to argue ritual “must be understood as inherently nondiscursive—semantic content is far secondary to subjunctive creation.” Ritual “cannot be analysed as a coherent system of beliefs” (26). If this is so, we cannot expect the black mass to necessarily say anything coherent about Satanism, let alone racism. In fact, The Devil Rides Out tends not to focus on the meaning of the black mass, but on its performance. The perceivable facts of the mass are given, often in instructional detail, but any sense of what they might stand for remains unexplicated in the text. Indeed, taken individually, it is hard to make sense or meaning out of each of the Sabbat’s components. Why must a skull rattle around a cauldron? Why must a child be killed and eaten? If communion forms the most significant part of the Christian mass, we could presume that the desecration of the host might be the most meaningful part of the rite, but given the extensive description accorded the mass as a whole, the parody of communion is dealt with surprisingly quickly, receiving only three sentences. The Duke describes the act as “the most appalling sacrilege”, but it is left at that as the celebrants stomp the host into the ground (120). The action itself is emphasised over anything it might mean. Most of Wheatley’s readers will, I think, be untroubled by this. As Pierre Bourdieu noted, “the regularities inherent in an arbitrary condition… tend to appear as necessary, even natural, since they are the basis of the schemes of perception and appreciation through which they are apprehended” (53-4). Rather than stretching towards an interpretation of the Sabbat, readers simply accept it a necessary condition of a “black magic story”. While the genre and its tropes are constructed, they tend to appear as “natural” to readers. The Satanists perform the black mass because that is what Satanists do. The representation does not even have to be compelling in literary terms; it simply has to be a “proper” black mass. Richard Schechner argues that, when we are concerned with ritual, “Propriety”, that is, seeing the ritual properly executed, “is more important than artistry in the Euro-American sense” (178). Rather than describing the meaning of the ritual, Wheatley prefers to linger over the Satanist’s actions, their gluttonous feasting and dancing, their nudity. Again, these are actions that hold sensual qualities for their performers that exceed the simply discursive. Through their ritual behaviour they enter into atavistic and ecstatic states beyond everyday human consciousness. They are “hardly human… Their brains are diseased and their mentality is that of the hags and the warlocks of the middle ages…” and are “governed apparently by a desire to throw themselves back into a state of bestiality…” (117-8). They finally reach a state of “maniacal exaltation” and participate in an “intoxicated nightmare” (135). While the mass is being celebrated, the Satanists become an undifferentiated mass, their everyday identities and individuality subsumed into the subjunctive world created by the ritual. Simon, a willing participant, becomes lost amongst them, his individual identity given over to the collective, subjunctive state created by the group. Rex and the Duke are outside of this subjunctive world, expressing revulsion, but voyeuristically looking on; they retain their individual identities. Tanith is caught between the role played by Simon, and the one played by the Duke and Rex, as she risks shifting from observer to participant, her journey to the Sabbat being driven on by “evil powers” (135). These three relationships to the Sabbat suggest some of the strategies available to its readers. Like Rex and the Duke, we seem to observe the black mass as voyeurs, and still have the option of disapproving of it, but like Simon, the act of continuing to read means that we are participating in the representation of this perversity. Having committed to reading a “black magic story”, the reader’s procession towards the black mass is inevitable, as with Tanith’s procession towards it. Yet, just as Tanith is compelled towards it, readers are allowed to experience the Sabbat without necessarily having to see themselves as wanting to experience it. This facilitates a ludic, undiscursive reading experience; readers are not encouraged to seriously reflect on what the Sabbat means or why it might be a source of vicarious pleasure. They do not have to take responsibility for it. As much as the Satanists create a subjunctive world for their own ends, readers are creating a similar world for themselves to participate in. The mass—an incoherent jumble of sex and violence—becomes an imaginative refuge from the everyday world which is too regulated, chaste and well-behaved. Despite having substantial precedent in folklore and Gothic literature (see Medway), the black mass as it is represented in The Devil Rides Out is largely an invention. The rituals performed by occultists like Crowley were never understood by their participants as being black masses, and it was not until the foundation of the Church of Satan in San Francisco in the later nineteen-sixties that it seems the black mass was performed with the regularity or uniformity characteristic of ritual. Instead, its celebration was limited to eccentrics and dabblers like Summers. Thus, as an imaginary ritual, the black mass can be whatever its writers and readers need it to be, providing the opportunity to stage those actions and experiences required by the kind of text in which it appears. Because it is the product of the requirements of the text, it becomes a venue in which those things crucial to the text are staged; forbidden sexual congress, macabre ceremony, violence, the appearance of intoxicating and noisome scents, weird violet lights, blue candle flames and the goat itself. As we observe the Sabbat, the subjunctive of the ritual aligns with the subjunctive of the text itself; the same ‘as if’ is experienced by both the represented worshippers and the readers. The black mass offers an analogue for the black magic story, providing, almost in digest form, the images and experiences associated with the genre at the time. Seligman et al. distinguish between modes that they term the sincere and the ritualistic. Sincerity describes an approach to reading the world that emphasises the individual subject, authenticity, and the need to get at “real” thought and feeling. Ritual, on the other hand, prefers community, convention and performance. The “sincere mode of behavior seeks to replace the ‘mere convention’ of ritual with a genuine and thoughtful state of internal conviction” (103). Where the sincere is meaningful, the ritualistic is practically oriented. In The Devil Rides Out, the black mass, a largely unreal practice, must be regarded as insincere. More important than any “meaning” we might extract from the rite is the simple fact of participation. The individuality and agency of the participants is apparently diminished in the mass, and their regular sense of themselves is recovered only as the Duke and Rex desperately drive the Duke’s Hispano into the ritual so as to halt it. The car’s lights dispel the subjunctive darkness and reduce the unified group to a gathering of confused individuals, breaking the spell of naughtily enabling darkness. Just as the meaningful aspect of the mass is de-emphasised for ritual participants, for readers, self and discursive ability are de-emphasised in favour of an immersive, involving reading experience; we keep reading the mass without pausing to really consider the mass itself. It would reduce our pleasure in and engagement with the text to do so; the mass would be revealed as obnoxious, unpleasant and nonsensical. When we read the black mass we tend to put our day-to-day values, both moral and aesthetic, to one side, bracketing our sincere individuality in favour of participation in the text. If there is little point in trying to interpret Wheatley’s black mass due to its weakly discursive nature, then this raises questions of how to approach the text. Simply, the “work” of interpretation seems unnecessary; Wheatley’s black mass asks to be regarded as a form of play. Simply, The Devil Rides Out is a venue for a particular kind of readerly play, apart from the more substantial, sincere concerns that occupy most literary criticism. As Huizinga argued that, “Play is distinct from ‘ordinary’ life both as to locality and duration… [A significant] characteristic of play [is] its secludedness, its limitedness” (9). Likewise, by seeing the mass as a kind of play, we can understand why, despite the provocative and transgressive acts it represents, it is not especially harrowing as a reading experience. Play “lies outside the antithesis of wisdom and folly, and equally outside those of truth and falsehood, good and evil…. The valuations of vice and virtue do not apply...” (Huizinga 6). The mass might well offer barbarism and infanticide, but it does not offer these to its readers “seriously”. The subjunctive created by the black mass for its participants on the page is approximately equivalent to the subjunctive Wheatley’s text proposes to his readers. The Sabbat offers a tawdry, intoxicated vision, full of strange performances, weird lights, queer music and druggy incenses, a darkened carnival apart from the real that is, despite its apparent transgressive qualities and wretchedness, “only playing”. References Bourdieu, Pierre. The Logic of Practice. Trans. Richard Nice. Stanford: Stanford UP, 1990. Ellis, Bill. Raising the Devil: Satanism, New Religions, and the Media. Lexington: The UP of Kentucky, 2000. Hedman, Iwan, and Jan Alexandersson. Four Decades with Dennis Wheatley. DAST Dossier 1. Köping 1973. Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington and Indianapolis: Indiana UP, 1986. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. London: Routledge, 1989. Huizinga, J. Homo Ludens: A Study of the Play-Element in Culture. International Library of Sociology. London: Routledge & Kegan Paul, 1949. Medway, Gareth J. The Lure of the Sinister: The Unnatural History of Satanism. New York: New York UP, 2001. “Pooter.” The Times 19 August 1969: 19. Punter, David. The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London: Longman, 1980. Schechner, Richard. Performance Theory. Revised and Expanded ed. New York: Routledge, 1988. Sedgwick, Eve Kosofsky. The Coherence of Gothic Conventions. 1980. New York: Methuen, 1986. Seligman, Adam B, Robert P. Weller, Michael J. Puett and Bennett Simon. Ritual and Its Consequences: An Essay on the Limits of Sincerity. Oxford: Oxford UP, 2008. Thompson, G.R. Introduction. “Romanticism and the Gothic Imagination.” The Gothic Imagination: Essays in Dark Romanticism. Ed. G.R. Thompson. Pullman: Washington State UP, 1974. 1-10. Wheatley, Dennis. The Devil Rides Out. 1934. London: Mandarin, 1996.
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18

Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (June 11, 2014). http://dx.doi.org/10.5204/mcj.802.

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Abstract:
No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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