Journal articles on the topic 'Radio lines:ISM'

AbstractCold, diffuse HI clouds are a key component of the interstellar medium (ISM), and play an important role in the evolution of galaxies. Carbon radio recombination lines (CRRLs) trace this ISM stage, and with the enormous sensitivity of LOFAR we have already begun to map and constrain the physical properties of this gas in our own Galaxy. Using LOFAR's low band antenna, we have observed M 82 and present the first ever extragalactic detection of CRRLs. We stack 22 lines to find a 8.5-sigma detection. The line peak to continuum ratio is ∼0.003, with a FWHM of 31 km s−1. The CRRL feature is consistent with an origin in the cold, neutral medium in the direction of the nucleus of M 82.

Gigahertz Peak Spectrum (GPS) and Compact Steep Spectrum (CSS) sources have attracted a large amount of attention in recent years since they occupy a surprisingly large fraction of the extragalactic radio source population. In this paper we summarise a theory which attempts to unify the optical emission line and radio properties of these sources. In outline the theory is as follows: The bow shock preceding the radio lobe driven into the ISM by a powerful radio jet ionizes the ISM producing both optical line emission and a free-free absorbing screen. The free-free absorption can explain the relationship between size and turnover frequency (Stanghellini et al., 1995) and the prediction of the line emission is in accord with the observation for a small sample of sources for which optical data are available.

AbstractHyperfine structure (HFS) line of 14N VII ion with rest frequency of ν = 53.04 GHz should be detectable from the interstellar medium in some of the densest and coolest cores of elliptical galaxies at redshifts exceeding 0.15 or so.

AbstractThis paper summarizes how multi-wavelength measurements will be aggregated to determine Galactic structure in the interstellar medium (ISM) and produce the next-generation electron density model. Fluctuations in density and magnetic field from parsec scales down to about 1000 km cause a number of propagation effects in both radio waves and cosmic rays. Density microstructure appears to include Kolmogorov-like turbulence. The next generation electron-density model, NE2012, will include about double the number of lines of sight with dispersion and scattering measurements and it will be anchored with a much larger number of pulsar parallax distances. The foreground Galactic model is crucial for inferring similar ionized structures in the intergalactic medium (IGM) from scattering measurements on high-z objects. Intergalactic scattering is discussed with reference to distant sources of radio bursts. In particular, the cosmological radio scattering horizon is defined along with its analog for the ISM.

AbstractThe study of both neutral and ionised gas in young radio sources is providing key information on the effect the radio plasma has on the ISM of these objects. We present results obtained for the compact radio sources PKS 1549–79, 4C 12.50 and PKS 1814–63 and for the intermediate-size radio galaxy 3C 459. At least in the first two, low ionisation optical emission lines and HI absorption appear to be associated with the extended, but relatively quiescent, dusty cocoon surrounding the nucleus. The [OIII] lines are, on the other hand, mostly associated with the region of interaction between the radio plasma and the ISM, indicating a fast outflow from the centre. A case of fast outflow (up to ∼1000 km s-1) is also observed in HI in the radio source 4C 12.50. As the radio source evolves, any obscuring material along the radio axis is swept aside until, eventually, cavities (of the same kind as observed e.g. in Cygnus A) are hollowed out on either side of the nucleus. We may witness this phase in the evolution of a radio source in the radio galaxy 3C 459.

AbstractThe Large Magellanic Cloud (LMC) has been surveyed in optical emission lines, X-rays, radio continuum, HI, and CO lines. These surveys provide views of the interstellar medium (ISM) in the LMC of unprecedented clarity, allowing us to study astrophysical processes and to examine the relationship among the different phases of the ISM. Multi-wavelength images are used to illustrate the physical structures of supernova remnants, superbubbles, and supergiant shells, as well as the global interstellar structure of the LMC.

Context. The majority of sulfur-containing molecules detected in the interstellar medium (ISM) are analogs of oxygen-containing compounds. Propynal was detected in the ISM in 1988, hence propynethial, its sulfur derivative, is a good target for an ISM search. Aims. Our aim is to measure the rotational spectrum of propynethial and use those measurements to search for this species in the ISM. To date, measurements of the rotational spectra of propynethial have been limited to a small number or transitions below 52 GHz. The extrapolation of the prediction to lines in the milimeter-wave domain is inaccurate and does not provide data to permit an unambiguous detection. Methods. The rotational spectrum was re-investigated up to 630 GHz. Using the new prediction lines of propynethial, as well as the related propynal, a variety of astronomical sources were searched, including star-forming regions and dark clouds. Conclusions. A total of 3288 transitions were newly assigned and fit together with those from previous studies, reaching quantum numbers up to J = 107 and Ka = 24. Watson’s symmetric top Hamiltonian in the Ir representation was used for the analysis, because the molecule is very close to the prolate limit. The search for propynethial resulted in a non-detection; upper limits to the column density were derived in each source.

Context. Recombination lines involving high principal quantum numbers (n ∼ 50 − 1000) populate the radio spectrum in large numbers. Low-frequency (< 1 GHz) observations of radio recombination lines (RRLs) primarily from carbon and hydrogen offer a new, if not unique, way to probe cold, largely atomic gas and warm, ionised gas in other galaxies. Furthermore, RRLs can be used to determine the physical state of the emitting regions, such as temperature and density. These properties make RRLs, potentially, a powerful tool of extragalactic interstellar medium (ISM) physics. At low radio frequencies, it is conceivable to detect RRLs out to cosmological distances when illuminated by a strong radio continuum. However, they are extremely faint (τpeak ∼ 10−3 − 10−4) and have so far eluded detection outside of the local universe. Aims. With observations of the radio quasar 3C 190 (z = 1.1946), we aim to demonstrate that the ISM can be explored out to great distances through low-frequency RRLs. Methods. 3C 190 was observed with the LOw Frequency ARray (LOFAR) and processed using newly developed techniques for spectral analysis. Results. We report the detection of RRLs in the frequency range 112 MHz–163 MHz in the spectrum of 3C 190. Stacking 13 α-transitions with principal quantum numbers n = 266 − 301, a peak 6σ feature of optical depth τpeak = (1.0 ± 0.2)×10−3 and FWHM = 31.2 ± 8.3 km s−1 was found at z = 1.124. This corresponds to a velocity offset of −9965 km s−1 with respect to the systemic redshift of 3C 190. Conclusions. We consider three interpretations of the origin of the RRL emission: an intervening dwarf-like galaxy, an active galactic nucleus (AGN) driven outflow, and the inter-galactic medium. We argue that the recombination lines most likely originate in a dwarf-like galaxy (M ∼ 109 M⊙) along the line of sight, although we cannot rule out an AGN-driven outflow. We do find the RRLs to be inconsistent with an inter-galactic medium origin. With this detection, we have opened up a new way to study the physical properties of cool, diffuse gas out to cosmological distances.

Observations of the soft X-Ray background and interstellar UV absorption lines have indicated that a large fraction of interstellar space is filled with a high temperature low density “coronal” gas. In such low density environments SNRs will expand up to 200 pc in radius without thin shell formation which occurs due to radiative cooling effects. Such SNRs can occupy a large fraction of volume of Galaxy and can be the main source of background emissions. In the present work we examine the evolution of the radio emission of shell-like SNR evolving in the hot ISM.

We report observations of the radio galaxy 3C 317 (at z = 0.0345) located at the center of the Abell cluster A2052, obtained with the VLT/MUSE integral field spectrograph. The Chandra images of this cluster show cavities in the X-ray emitting gas, which were produced by the expansion of the radio lobes inflated by the active galactic nucleus (AGN). Our exquisite MUSE data show with unprecedented detail the complex network of line emitting filaments enshrouding the northern X-ray cavity. We do not detect any emission lines from the southern cavity, with a luminosity asymmetry between the two regions higher than ~75. The emission lines produced by the warm phase of the interstellar medium (WIM) enable us to obtain unique information on the properties of the emitting gas. We find dense gas (up to 270 cm−3) that makes up part of a global quasi spherical outflow that is driven by the radio source, and obtain a direct estimate of the expansion velocity of the cavities (265 km s−1). The emission lines diagnostic rules out ionization from the AGN or from star-forming regions, suggesting instead ionization from slow shocks or from cosmic rays. The striking asymmetric line emission observed between the two cavities contrasts with the less pronounced differences between the north and south sides in the hot gas; this represents a significant new ingredient for our understanding of the process of the exchange of energy between the relativistic plasma and the external medium. We conclude that the expanding radio lobes displace the hot tenuous phase of the interstellar medium (ISM), but also impact the colder and denser ISM phases. These results show the effects of the AGN on its host and the importance of radio mode feedback.

AbstractRecent targeted studies of associated H i absorption in radio galaxies are starting to map out the location, and potential cosmological evolution, of the cold gas in the host galaxies of Active Galactic Nuclei (AGN). The observed 21 cm absorption profiles often show two distinct spectral-line components: narrow, deep lines arising from cold gas in the extended disc of the galaxy, and broad, shallow lines from cold gas close to the AGN (e.g. Morganti et al. 2011). Here, we present results from a targeted search for associated H i absorption in the youngest and most recently-triggered radio AGN in the local universe (Allison et al. 2012b). So far, by using the recently commissioned Australia Telescope Compact Array Broadband Backend (CABB; Wilson et al. 2011), we have detected two new absorbers and one previously-known system. While two of these show both a broad, shallow component and a narrow, deep component (see Fig. 1), one of the new detections has only a single broad, shallow component. Interestingly, the host galaxies of the first two detections are classified as gas-rich spirals, while the latter is an early-type galaxy. These detections were obtained using a spectral-line finding method, based on Bayesian inference, developed for future large-scale absorption surveys (Allison et al. 2012a).

Active galactic nuclei (AGN) feedback operated by the expansion of radio jets can play a crucial role in driving gaseous outflows on galaxy scales. Galaxies hosting young radio AGN, whose jets are in the first phases of expansion through the surrounding interstellar medium (ISM), are the ideal targets to probe the energetic significance of this mechanism. In this paper, we characterise the warm ionised gas outflows in a sample of nine young radio sources from the 2 Jy sample, combining X-shooter spectroscopy and Hubble Space Telescope imaging data. We find that the warm outflows have similar radial extents (∼0.06−2 kpc) as radio sources, consistent with the idea that “jet mode” AGN feedback is the dominant driver of the outflows detected in young radio galaxies. Exploiting the broad spectral coverage of the X-shooter data, we used the ratios of trans-auroral emission lines of [S II] and [O II] to estimate the electron densities, finding that most of the outflows have gas densities (log(ne cm−3) ∼ 3 − 4.8), which we speculate could be the result of compression by jet-induced shocks. Combining our estimates of the emission-line luminosities, radii, and densities, we find that the kinetic powers of the warm outflows are a relatively small fraction of the energies available from the accretion of material onto the central supermassive black hole, reflecting AGN feedback efficiencies below 1% in most cases. Overall, the warm outflows detected in our sample are strikingly similar to those found in nearby ultraluminous infrared galaxies, but more energetic and with higher feedback efficiencies on average than the general population of nearby AGN of similar bolometric luminosity; this is likely to reflect a high degree of coupling between the jets and the near-nuclear ISM in the early stages of radio source evolution.

The exceptional brightness of SN1987A provided a wealth of opportunities for probing not only the interstellar medium in our Galaxy and in the Large Magellanic Cloud (LMC), but also any intergalactic matter between the two. Spectroscopic work has been directed both towards searches for very weak absorption lines, which require data of exceptionally high signal-to-noise ratio, and towards recording spectra of known features at unprecedentedly high resolution. Both approaches have yielded exciting and unexpected results. The first detection of [FeX] absorption has revealed the presence of million-degree gas in the interstellar medium of the LMC, possibly resulting from the explosions of previous supernovae in the 30-Doradus HII region. The ultra-high-resolution observations have been successful in resolving the hyperfine structure of the sodium D lines in several interstellar clouds along the line of sight to the supernova. This implies that the clouds are at temperatures of, at most, 170 K and have internal turbulent velocities of not more than 0.2 km s−1; large-scale motions thus appear to be mainly subsonic in these clouds. Radio observations of HI emission at 21-cm with the Parkes telescope have been combined with measurements of a variety of ultraviolet absorption lines, obtained with the International Ultraviolet Explorer satellite, to give the most detailed picture yet of the chemical composition of the gas between the Galaxy and the LMC. Finally, photographic monitoring of the light echo of SN 1987A over the last two years has provided a three-dimensional view of the interstellar environment in which SN 1987A exploded, complementing vividly the information deduced from the spectroscopic results.

It has been known since pulsars were discovered that the interstellar medium (ISM) can cause angular broadening of radio sources. However, the amount of scattering along typical lines of sight to extra-galactic sources is not large enough to cause any loss of visibility, even on intercontinental baselines, unless the frequency is below about 100 MHz. Recent studies have shown that interstellar scattering (ISS) can have considerably stronger effects; this paper addresses their relevance to VLBI.

AbstractOver the last couple of years Diffuse Ionized Gas (DIG) has been identified as an important constituent of the interstellar medium (ISM) in the halos of spiral galaxies. Imaging in and spectroscopy of optical emission lines allow us to study the distribution and excitation of this gas with a spatial resolution not achievable for other phases of the ISM in external galaxies. Its origin and ionization is under debate and give important constraints for models of the ISM in general and on the large scale exchange of matter between disk and halo in particular. This review summarizes more recent observational results and compares them with model predictions. The data available now demonstrate that the presence of DIG in the disk-halo interface of spiral galaxies is related to star formation processes in the underlying disk. While photoionization by OB stars in the disk seems a viable source for the power required to ionize the DIG, additional processes are needed to explain some of the spectral features. The observed correlation with properties of the non-thermal radio continuum indicate that magnetic fields and cosmic rays could play a role for the physics of this medium.

AbstractRadio galaxies are ideal sites to scrutinize AGN feedback physics, as they are massive galaxies with jets that interact with the surrounding ISM. I will present a detailed analysis of the recent star formation history and conditions of a starbursting, massive radio galaxy at z = 2.6, PKS 0529-549. In the 8.5-hour VLT/X-Shooter spectrum, we detect unambiguous signatures of stellar photospheric absorption lines originating from OB-stars. Comparison with model spectra shows that more than one burst took place in its recent past: the most recent one at 4 − 7 Myr, and another aged ⩾20 Myr. ALMA observations of the [CI] atomic carbon emission line indicates that it has a low molecular gas fraction (∼13%) and short depletion time (∼40 Myr). Most intriguing is the modest velocity dispersion (⩽50 km/s) of these photospheric lines and the ALMA [CI] cold gas. We attribute its efficient star formation to compressive gas motions, induced by radio jets and/or interaction. Star formation works in concert with the AGN to remove any residual molecular gas and eventually leads to quenching.

AbstractOutflows from AGB stars enrich the Galactic environment with metals and inject mechanical energy into the ISM. Radio spectroscopy can recover both properties through observations of molecular lines. We present results from SWAG: “Survey of Water and Ammonia in the Galactic Center”. The survey covers the entire Central Molecular Zone (CMZ), the inner 3.35° × 0.9° (∼480 × 130 pc) of the Milky Way that contains 5 × 107 M⊙ of molecular gas. Although our survey primarily targets the CMZ, we observe across the entire sightline through the Milky Way. AGB stars are revealed by their signature of double peaked 22 GHz water maser lines. They are distinguished by their spectral signatures and their luminosities, which reach up to 10−7 L⊙. Higher luminosities are usually associated with Young Stellar Objects located in CMZ star forming regions. We detect a population of ∼600 new water masers that can likely be associated with AGB outflows.

AbstractWe present a new diagnosis method for determining physical properties of star-forming gas in high-z galaxies. In this method, we employed three key observational quantities, [CI], CO, and FIR luminosities, including our new detections of CO J = 4–3 emission from the pure-starburst (non-AGN) submm galaxy SMM J14011+0252 (z = 2.6) and the type-2 AGN IRAS FSC 10214+4724 (z = 2.3) obtained with the Nobeyama Millimeter Array (NMA) at the Nobeyama Radio Observatory. These two sources have extremely high star formation rate, and exhibit strong emission of CO and [CI] 609 μm lines. We determined ISM physical conditions for the two objects and another three high-z quasars in order to investigate the relationship between their ISM and power sources (i.e., massive star formation or AGN). A new PDR analysis (Wolfire et al. 2005, private communication) using CO, [CI], and FIR on five high-z sources provides new evidence that AGN host galaxies harbor denser (log nH ~ 5–6) ISM exposed to stronger far-UV fluxes of log G0 ~ 3.5–4 than the non-AGN submm galaxy. Volume filling factors of the star-forming dense gas in the AGN hosts are an order of magnitude smaller than that of the pure-starburst submm galaxy. This suggests that, in these AGN hosts, dense molecular clouds are dominating the central kpc around AGN, triggering extensive circumnuclear starbursts, and possibly feeding their central supermassive black hole simultaneously.

ABSTRACT We report the detection of the far-infrared (FIR) fine-structure line of singly ionized nitrogen, [N ii] 205 $\mu$m , within the peak epoch of galaxy assembly, from a strongly lensed galaxy, hereafter ‘The Red Radio Ring’; the RRR, at z = 2.55. We combine new observations of the ground-state and mid-J transitions of CO (Jup = 1, 5, 8), and the FIR spectral energy distribution (SED), to explore the multiphase interstellar medium (ISM) properties of the RRR. All line profiles suggest that the H ii regions, traced by [N ii] 205 $\mu$m , and the (diffuse and dense) molecular gas, traced by CO, are cospatial when averaged over kpc-sized regions. Using its mid-IR-to-millimetre (mm) SED, we derive a non-negligible dust attenuation of the [N ii] 205 $\mu$m line emission. Assuming a uniform dust screen approximation results a mean molecular gas column density &gt;1024 cm−2, with a molecular gas-to-dust mass ratio of 100. It is clear that dust attenuation corrections should be accounted for when studying FIR fine-structure lines in such systems. The attenuation corrected ratio of $L_{\rm N\,{\small II}205} / L_{\rm IR(8\!-\!1000\, \mu m)} = 2.7 \times 10^{-4}$ is consistent with the dispersion of local and z &gt; 4 SFGs. We find that the lower limit, [N ii] 205 $\mu$m -based star formation rate (SFR) is less than the IR-derived SFR by a factor of 4. Finally, the dust SED, CO line SED, and $L_{\rm N\,{\small II}205}$ line-to-IR luminosity ratio of the RRR is consistent with a starburst-powered ISM.

We discuss the distribution and spectral characteristics of diffuse ionized gas in nearby galaxies. The existence of this elusive component of the interstellar medium (ISM), also referred to as the Warm Ionized Medium, is by now well established from deep imaging and spectroscopic surveys in several emission lines in external galaxies. Diffuse ionized gas is characterized by a relatively high ratio of [SII] over Hα intensities, typically twice as high as for discrete HII regions. The diffuse gas has been mapped in both edge-on and more face-on galaxies providing information on the radial and vertical distribitions. Emission from diffuse ionized gas is strongest around star forming regions. The vertical distribution appears related to the radio continuum thick-disk emission. We also briefly discuss ionization mechanisms, and the connection between star formation characteristics and morphology of the interstellar medium.

The nearby system 4C12.50, also known as IRAS 13451+1217 and PKS 1345+12, is a merger of gas-rich galaxies with infrared and radio activity. It has a perturbed interstellar medium (ISM) and a dense configuration of gas and dust around the nucleus. The radio emission at small (∼100 pc) and large (∼100 kpc) scales, as well as the large X-ray cavity in which the system is embedded, are indicative of a jet that could have affected the ISM. We carried out observations of the CO(1−0), (3−2), and (4−3) lines with the Atacama Large Millimeter Array (ALMA) to determine basic properties (i.e., extent, mass, and excitation) of the cold molecular gas in this system, including its already-known wind. The CO emission reveals the presence of gaseous streams related to the merger, which result in a small (∼4 kpc-wide) disk around the western nucleus. The disk reaches a rotational velocity of 200 km s−1, and has a mass of 3.8(±0.4) × 109 M⊙. It is truncated at a gaseous ridge north of the nucleus that is bright in [O III]. Regions with high-velocity CO emission are seen at signal-to-noise ratios of between 3 and 5 along filaments that radially extend from the nucleus to the ridge and that are bright in [O III] and stellar emission. A tentative wind detection is also reported in the nucleus and in the disk. The molecular gas speed could be as high as 2200 km s−1 and the total wind mass could be as high as 1.5(±0.1) × 109 M⊙. Energetically, it is possible that the jet, assisted by the radiation pressure of the active nucleus or the stars, accelerated clouds inside an expanding bubble.

Context. The amount of data collected by spectrometers from radio to ultraviolet (UV) wavelengths opens a new era where the statistical and chemical information contained in the observations can be used concomitantly to investigate the thermodynamical state and the evolution of the interstellar medium (ISM). Aims. In this paper, we study the statistical properties of the HI-to-H2 transition observed in absorption in the local diffuse and multiphase ISM. Our goal is to identify the physical processes that control the probability of occurrence of any line of sight and the origins of the variations of the integrated molecular fraction from one line of sight to another. Methods. The turbulent diffuse ISM is modeled using the RAMSES code, which includes detailed treatments of the magnetohydrodynamics, the thermal evolution of the gas, and the chemistry of H2. The impacts of the UV radiation field, the mean density, the turbulent forcing, the integral scale, the magnetic field, and the gravity on the molecular content of the gas are explored through a parametric study that covers a wide range of physical conditions. The statistics of the HI-to-H2 transition are interpreted through analytical prescriptions and compared with the observations using a modified and robust version of the Kolmogorov-Smirnov test. Results. The analysis of the observed background sources shows that the lengths of the lines of sight follow a flat distribution in logarithmic scale from ~100 pc to ~3 kpc. Without taking into account any variation of the parameters along a line of sight or from one line of sight to another, the results of one simulation, convolved with the distribution of distances of the observational sample, are able to simultaneously explain the position, the width, the dispersion, and most of the statistical properties of the HI-to-H2 transition observed in the local ISM. The tightest agreement is obtained for a neutral diffuse gas modeled over ~200 pc, with a mean density n̅H̅ = 1−2 cm−3, illuminated by the standard interstellar UV radiation field, and stirred up by a large-scale compressive turbulent forcing. Within this configuration, the 2D probability histogram of the column densities of H and H2, poetically called the kingfisher diagram, is remarkably stable and is almost unaltered by gravity, the strength of the turbulent forcing, the resolution of the simulation, or the strength of the magnetic field Bx, as long as Bx < 4 μG. The weak effect of the resolution and our analytical prescription suggest that the column densities of HI are likely built up in large-scale warm neutral medium and cold neutral medium (CNM) structures correlated in density over ~20 pc and ~10 pc, respectively, while those of H2 are built up in CNM structures between ~3 and ~10 pc. Conclusions. Combining the chemical and statistical information contained in the observations of HI and H2 sheds new light on the study of the diffuse matter. Applying this new tool to several atomic and molecular species is a promising perspective to understanding the effects of turbulence, magnetic field, thermal instability, and gravity on the formation and evolution of molecular clouds.

AbstractWe propose that the diffuse interstellar bands (DIBs) arise from absorption lines of electronic transitions in molecular clusters primarily composed of a single molecule, atom, or ion (“seed”), embedded in a single-layer shell of H2 molecules (Bernstein et al. 2013). Less abundant variants of the cluster, including two seed molecules and/or a two-layer shell of H2 molecules may also occur. The lines are broadened, blended, and wavelength-shifted by interactions between the seed and surrounding H2 shell. We refer to these clusters as CHCs (Contaminated H2 Clusters). CHC spectroscopy matches the diversity of observed DIB spectral profiles, and provides good fits to several DIB profiles based on a rotational temperature of 10 K. CHCs arise from ~cm-sized, dirty H2 ice balls, called CHIMPs (Contaminated H2 Ice Macro-Particles), formed in cold, dense, Giant Molecular Clouds (GMCs), and later released into the interstellar medium (ISM) upon GMC disruption. Attractive interactions, arising from Van der Waals and ion-induced dipole potentials, between the seeds and H2 molecules enable CHIMPs to attain cm-sized dimensions. When an ultraviolet (UV) photon is absorbed in the outer layer of a CHIMP, it heats the icy matrix and expels CHCs into the ISM. While CHCs are quickly destroyed by absorbing UV photons, they are replenished by the slowly eroding CHIMPs. Since CHCs require UV photons for their release, they are most abundant at, but not limited to, the edges of UV-opaque molecular clouds, consistent with the observed, preferred location of DIBs. An inherent property of CHCs, which can be characterized as nanometer size, spinning, dipolar dust grains, is that they emit in the radio-frequency region. Thus, CHCs offer a natural explanation to the anomalous microwave emission (AME) feature in the ~10-100 GHz spectral region.

ABSTRACT We present Atacama Large Millimeter/Sub-millimeter Array observations of the candidate jet–ISM interaction zones near the black hole X-ray binaries GRS 1758−258 and 1E 1740.7−2942. Using these data, we map the molecular line emission in the regions, detecting emission from the HCN [J = 1−0], HCO+ [J = 1−0], SiO [J = 2−1], CS [J = 2−1], 13CO [J = 1−0], C18O [J = 1−0], HNCO [J = 40,4−30,3], HNCO [J = 50,5−40,4], and CH3OH [J = 21,1−11,0] molecular transitions. Through examining the morphological, spectral, and kinematic properties of this emission, we identify molecular structures that may trace jet-driven cavities in the gas surrounding these systems. Our results from the GRS 1758−258 region in particular, are consistent with recent work, which postulated the presence of a jet-blown cocoon structure in deep radio continuum maps of the region. Using these newly discovered molecular structures as calorimeters, we estimate the time averaged jet power from these systems, finding $(1.1{\!-\!}5.7)\times 10^{36}{\rm erg\, s}^{-1}$ over 0.12−0.31 Myr for GRS 1758−258 and $(0.7{\!-\!}3.5)\times 10^{37}{\rm erg\, s}^{-1}$ over 0.10−0.26 Myr for 1E 1740.7−2942. Additionally, the spectral line characteristics of the detected emission place these molecular structures in the central molecular zone of our Galaxy, thereby constraining the distances to the black hole X-ray binaries to be 8.0 ± 1.0 kpc. Overall, our analysis solidifies the diagnostic capacity of molecular lines, and highlights how astro-chemistry can both identify jet–ISM interaction zones and probe jet feedback from Galactic X-ray binaries.

We present VLT/SINFONI imaging spectroscopy of the rest-frame optical emission lines of warm ionized gas in 33 powerful radio galaxies at redshifts z ≳ 2, which are excellent sites to study the interplay of rapidly accreting active galactic nuclei and the interstellar medium of the host galaxy in the very late formation stages of massive galaxies. Our targets span two orders of magnitude in radio size (2−400 kpc) and kinetic jet energy (a few 1046– almost 1048 erg s-1). All sources have complex gas kinematics with broad line widths up to ~1300 km s-1. About half have bipolar velocity fields with offsets up to 1500 km s-1 and are consistent with global back-to-back outflows. The others have complex velocity distributions, often with multiple abrupt velocity jumps far from the nucleus of the galaxy, and are not associated with a major merger in any obvious way. We present several empirical constraints that show why gas kinematics and radio jets seem to be physically related in all galaxies of the sample. The kinetic energy in the gas from large scale bulk and local outflow or turbulent motion corresponds to a few 10-3 to 10-2 of the kinetic energy output of the radio jet. In galaxies with radio jet power ≳ 1047 erg s-1, the kinetic energy in global back-to-back outflows dominates the total energy budget of the gas, suggesting that bulk motion of outflowing gas encompasses the global interstellar medium. This might be facilitated by the strong gas turbulence, as suggested by recent analytical work. We compare our findings with recent hydrodynamic simulations, and discuss the potential consequences for the subsequent evolution of massive galaxies at high redshift. Compared with recent models of metal enrichment in high-z AGN hosts, we find that the gas-phase metallicities in our galaxies are lower than in most low-z AGN, but nonetheless solar or even super-solar, suggesting that the ISM we see in these galaxies is very similar to the gas from which massive low-redshift galaxies formed most of their stars. This further highlights that we are seeing these galaxies near the end of their active formation phase.

The Galactic magnetic field is an integral constituent of the interstellar medium (ISM), and knowledge of its structure is crucial to understanding Galactic dynamics. The Rotation Measures (RM) of extragalactic (EG) sources have been the basis of comprehensive Galactic magnetic field models. Polarised extended emission (XE) is also seen along lines of sight through the Galactic disk, and also displays the effects of Faraday rotation. Our aim is to investigate and understand the relationship between EG and XE RMs near the Galactic plane, and to determine how the XE RMs, a hitherto unused resource, can be used as a probe of the large-scale Galactic magnetic field. We used polarisation data from the Canadian Galactic Plane Survey (CGPS), observed near 1420 MHz with the Dominion Radio Astrophysical Observatory (DRAO) Synthesis Telescope. We calculated RMs from a linear fit to the polarisation angles as a function of wavelength squared in four frequency channels, for both the EG sources and the XE. Across the CGPS area, 55 ∘ < ℓ < 193 ∘ , − 3 ∘ < b < 5 ∘ , the RMs of the XE closely track the RMs of the EG sources, with XE RMs about half the value of EG-source RMs. The exceptions are places where large local HII complexes heavily depolarise more distant emission. We conclude that there is valuable information in the XE RM dataset. The factor of 2 between the two types of RM values is close to that expected from a Burn slab model of the ISM. This result indicates that, at least in the outer Galaxy, the EG and XE sources are likely probing similar depths, and that the Faraday rotating medium and the synchrotron emitting medium have similar variation with galactocentric distance.

ABSTRACT Observations of the four 2Π3/2, J = 3/2 ground state transitions of the hydroxyl radical (OH) have emerged as an informative tracer of molecular gas in the Galactic interstellar medium (ISM). We discuss an OH spectral feature known as the ‘flip’, in which the satellite lines at 1612 and 1720 MHz flip – one from emission to absorption and the other the reverse – across a closely blended double feature. We highlight 30 examples of the flip from the literature, 27 of which exhibit the same orientation with respect to velocity: the 1720-MHz line is seen in emission at more negative velocities. These same examples are also observed towards bright background continuum, many (perhaps all) show stimulated emission, and 23 of these are coincident in on-sky position and velocity with H ii radio recombination lines. To explain these remarkable correlations, we propose that the 1720-MHz stimulated emission originates in heated and compressed post-shock gas expanding away from a central H ii region, which collides with cooler and more diffuse gas hosting the 1612-MHz stimulated emission. The foreground gas dominates the spectrum due to the bright central continuum; hence, the expanding post-shock gas is blue-shifted relative to the stationary pre-shock gas. We employ non-local thermodynamic equilibrium (LTE) excitation modelling to examine this scenario and find that indeed FIR emission from warm dust adjacent to the H ii region radiatively pumps the 1612-MHz line in the diffuse, cool gas ahead of the expanding shock front, while collisional pumping in the warm, dense shocked gas inverts the 1720-MHz line.

ABSTRACT Fast ejecta expelled in binary neutron star (NS) mergers or energetic supernovae (SNe) should produce late-time synchrotron radio emission as the ejecta shocks into the surrounding ambient medium. Models for such radio flares typically assume the ejecta expands into an unperturbed interstellar medium (ISM). However, it is also well known that binary NS mergers and broad-lined Ic SNe Ic can harbour relativistic jetted outflows. In this work, we show that such jets shock the ambient ISM ahead of the ejecta, thus evacuating the medium into which the ejecta subsequently collides. Using an idealized spherically symmetric model, we illustrate that this inhibits the ejecta radio flare at early times $t \lt t_{\rm col} \approx 12 \, {\rm yr} \, (E_{\rm j}/10^{49} \, {\rm erg})^{1/3} (n/1 \, {\rm cm}^{-3})^{-1/3} (\upsilon _{\rm ej}/0.1c)^{-5/3}$, where Ej is the jet energy, n the ISM density, and $\upsilon$ej the ejecta velocity. We also show that this can produce a sharply peaked enhancement in the light curve at t = tcol. This has implications for radio observations of GW170817 and future binary NS mergers, gamma-ray burst (GRB) SNe, decade-long radio transients such as FIRST J1419, and possibly other events where a relativistic outflow precedes a slower moving ejecta. Future numerical work will extend these analytic estimates and treat the multidimensional nature of the problem.

AbstractSpatial and temporal variations in the electron-to-proton mass ratio, μ, and in the fine-structure constant, α, are not present in the Standard Model of particle physics but they arise quite naturally in grant unification theories, multidimensional theories and in general when a coupling of light scalar fields to baryonic matter is considered. The light scalar fields are usually attributed to a negative pressure substance permeating the entire visible Universe and known as dark energy. This substance is thought to be responsible for a cosmic acceleration at low redshifts, z < 1. A strong dependence of μ and α on the ambient matter density is predicted by chameleon-like scalar field models. Calculations of atomic and molecular spectra show that different transitions have different sensitivities to changes in fundamental constants. Thus, measuring the relative line positions, Δ V, between such transitions one can probe the hypothetical variability of physical constants. In particular, interstellar molecular clouds can be used to test the matter density dependence of μ, since gas density in these clouds is ~15 orders of magnitude lower than that in terrestrial environment. We use the best quality radio spectra of the inversion transition of NH3 (J,K)=(1,1) and rotational transitions of other molecules to estimate the radial velocity offsets, Δ V ≡ Vrot - Vinv. The obtained value of Δ V shows a statistically significant positive shift of 23±4stat±3sys m s−1 (1σ). Being interpreted in terms of the electron-to-proton mass ratio variation, this gives Δμ/μ = (22±4stat±3sys)×10−9. A strong constraint on variation of the quantity F = α2/μ in the Milky Way is found from comparison of the fine-structure transition J=1-0 in atomic carbon C i with the low-J rotational lines in carbon monoxide 13CO arising in the interstellar molecular clouds: |Δ F/F| < 3×10−7. This yields |Δ α/α| < 1.5×10−7 at z = 0. Since extragalactic absorbers have gas densities similar to those in the ISM, the values of |Δ α/α| and |Δ μ/μ| at high-z are expected to be at the same level as estimated in the Milky Way providing no temporal dependence of α and μ is present. We re-analyzed and reviewed the available optical spectra of quasars to probe Δα/α from intervening absorbers. The Fe i system at z = 0.45 towards HE 0000–2340 provides one of the best opportunities for precise measurements of Δα/α at low redshift. The current estimate is Δα/α = (7±7)×10−6. With the updated sensitivity coefficients for the Fe ii lines we re-analyzed the z = 1.84 system from the high-resolution UVES/VLT spectrum of Q 1101–264 (FWHM = 3.8 km s−1) and found Δα/α = (4.0±2.8)×10−6. The most accurate upper limit on cosmological variability of α is obtained from the Fe ii system at z = 1.15 towards the bright quasar HE 0515–4414 (V=14.9): Δα/α = (-0.12±1.79)×10−6, or |Δα/α| < 2×10−6. The limit of 2×10−6 corresponds to the utmost accuracy which can be reached with available to date optical facilities.

ABSTRACT The dispersion measure (DM) of fast radio bursts (FRBs) provides a unique way to probe ionized baryons in the intergalactic medium (IGM). Cosmological models with different parameters lead to different DM–redshift (DM–z) relations. Additionally, the over/underdense regions in the IGM and the circumgalactic medium of intervening galaxies lead to scatter around the mean DM–z relations. We have used the Evolution and Assembly of GaLaxies and their Environments (EAGLE) simulations to measure the mean DM–z relation and the scatter around it using over 1 billion lines of sight at redshifts 0 &lt; z &lt; 3. We investigated two techniques to estimate line-of-sight DM: pixel scrambling and box transformations. We find that using box transformations (a technique from the literature) causes strong correlations due to repeated replication of structure. Comparing a linear and a non-linear model, we find that the non-linear model with a dependence on cosmological parameters provides a better fit to the DM–z relation. The differences between these models are the most significant at low redshifts (z &lt; 0.5). The scatter around the DM–z relation is highly asymmetric, especially at low redshift (z &lt; 0.5), and becomes more Gaussiana as redshift approaches z = 3, the limit of this study. The increase in Gaussianity with redshift is indicative of the large-scale structure that is better sampled with longer lines of sight. The DM–z relation measured in EAGLE is available with an easy-to-use python interface in the open-source FRB redshift estimation package fruitbat.

ABSTRACT Quasar absorption-line studies in the ultraviolet (UV) can uniquely probe the nature of the multiphase cool–warm (104 &lt; T &lt; 106 K) gas in and around galaxy clusters, promising to provide unprecedented insights into (1) interactions between the circumgalactic medium (CGM) associated with infalling galaxies and the hot (T &gt; 106 K) X-ray emitting intracluster medium (ICM), (2) the stripping of metal-rich gas from the CGM, and (3) a multiphase structure of the ICM with a wide range of temperatures and metallicities. In this work, we present results from a high-resolution simulation of an $\sim 10^{14} \, \mathrm{M}_{\odot }$ galaxy cluster to study the physical properties and observable signatures of this cool–warm gas in galaxy clusters. We show that the ICM becomes increasingly multiphased at large radii, with the cool–warm gas becoming dominant in cluster outskirts. The diffuse cool–warm gas also exhibits a wider range of metallicity than the hot X-ray emitting gas. We make predictions for the covering fractions of key absorption-line tracers, both in the ICM and in the CGM of cluster galaxies, typically observed with the Cosmic Origins Spectrograph aboard the Hubble Space Telescope (HST). We further extract synthetic spectra to demonstrate the feasibility of detecting and characterizing the thermal, kinematic, and chemical composition of the cool–warm gas using H i, O vi, and C iv lines, and we predict an enhanced population of broad Ly α absorbers tracing the warm gas. Lastly, we discuss future prospects of probing the multiphase structure of the ICM beyond HST.

ABSTRACT Plasma concentrations of in-vitro biological and immunological LH were measured throughout the LH surge in cyclic ewes and in ovariectomized ewes treated i.m. with oestradiol benzoate. Both activities increased in parallel during the LH surge in both groups, although the ratio of biological to immunological activities (B/I ratio) was highest at the peak of the LH surge. The two activities were highly correlated (r = 0·86–0·92), with similar slopes from their regression analysis for the cyclic and ovariectomized groups (1·15 and 1·16 respectively). However, the intercepts of the regression lines did not pass through the origin, but intersected the y (radio-immunoassay) axis, suggesting that these serum samples contained immunoactivity not associated with LH bioactivity. In conclusion, an increase in the LH B/I ratio was observed during the LH surge in oestrogen-treated ovariectomized ewes and in cyclic ewes. This increase was not attributable to a change in the relationship between these two LH activities during the LH surge, but rather to the detection of bioinactive immunoactive material in plasma of unknown composition. Journal of Endocrinology (1990) 127, 217–222

This study considers the usage of multilinear regression and artificial neural network modelling to forecast ozone concentrations with regard to weather-related indicators (wind speed, wind direction, relative humidity and temperature). Initial data were obtained by measuring the meteorological parameters using the PC Radio Weather Station. Ozone concentrations near high-voltage lines were measured using RS1003 and at a 220 m distance using ML9811. Neural network models such as the multilayer perceptron and radial basis function neural networks were constructed. The prognostic capacities of the designed models were assessed by comparing the result data by way of the square of the coefficient of multiple correlations (R2) and mean square error (MSE) values. The number of hidden neurons was optimised by decreasing an error function that recorded the number of units in the hidden layers to the precision of the expanded networks. The neural software IBM SPSS 26v was used for artificial neural network (ANN) modelling. The study demonstrated that the linear regression modelling approach was lacking in its capacity to predict the investigated ozone concentrations by used parameters, whereas the use of an ANN offered more precise outcomes. The conducted tests’ results established the strength of the designed artificial neural network models with irrelevant differences between detected and forecasted data.

Disk warps around classical T Tauri stars (CTTSs) can periodically obscure the central star for some viewing geometries. For these so- called AA Tau-like variables, the obscuring material is located in the inner disk and absorption spectroscopy allows one to characterize its dust and gas content. Since the observed emission from CTTSs consists of several components (photospheric, accretion, jet, and disk emission), which can all vary with time, it is generally challenging to disentangling disk features from emission variability. Multi- epoch, flux-calibrated, broadband spectra provide us with the necessary information to cleanly separate absorption from emission variability. We applied this method to three epochs of VLT/X-shooter spectra of the CTTS V 354 Mon (CSI Mon-660) located in NGC 2264 and find that: (a) the accretion emission remains virtually unchanged between the three epochs; (b) the broadband flux evolution is best described by disk material obscuring part of the star, and (c) the Na and K gas absorption lines show only a minor increase in equivalent width during phases of high dust extinction. The limits on the absorbing gas column densities indicate a low gas-to-dust ratio in the inner disk, less than a tenth of the ISM value. We speculate that the evolutionary state of V 354 Mon, rather old with a low accretion rate, is responsible for the dust excess through an evolution toward a dust dominated disk or through the fragmentation of larger bodies that drifted inward from larger radii in a still gas dominated disk.

Low-mass evolved stars are major contributors to interstellar medium enrichment as a consequence of the intense mass-loss process these stars experience at the end of their lives. The study of the gas in the envelopes surrounding asymptotic giant branch (AGB) stars through observations in the millimetre wavelength range provides information about the history and nature of these molecular factories. Here we present ALMA observations at subarsecond resolution, complemented with IRAM-30 m data, of several lines of SiO, SiS, and CS towards the best-studied AGB circumstellar envelope, IRC + 10°216. We aim to characterise their spatial distribution and determine their fractional abundances mainly through radiative transfer and chemical modelling. The three species display extended emission with several enhanced emission shells. CS displays the most extended distribution reaching distances up to approximately 20′′. SiS and SiO emission have similar sizes of approximately 11′′, but SiS emission is slightly more compact. We have estimated fractional abundances relative to H2, which on average are equal to f(SiO) ~10−7, f(SiS) ~10−6, and f(CS) ~10−6 up to the photo-dissociation region. The observations and analysis presented here show evidence that the circumstellar material displays clear deviations from an homogeneous spherical wind, with clumps and low density shells that may allow UV photons from the interstellar medium (ISM) to penetrate deep into the envelope, shifting the photo-dissociation radius inwards. Our chemical model predicts photo-dissociation radii compatible with those derived from the observations, although it is unable to predict abundance variations from the starting radius of the calculations (~10 R*), which may reflect the simplicity of the model. We conclude that the spatial distribution of the gas proves the episodic and variable nature of the mass loss mechanism of IRC + 10°216, on timescales of hundreds of years.

AbstractWe present high resolution molecular line observations of dusty AGN and starburst in nearby luminous infrared galaxies (LIRGs), VV 114 (band 3/4/7) and NGC 1614 (band 3/6/7/9), with ALMA. Multi-frequency imaging from 4.8 GHz to 691 GHz of NGC 1614 allows us to study spatial properties of the radio-to-FIR continuum and multiple CO transitions, and we find the CO excitation up to Jupp = 6 can be explained by a single ISM model powered by nuclear starbursts. Our processing line imaging survey for VV 114 detected at least 30 molecular lines which show different chemical composition from region to region. Multi-molecule imaging helps us to diagnose the chemical differences of dusty ISM, while multi-transition imaging allows us to investigate gas physical conditions affected by nuclear activities directly.

Abstract A late end to reionisation at redshift z ≃ 5.3 is consistent with observed spatial variations in the Lyα forest transmission and the deficit of Lyα emitting galaxies around extended Lyα absorption troughs at z = 5.5. In this model, large islands of neutral hydrogen should persist in the diffuse intergalactic medium (IGM) until z ≃ 6. We use a novel, hybrid approach that combines high resolution cosmological hydrodynamical simulations with radiative transfer to predict the incidence of strong $21\rm \, cm$ forest absorbers with optical depths τ21 &gt; 10−2 from the diffuse IGM in these late reionisation models. We include the effect of redshift space distortions on the simulated $21\rm \, cm$ forest spectra, and treat the highly uncertain heating of the pre-reionisation IGM by soft X-rays as a free parameter. For a model with only modest IGM pre-heating, such that average gas kinetic temperatures in the diffuse IGM remain below $T_{\rm K}\simeq 10^{2} \rm \, K$, we find that strong $21\rm \, cm$ forest absorption lines should persist until z = 6. For a sample of ∼10 sufficiently radio loud background sources, a null-detection of $21\rm \, cm$ forest absorbers at z ≃ 6 with SKA1-low or possibly LOFAR should provide an informative lower limit on the still largely unconstrained soft X-ray background at high redshift and the temperature of the pre-reionisation IGM.

1. Introduction: How the word 'chat' can be demeaning I think the editors mean the word 'chat' to be something of a tease. They remind us that to call something 'chat' might be to strip it of anything more serious or substantial it might be doing and, by extension, to weaken pretty well all talk. It joins 'mere talk', 'rhetoric', 'chatter' and of course 'gossip', with the pungent flavouring of sexism as an added extra. It seems that chat is limp, directionless, passive. Whoever gets to call something 'chat' has scored a win in a battle. Let's just stay with this image for a moment. Suppose it is a rhetorical victory. Scored for which side? In a battle against who or what? Well, for a commonsense view of the world that rates objects over practices, things over their descriptions, and facts over the discovery of facts. And that commonsense view, of course, is the high street version of tangled scholars' web of philosophies -- realism, materialism and essentialism. But breathe easy, because I'm not going to get us stuck in that web. All I want to do is point out -- as has long been pointed out before, especially by feminists taking a cool look at 'female language' - that some uses of the word 'chat' betray a very old-fashioned view of language. To call this edition of M/C 'Chat' is to examine that attitude. The editors want to rate practices over objects, descriptions over what they describe, and the act of discovery over what is discovered. Or at least, even if one doesn't all want to go that far, to redress the balance a little in each case. The attitude the editors want to correct is a rather complacent one. It takes people's exchange of talk as just that; as a means of transmitting what's in one person's head into the head of the other person, more or less. Inefficient, noisy and unreliable, but fixable by technology. This is, of course the 'conduit' metaphor so devastatingly unmasked by Reddy in 1979. But it would be good to see some actual examples of real people really using the word; all this has been rather hypothetical so far. In fact, what we shall find is a bit of a paradox. It turns out, if I can prefigure the action, that when people use the word 'chat' to decribe some stretch of talk, what they want to do (at least in the data I have) is not to sneer at it -- quite the contrary. But it is nevertheless highly rhetorical. It does a job. The speaker tends to use it to promote a description of a warm, informal and above all blameless event, just when there might be reason to believe that in fact something rather different would be more accurate. 2. How to analyse talk as consequential? Let me pause for a moment. Soon I shall be doing a quick survey of some examples of actual live usage of the word. I should say, in parenthesis, that M/C offered me the wonderful opportunity of actually having a link to an audio sample of these extracts, and had the data come from public sources (say from talk radio or a political speech) then I would have jumped at the chance. That way you would have been able yourself to catch the flavour of the talk undiluted by transcription conventions and the overwhelming blandness of print. But all the extracts I shall use in the article are from private conversations, the participants in which didn't give permission for their voices to be broadcast, so I'm afraid that opportunity must be passed up. But given I have transcripts, what now? How to think about language-in-use? Obviously, I have to put my money where my mouth is and treat them not like 'chat' in that demeaning, inconsequential caricature I mentioned at the beginning (and against which this whole issue of M/C is dedicated). What are the broad alternatives available? There are, loosely speaking, two sorts of things one could do, familiar to all students of language. A couple of images will be helpful, if a bit crude. The first is the pearl necklace. Here, the interesting things about the talk are its content (pearls or ivory pieces?) and its setting (one string? two?). Less fancifully, the interest is in asking: what words, what speakers, what occasion? You can trace that from William Labov and his street-level sociolinguistics (1972), or further back if you want to. What you get is a thorough rejection of the words + settings = chat. You discover, by empirical comparison of what words in what settings, such thorough non-'chat' states of affairs as social location, social discourses and social power. If the pearl necklace doesn't appeal -- it seems a bit static perhaps -- then how about the origami bird? In its prior life as undistinguished flat sheet of paper it fails to command much attention. It's the transformation that fascinates. You have to fold it up to produce it, and you have to fold it up in a certain way if you don't want it to produce an aeroplane or a hat or just a disaster. The interesting things, of course, are the details (which side do you fold first? where do you tuck?) and how that produces the beautiful end result. Or, less fancifully, the sequential structure of talk in interaction, how one part supports and constrains the next and how a stretch of it achieves social goals (beautiful or otherwise). Now for the rest of the paper I'm going to try a bit of origami, or rather, some origami-in-reverse. I'm going to try and get across the spirit of Conversation Analysis and, without spraying around too many technical terms (indeed, any, if I can help it) I'm going to take a stretch of talk and see how it folds and tucks together to make it what it is. Doing that will, I hope, show up things about it that might pass unnoticed otherwise). Readers whose fancy is tickled for this sort of thing might well want to have a look at the references at the end of the article to take it all further. 3. Example 1. "about two years ago I came round an':: (..) spent some time chattin' didn't we" Let's make a start with this case. Here we have an encounter between a psychologist and a person he is about to interview. The interview proper hasn't actually started yet, and we can read the lines below as the interviewer 'working up to' the start of the interview proper. Part of it is to remind MA that the psychologist had seen him before. Notice how the psychologist uses the word 'chatting' to describe that earlier encounter. In line 11, MR describes his previous encounter as involving "chattin'. Maybe it did, maybe it didn't. I know I shouldn't be calling in evidence which the reader can't get hold of, but Mark Rapley, the psychologist involved (and with whom I worked on the analysis; see Rapley and Antaki) pointed to that line and said to me that ('in fact') his previous dealings with MA, far from being 'chatting', had been a formal administration of a questionnaire, with all the paraphernalia of paper and pencil, and strict question and answer rights and obligations, all going down on the record. "Chattin'"? Calling it "chattin'" obliterates all that in favour of something altogether more homely and friendly. Look at what team of players it's sent out onto the field with: he "came round" (rather, than, say, 'paid an official visit') and "spent some time" (rather than 'completed my business'. They did it together -- hence the "didn't we?" The psychologist was "jus' (..) watchin' what was going on" -- not intervening, merely casually watching the world go by; note also the dropped g's. Now he's back to "see how you were gettin' on" (rather than 'administer a standardised assessment questionnaire'"). What an assembly. I'm trying to leave off any guess at what the interviewer's intentions or motives are -- we just can't know such things. But we can certainly have something to say about the effects his words give off. The origami structure that emerges from the folding is one of the 'chat' having been an interaction off the record, personal and friendly; all hearably at odds with the business the interviewer is officially prosecuting. 4. Example 2: "what Tim does (.) which is come and chat" Here is a very similar case, this time in a committee meeting: Again, I'll briefly gloss the scene (based on the previous talk, and visible in such terms as 'matters arising', the thanks expressed by one speaker to another, and the "we turn to" topic change in line 19/20). A committee meeting is in session, and AC is touting for new names to replace a member who is leaving. Committee membership is, by definition, something that is carefully regulated in standing orders and by convention, and is quite capable of being described in the most off-putting bureaucratic language (as it might be, say, were an errant member being disciplined for some infraction or other, and the thing became legalistic). Here it isn't. How does AC fold it up? AC in lines 1 to 9 is working up a request for other to nominate candidates to replace Tim Brown (all names are of course pseudonyms). We leave aside consideration of how he folds his talk so as to make the request as he does (rather than, say, deliver it as a petulant blast against his colleagues for not having provided him with any names so far). Our interest is in how the folds involve the description 'chat'. Like the psychologist interviewer in extract [1], AC bundles the 'chat' word into a description of the whole scene -- that the postgraduate representative will "come and chat," and that the interviewer "came round an':: (..)spent some time chattin'". To bundle up the description with the act of arrival is an elegantly efficient way of implying that this is the person's interest and motive in the interaction -- what they're there for. This way any candidate member can be reassured that the thing is much less onerous, official and formal than it would have sounded had AC used the bureaucratic description buried away in the Committee statutes. 'Chat', in this fold of the talk, works to eliminate the consequentiality and offputtingness of the event -- even though, of course, when the new member is inducted onto the Committee, he or she will be subject to all the dread rules and regulations that lurk in the other, hidden bureaucratic description. 5. Example 3: "we sat and chatted til about eleven" Here is another case, where, probably because the setting is not as institutional as in the first two, working out what 'chat' is doing will take us a bit more work. First the gloss. Gordon is on the phone to Danielle and talking about what he was doing the other night - we could dwell a little on his description of his guitar performance ('it went down really well') but we'll skip straight to where "chatted" appears. Unlike the previous two cases, it isn't bundled up with arrival at the scene ("come and chat" and "I came round an':: (..)spent some time chattin'"), but it does still get bundled with something -- sitting -- which parcels it up nicely as a combination-verb, something done while doing something else. Gordon and the others had no plans here; the food and wine had been consumed, then "we sat (0.3) an:' chatted (0.4) til: about eleven". Now what does such a description do for his then being struck by the thought that he'd go home and 'just phone her' (".hh then I thought (0.3) I'll come back (0.3) an' I'll jus' jus' phone you t'say that uh I'd like t'see you")? It's a magnificent play of accountability -- it holds off a collection of implications which might damage the tender sentiment presumably involved in wanting to tell someone you'd like to see them. Sitting and chatting is (notwithstanding the wine) not being drunk; it's with other people, so it's not sad-sack lonely rumination; still less is it insistent, stalking, recriminative or even violent obsession. Thinking of Danielle after (merely) being with others sitting and chatting till eleven disarms all of those possibilities; as the discursive psychologists have it (Edwards and Potter 1992) , this is a piece of 'stake management'. Gordon is inoculating himself against being seen to have the wrong sort of motivations. 'Chat' here is used as a part of a positive rhetorical strategy to have sentiments, but of the right sort. 6. Example 4: "I said to him, you know, come down 'n have a chat with me" One last example to see us out. This time we are in a marital counselling session, and the husband's ('Jeff') exams have been part of the topic of conversation, which I will gloss as being about the attention each partner pays to the other. 'Mary' now speaks. Once again the speaker is exploiting the pleasantly unspecific glow that 'chat' can have. Mary wanted Jeff to come down from 'upstairs' and 'have a chat' with her. Against this she puts words in his mouth: "I've gotta start my revising," and then her own commentary -- it was the same "every ni:ght, (.) for o:hh ye:ars.", regular as clockwork and at decidedly antisocial hours. She "never had anyone to ta:lk to" as a consequence. So the hearer is faced with Jeff's choice -- to come down from upstairs (remote, cold) and have a chat with Mary; or pursue his mechanical, laborious, self-centred and inconsiderate regime. There is, in her description, no contest; hence Jeff comes out looking something of a cold fish. Here is a lovely example of 'chat' once again being a good thing, loading the dice in the speaker's favour. 7. Concluding comments I started out saying that the word 'chat' was something of an insult. That certainly might apply when the word is used (or might be used, or is allegedly used) in a discussion about human action, and someone who wants to push the 'real', the 'material' and the 'consequential' might use 'chat' to dismiss an opponent who wants words to be responsible for some rather substantial things: reality, materiality and consequentiality. But there's a nice paradox. When you do take words seriously as doing things, and you look for what 'chat' does in people's actual usage, you find that it isn't an insult. Far from it. In the four cases we looked at the speaker was using 'chat' as a basically pleasant, socially positive and blameless description. Of course, they were doing so for rhetorical purposes, as words always are. But nevertheless there's a paradox there. In the abstract, nasty; in actuality, nice. The one thing that's constant is the fact that, in our analyses, both the hypothetical insulters and our actual glossers are using the word. In the mouths of both parties 'chat' is an interested description, as the discursive psychologists have it, following the tradition established by Garfinkel and, especially, Harvey Sacks (see, for example, the compendious Lectures on Conversation). It is always heard as a contrast (implicit or not) with something else, and does its work that way. Like it or not, 'chat' is no polite cipher. If you look at how it's folded and manipulated into the interaction, you see how it will smooth a potentially difficult interview, naturalise a possibly unwelcome encounter or set up a loaded distinction againt something mechanical and self-interested. All human life is here. If anyone needed persuading that 'chat' isn't chat, then the examples we've looked at here might have gone some way to doing so. References Atkinson, J. M., and J. Heritage, eds. Structures of Social Action: Studies in Conversation Analysis. Cambridge: Cambridge UP. Edwards, D., and J. Potter. Discursive Psychology. London: Sage, 1992. Labov, W. Language in the Inner City. Philadelphia: U of Pennsylvania P, 1972. Rapley, M., and C. Antaki. "A Conversation Analysis of the 'Acquiescence' of People with Learning Disabilities." Journal of Community and Applied Psychology 6 (1996): 371-91. Reddy, M. J. "The Conduit Metaphor - A Case of Frame Conflict in Our Language about Language." Metaphor and Thought. Ed. A. Ortony. Cambridge, England: Cambridge UP, 1979. Sacks, H. Lectures on Conversation. Ed. Gail Jefferson. Oxford: Blackwell, 1992. Notation The notation follows that of Gail Jefferson described in Atkinson and Heritage (ix - xvi), with the following deviations: (..) and (...) are untimed pauses of about .4 and .8 of a second approximately. The author would like to thank Liz Holt and Derek Edwards for permission to use transcript extracts 3 and 4, whose details are as follows -- Extract 3: Holt: 1988 Undated: Side I: Call 4 Extract 4: DE-JF/C1/S1 @ 12 June, 1993 Citation reference for this article MLA style: Charles Antaki. "Two Rhetorical Uses of the Description 'Chat'." M/C: A Journal of Media and Culture 3.4 (2000). [your date of access] <http://www.api-network.com/mc/0008/uses.php>. Chicago style: Charles Antaki, "Two Rhetorical Uses of the Description 'Chat'," M/C: A Journal of Media and Culture 3, no. 4 (2000), <http://www.api-network.com/mc/0008/uses.php> ([your date of access]). APA style: Charles Antaki. (2000) Two rhetorical uses of the description 'chat'. M/C: A Journal of Media and Culture 3(4). <http://www.api-network.com/mc/0008/uses.php> ([your date of access]).

'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as jargon-filled cyber-crit hyperbole. Cyber-crit has always been at its best too when it invents pre-histories and finds hidden connections between different phenomena (like the work of Greil Marcus and early Mark Dery), and not when it is closer to Chinese Water Torture, name-checking the canon's icons (the 'Deleuze/Guattari' tag-team), texts and key terms. "The organization of sound is interpreted historically, politically, socially ... . It subdues music's ambition, reins it in, restores it to its proper place, reconciles it to its naturally belated fate", comments imagineer Kodwo Eshun (4) on how cyber-crit destroys albums and the innocence of the listening experience. This is how official histories are constructed a priori and freeze-dried according to personal tastes and prior memes: sometimes the most interesting experiments are Darwinian dead-ends that fail to make the canon, or don't register on the radar. Anyone approaching The Fragile must also contend with the music industry's harsh realities. For every 10 000 Goth fans who moshed to the primal 'kill-fuck-dance' rhythms of the hit single "Closer" (heeding its siren-call to fulfil basic physiological needs and build niche-space), maybe 20 noted that the same riff returned with a darker edge in the title track to The Downward Spiral, undermining the glorification of Indulgent hedonism. "The problem with such alternative audiences," notes Disinformation Creative Director Richard Metzger, "is that they are trying to be different -- just like everyone else." According to author Don Webb, "some mature Chaos and Black Magicians reject their earlier Nine Inch Nails-inspired Goth beginnings and are extremely critical towards new adopters because they are uncomfortable with the subculture's growing popularity, which threatens to taint their meticulously constructed 'mysterious' worlds. But by doing so, they are also rejecting their symbolic imprinting and some powerful Keys to unlocking their personal history." It is also difficult to separate Nine Inch Nails from the commercialisation and colossal money-making machine that inevitably ensued on the MTV tour circuit: do we blame Michael Trent Reznor because most of his audience are unlikely to be familiar with 'first-wave' industrial bands including Cabaret Voltaire and the experiments of Genesis P. Orridge in Throbbing Gristle? Do we accuse Reznor of being a plagiarist just because he wears some of his influences -- Dr. Dre, Daft Punk, Atari Teenage Riot, Pink Floyd's The Wall (1979), Tom Waits's Bone Machine (1992), David Bowie's Low (1977) -- on his sleeve? And do we accept no-brain rock critic album reviews who quote lines like 'All the pieces didn't fit/Though I really didn't give a shit' ("Where Is Everybody?") or 'And when I suck you off/Not a drop will go to waste' ("Starfuckers Inc") as representative of his true personality? Reznor evidently has his own thoughts on this subject, but we should let the music speak for itself. The album's epic production and technical complexity turned into a post-modern studio Vision Quest, assisted by producer Alan Moulder, eleventh-hour saviour Bob Ezrin (brought in by Reznor to 'block-out' conceptual and sonic continuity), and a group of assault-technicians. The fruit of these collaborations is an album where Reznor is playing with our organism's time-binding sense, modulating strange emotions through deeply embedded tonal angularities. During his five-year absence, Trent Reznor fought diverse forms of repetitious trauma, from endogenous depression caused by endless touring to the death of his beloved grandmother (who raised him throughout childhood). An end signals a new beginning, a spiral is an open-ended and ever-shifting structure, and so Reznor sought to re-discover the Elder Gods within, a shamanic approach to renewal and secular salvation utilised most effectively by music PR luminary and scientist Howard Bloom. Concerned with healing the human animal through Ordeals that hard-wire the physiological baselines of Love, Hate and Fear, Reznor also focusses on what happens when 'meaning-making' collapses and hope for the future cannot easily be found. He accurately captures the confusion that such dissolution of meaning and decline of social institutions brings to the world -- Francis Fukuyama calls this bifurcation 'The Great Disruption'. For a generation who experienced their late childhood and early adolescence in Reagan's America, Reznor and his influences (Marilyn Manson and Filter) capture the Dark Side of recent history, unleashed at Altamont and mutating into the Apocalyptic style of American politics (evident in the 'Star Wars'/SDI fascination). The personal 'psychotic core' that was crystallised by the collapse of the nuclear family unit and supportive social institutions has returned to haunt us with dystopian fantasies that are played out across Internet streaming media and visceral MTV film-clips. That such cathartic releases are useful -- and even necessary (to those whose lives have been formed by socio-economic 'life conditions') is a point that escapes critics like Roger Scruton, some Christian Evangelists and the New Right. The 'escapist' quality of early 1980s 'Rapture' and 'Cosmocide' (Hal Lindsey) prophecies has yielded strange fruit for the Children of Ezekiel, whom Reznor and Marilyn Manson are unofficial spokes-persons for. From a macro perspective, Reznor's post-human evolutionary nexus lies, like J.G. Ballard's tales, in a mythical near-future built upon past memory-shards. It is the kind of worldview that fuses organic and morphogenetic structures with industrial machines run amok, thus The Fragile is an artefact that captures the subjective contents of the different mind produced by different times. Sonic events are in-synch but out of phase. Samples subtly trigger and then scramble kinaesthetic-visceral and kinaesthetic-tactile memories, suggestive of dissociated affective states or body memories that are incapable of being retrieved (van der Kolk 294). Perhaps this is why after a Century of Identity Confusion some fans find it impossible to listen to a 102-minute album in one sitting. No wonder then that the double album is divided into 'left' and 'right' discs (a reference to split-brain research?). The real-time track-by-track interpretation below is necessarily subjective, and is intended to serve as a provisional listener's guide to the aural ur-text of 1999. The Fragile is full of encrypted tones and garbled frequencies that capture a world where the future is always bleeding into a non-recoverable past. Turbulent wave-forms fight for the listener's attention with prolonged static lulls. This does not make for comfortable or even 'nice' listening. The music's mind is a snapshot, a critical indicator, of the deep structures brewing within the Weltanschauung that could erupt at any moment. "Somewhat Damaged" opens the album's 'Left' disc with an oscillating acoustic strum that anchor's the listener's attention. Offset by pulsing beats and mallet percussion, Reznor builds up sound layers that contrast with lyrical epitaphs like 'Everything that swore it wouldn't change is different now'. Icarus iconography is invoked, but perhaps a more fitting mythopoeic symbol of the journey that lies ahead would be Nietzsche's pursuit of his Ariadne through the labyrinth of life, during which the hero is steadily consumed by his numbing psychosis. Reznor fittingly comments: 'Didn't quite/Fell Apart/Where were you?' If we consider that Reznor has been repeating the same cycle with different variations throughout all of his music to date, retro-fitting each new album into a seamless tapestry, then this track signals that he has begun to finally climb out of self-imposed exile in the Underworld. "The Day the World Went Away" has a tremendously eerie opening, with plucked mandolin effects entering at 0:40. The main slashing guitar riff was interpreted by some critics as Reznor's attempt to parody himself. For some reason, the eerie backdrop and fragmented acoustic guitar strums recalls to my mind civil defence nuclear war films. Reznor, like William S. Burroughs, has some powerful obsessions. The track builds up in intensity, with a 'Chorus of the Damned' singing 'na na nah' over apocalyptic end-times imagery. At 4:22 the track ends with an echo that loops and repeats. "The Frail" signals a shift to mournful introspectiveness with piano: a soundtrack to faded 8 mm films and dying memories. The piano builds up slowly with background echo, holds and segues into ... "The Wretched", beginning with a savage downbeat that recalls earlier material from Pretty Hate Machine. 'The Far Aways/Forget It' intones Reznor -- it's becoming clear that despite some claims to the contrary, there is redemption in this album, but it is one borne out of a relentless move forward, a strive-drive. 'You're finally free/You could be' suggest Reznor studied Existentialism during his psychotherapy visits. This song contains perhaps the ultimate post-relationship line: 'It didn't turn out the way you wanted it to, did it?' It's over, just not the way you wanted; you can always leave the partner you're with, but the ones you have already left will always stain your memories. The lines 'Back at the beginning/Sinking/Spinning' recall the claustrophobic trapped world and 'eternal Now' dislocation of Post-Traumatic Stress Disorder victims. At 3:44 a plucked cello riff, filtered, segues into a sludge buzz-saw guitar solo. At 5:18 the cello riff loops and repeats. "We're in This Together Now" uses static as percussion, highlighting the influence of electricity flows instead of traditional rock instrument configurations. At 0:34 vocals enter, at 1:15 Reznor wails 'I'm impossible', showing he is the heir to Roger Waters's self-reflective rock-star angst. 'Until the very end of me, until the very end of you' reverts the traditional marriage vow, whilst 'You're the Queen and I'm the King' quotes David Bowie's "Heroes". Unlike earlier tracks like "Reptile", this track is far more positive about relationships, which have previously resembled toxic-dyads. Reznor signals a delta surge (breaking through barriers at any cost), despite a time-line morphing between present-past-future. At 5:30 synths and piano signal a shift, at 5:49 the outgoing piano riff begins. The film-clip is filled with redemptive water imagery. The soundtrack gradually gets more murky and at 7:05 a subterranean note signals closure. "The Fragile" is even more hopeful and life-affirming (some may even interpret it as devotional), but this love -- representative of the End-Times, alludes to the 'Glamour of Evil' (Nico) in the line 'Fragile/She doesn't see her beauty'. The fusion of synths and atonal guitars beginning at 2:13 summons forth film-clip imagery -- mazes, pageants, bald eagles, found sounds, cloaked figures, ruined statues, enveloping darkness. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Pilgrimage" utilises a persistent ostinato and beat, with a driving guitar overlay at 0:18. This is perhaps the most familiar track, using Reznor motifs like the doubling of the riff with acoustic guitars between 1:12-1:20, march cries, and pitch-shift effects on a 3:18 drumbeat/cymbal. Or at least I could claim it was familiar, if it were not that legendary hip-hop producer and 'edge-of-panic' tactilist Dr. Dre helped assemble the final track mix. "No, You Don't" has been interpreted as an attack on Marilyn Manson and Hole's Courntey Love, particularly the 0:47 line 'Got to keep it all on the outside/Because everything is dead on the inside' and the 2:33 final verse 'Just so you know, I did not believe you could sink so low'. The song's structure is familiar: a basic beat at 0:16, guitars building from 0:31 to sneering vocals, a 2:03 counter-riff that merges at 2:19 with vocals and ascending to the final verse and 3:26 final distortion... "La Mer" is the first major surprise, a beautiful and sweeping fusion of piano, keyboard and cello, reminiscent of Symbolist composer Debussy. At 1:07 Denise Milfort whispers, setting the stage for sometime Ministry drummer Bill Reiflin's jazz drumming at 1:22, and a funky 1:32 guitar/bass line. The pulsing synth guitar at 2:04 serves as anchoring percussion for a cinematic electronica mindscape, filtered through new layers of sonic chiaroscuro at 2:51. 3:06 phase shifting, 3:22 layer doubling, 3:37 outgoing solo, 3:50-3:54 more swirling vocal fragments, seguing into a fading cello quartet as shadows creep. David Carson's moody film-clip captures the end more ominously, depicting the beauty of drowning. This track contains the line 'Nothing can stop me now', which appears to be Reznor's personal mantra. This track rivals 'Hurt' and 'A Warm Place' from The Downward Spiral and 'Something I Can Never Have' from Pretty Hate Machine as perhaps the most emotionally revealing and delicate material that Reznor has written. "The Great Below" ends the first disc with more multi-layered textures fusing nostalgia and reverie: a twelve-second cello riff is counter-pointed by a plucked overlay, which builds to a 0:43 washed pulse effect, transformed by six second pulses between 1:04-1:19 and a further effects layer at 1:24. E-bow effects underscore lyrics like 'Currents have their say' (2:33) and 'Washes me away' (2:44), which a 3:33 sitar riff answers. These complexities are further transmuted by seemingly random events -- a 4:06 doubling of the sitar riff which 'glitches' and a 4:32 backbeat echo that drifts for four bars. While Reznor's lyrics suggest that he is unable to control subjective time-states (like The Joker in the Batman: Dark Knight series of Kali-yuga comic-books), the track constructions show that the Key to his hold over the listener is very carefully constructed songs whose spaces resemble Pythagorean mathematical formulas. Misdirecting the audience is the secret of many magicians. "The Way Out Is Through" opens the 'Right' disc with an industrial riff that builds at 0:19 to click-track and rhythm, the equivalent of a weaving spiral. Whispering 'All I've undergone/I will keep on' at 1:24, Reznor is backed at 1:38 by synths and drums coalescing into guitars, which take shape at 1:46 and turn into a torrential electrical current. The models are clearly natural morphogenetic structures. The track twists through inner storms and torments from 2:42 to 2:48, mirrored by vocal shards at 2:59 and soundscapes at 3:45, before piano fades in and out at 4:12. The title references peri-natal theories of development (particularly those of Stanislav Grof), which is the source of much of the album's imagery. "Into the Void" is not the Black Sabbath song of the same name, but a catchy track that uses the same unfolding formula (opening static, cello at 0:18, guitars at 0:31, drums and backbeat at 1:02, trademark industrial vocals and synth at 1:02, verse at 1:23), and would not appear out of place in a Survival Research Laboratories exhibition. At 3:42 Reznor plays with the edge of synth soundscapes, merging vocals at 4:02 and ending the track nicely at 4:44 alone. "Where Is Everybody?" emulates earlier structures, but relies from 2:01 on whirring effects and organic rhythms, including a flurry of eight beat pulses between 2:40-2:46 and a 3:33 spiralling guitar solo. The 4:26 guitar solo is pure Adrian Belew, and is suddenly ended by spluttering static and white noise at 5:13. "The Mark Has Been Made" signals another downshift into introspectiveness with 0:32 ghostly synth shimmers, echoed by cello at 1:04 which is the doubled at 1:55 by guitar. At 2:08 industrial riffs suddenly build up, weaving between 3:28 distorted guitars and the return of the repressed original layer at 4:16. The surprise is a mystery 32 second soundscape at the end with Reznor crooning 'I'm getting closer, all the time' like a zombie devil Elvis. "Please" highlights spacious noise at 0:48, and signals a central album motif at 1:04 with the line 'Time starts slowing down/Sink until I drown'. The psychic mood of the album shifts with the discovery of Imagination as a liberating force against oppression. The synth sound again is remarkably organic for an industrial album. "Starfuckers Inc" is the now infamous sneering attack on rock-stardom, perhaps at Marilyn Manson (at 3:08 Reznor quotes Carly Simon's 'You're So Vain'). Jungle beats and pulsing synths open the track, which features the sound-sculpting talent of Pop Will Eat Itself member Clint Mansell. Beginning at 0:26, Reznor's vocals appear to have been sampled, looped and cut up (apologies to Brion Gysin and William S. Burroughs). The lines 'I have arrived and this time you should believe the hype/I listened to everyone now I know everyone was right' is a very savage and funny exposure of Manson's constant references to Friedrich Nietzsche's Herd-mentality: the Herd needs a bogey-man to whip it into submission, and Manson comes dangerous close to fulfilling this potential, thus becoming trapped by a 'Stacked Deck' paradox. The 4:08 lyric line 'Now I belong I'm one of the Chosen Ones/Now I belong I'm one of the Beautiful Ones' highlights the problem of being Elect and becoming intertwined with institutionalised group-think. The album version ditches the closing sample of Gene Simmons screaming "Thankyou and goodnight!" to an enraptured audience on the single from KISS Alive (1975), which was appropriately over-the-top (the alternate quiet version is worth hearing also). "The danger Marilyn Manson faces", notes Don Webb (current High Priest of the Temple of Set), "is that he may end up in twenty years time on the 'Tonight Show' safely singing our favourite songs like a Goth Frank Sinatra, and will have gradually lost his antinomian power. It's much harder to maintain the enigmatic aura of an Evil villain than it is to play the clown with society". Reznor's superior musicianship and sense of irony should keep him from falling into the same trap. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "The Big Come Down" begins with a four-second synth/static intro that is smashed apart by a hard beat at 0:05 and kaleidoscope guitars at 0:16. Critics refer to the song's lyrics in an attempt to project a narcissistic Reznor personality, but don't comment on stylistic tweaks like the AM radio influenced backing vocals at 1:02 and 1:19, or the use of guitars as a percussion layer at 1:51. A further intriguing element is the return of the fly samples at 2:38, an effect heard on previous releases and a possible post-human sub-text. The alien mythos will eventually reign over the banal and empty human. At 3:07 the synths return with static, a further overlay adds more synths at 3:45 as the track spirals to its peak, before dissipating at 3:1 in a mesh of percussion and guitars. "Underneath It All" opens with a riff that signals we have reached the album's climatic turning point, with the recurring theme of fragmenting body-memories returning at 0:23 with the line 'All I can do/I can still feel you', and being echoed by pulsing static at 0:42 as electric percussion. A 'Messiah Complex' appears at 1:34 with the line 'Crucify/After all I've died/After all I've tried/You are still inside', or at least it appears to be that on the surface. This is the kind of line that typical rock critics will quote, but a careful re-reading suggests that Reznor is pointing to the painful nature of remanifesting. Our past shapes us more than we would like to admit particularly our first relationships. "Ripe (With Decay)" is the album's final statement, a complex weaving of passages over a repetitive mesh of guitars, pulsing echoes, back-beats, soundscapes, and a powerful Mike Garson piano solo (2:26). Earlier motifs including fly samples (3:00), mournful funeral violas (3:36) and slowing time effects (4:28) recur throughout the track. Having finally reached the psychotic core, Reznor is not content to let us rest, mixing funk bass riffs (4:46), vocal snatches (5:23) and oscillating guitars (5:39) that drag the listener forever onwards towards the edge of the abyss (5:58). The final sequence begins at 6:22, loses fidelity at 6:28, and ends abruptly at 6:35. At millennium's end there is a common-held perception that the world is in an irreversible state of decay, and that Culture is just a wafer-thin veneer over anarchy. Music like The Fragile suggests that we are still trying to assimilate into popular culture the 'war-on-Self' worldviews unleashed by the nineteenth-century 'Masters of Suspicion' (Charles Darwin, Sigmund Freud, Friedrich Nietzsche). This 'assimilation gap' is evident in industrial music, which in the late 1970s was struggling to capture the mood of the Industrial Revolution and Charles Dickens, so the genre is ripe for further exploration of the scarred psyche. What the self-appointed moral guardians of the Herd fail to appreciate is that as the imprint baseline rises (reflective of socio-political realities), the kind of imagery prevalent throughout The Fragile and in films like Strange Days (1995), The Matrix (1999) and eXistenZ (1999) is going to get even darker. The solution is not censorship or repression in the name of pleasing an all-saving surrogate god-figure. No, these things have to be faced and embraced somehow. Such a process can only occur if there is space within for the Sadeian aesthetic that Nine Inch Nails embodies, and not a denial of Dark Eros. "We need a second Renaissance", notes Don Webb, "a rejuvenation of Culture on a significant scale". In other words, a global culture-shift of quantum (aeon or epoch-changing) proportions. The tools required will probably not come just from the over-wordy criticism of Cyber-culture and Cultural Studies or the logical-negative feeding frenzy of most Music Journalism. They will come from a dynamic synthesis of disciplines striving toward a unity of knowledge -- what socio-biologist Edward O. Wilson has described as 'Consilience'. Liberating tools and ideas will be conveyed to a wider public audience unfamiliar with such principles through predominantly science fiction visual imagery and industrial/electronica music. The Fragile serves as an invaluable model for how such artefacts could transmit their dreams and propagate their messages. For the hyper-alert listener, it will be the first step on a new journey. But sadly for the majority, it will be just another hysterical industrial album promoted as selection of the month. References Bester, Alfred. The Stars My Destination. London: Millennium Books, 1999. Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. Van der Kolk, Bessel A. "Trauma and Memory." Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. Eds. Bessel A. van der Kolk et al. New York: Guilford Press, 1996. Nine Inch Nails. Downward Spiral. Nothing/Interscope, 1994. ---. The Fragile. Nothing, 1999. ---. Pretty Hate Machine. TVT, 1989. Citation reference for this article MLA style: Alex Burns. "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/nine.php>. Chicago style: Alex Burns, "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile," M/C: A Journal of Media and Culture 2, no. 8 (1999), <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]). APA style: Alex Burns. (1999) 'This machine is obsolete': a listeners' guide to Nine Inch Nails' The fragile. M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]).

The difficulty of reading Allen Ginsberg's poetry is a recurring theme in criticism of his work and that of other post-WWII "Beat Generation" writers. "Even when a concerted effort is made to illuminate [Beat] literature," laments Nancy M. Grace, "doing so is difficult: the romance of the Beat life threatens to subsume the project" (812). Of course, the Beat life is romantic to the extent that it is romantically regaled. Continual romantic portrayals, such as that of Ginsberg in the recent movie Howl (2010), rekindle the Beat romance for new audiences with chicken-and-egg circularity. I explore this difficulty of reading Ginsberg that Grace and other critics identify by articulating it with respect to "Kaddish"—"Ginsberg's most highly praised and his least typical poem" (Perloff 213)—as a difficulty of interpreting Ginsberg suspiciously. Philosopher Paul Ricoeur's theories of interpretation—or "hermeneutics"—provide the theoretical foundation here. Ricoeur distinguishes between a romantic or "restorative" mode of interpretation, where meaning is reverently reconciled to a text assumed to be trustworthy, and a "suspicious" approach, where meaning is aggressively extrapolated from a text held as unreliable. In order to bring these theories to bear on "Kaddish" and its criticism, I draw on Rita Felski's pioneering work in relating Ricoeur's concept of "suspicious reading" to the field of literature. Is it possible to read "Kaddish" suspiciously? Or is there nothing left for suspicious readers to expose in texts such as "Kaddish" that are already self-exposing? In "Kaddish," Ginsberg tells the story of his mother Naomi Ginsberg, a Russian Jewish immigrant, who died in a mental hospital in 1956. It is a lengthy prose poem and spans a remarkable 19 pages in Ginsberg's Collected Poems (1984). In the words of Maeera Y. Shreiber, "Kaddish" "is a massive achievement, comprised of five numbered parts, and an interpellated 'Hymmnn' between parts two and three" (84). I focus on the second narrative part, which forms the bulk of the poem, where the speaker—I shall refer to him henceforth as "Allen" in order to differentiate between Ginsberg's poetic self-representation and Ginsberg-the-author—recounts the nervous breakdowns and hospital movements of his mother, whom he calls by her first name, Naomi. I begin by illustrating the ways in which Allen focalises Naomi in the text, and suggest that his attempts to "read" her suspicious mind alternate between restorative and suspicious impulses. I then take up the issue of reading "Kaddish" suspiciously. Acknowledging Ricoeur's assertion that psychoanalysis is an unequivocal "school of suspicion" (32), I consider James Breslin's psychoanalytic criticism on "Kaddish," in particular, his reading of what is easily the most contentious passage in the poem: the scene where Naomi solicits Allen for sex. I regard this passage as a microcosm of the issues that beset a suspicious reading of "Kaddish"—such as the problem posed by the self-exposing poem and poet—and I find that Breslin's response to it raises interesting questions on the politics of psychoanalysis and the nature of suspicious interpretation. Finally, I identify an unpublished thesis on Ginsberg's poetry by Sarah Macfarlane and classify her interpretation of "Kaddish" as unambiguously suspicious. My purpose is not to advance my own suspicious reading of "Kaddish" but to highlight the difficulties of reading "Kaddish" suspiciously. I argue that while it is difficult to read "Kaddish" suspiciously, to do so offers a fruitful counterbalance to the dominant restorative criticism on the poem. There are as yet unexplored hermeneutical territories in and around this poem, indeed in and around Ginsberg's work in general, which have radical implications for the future direction of Beat studies. Picking her tooth with her nail, lips formed an O, suspicion—thought's old worn vagina— (Ginsberg, "Kaddish" 218)Ginsberg constructs Naomi's suspicion in "Kaddish" via Allen's communication of her visions and descriptions of her behaviour. Allen relates, for example, that Naomi once suspected that Hitler was "in her room" and that "she saw his mustache in the sink" ("Kaddish" 220). Subsequently, Allen depicts Naomi "listening to the radio for spies—or searching the windowsill," and, in an attempt to "read" her suspicious mind, suggests that she envisages "an old man creep[ing] with his bag stuffing packages of garbage in his hanging black overcoat" ("Kaddish" 220). Allen's gaze thus filters Naomi's; he watches her as she watches for spies, and he animates her visions. He recalls as a child "watching over" Naomi in order to anticipate her "next move" ("Kaddish" 212). On one fateful day, Naomi "stared out the window on the Broadway Church corner"; Allen interprets that she "spied a mystical assassin from Newark" ("Kaddish" 212). He likewise observes and interprets Naomi's body language and facial expressions. When she "covered [her] nose with [a] motheaten fur collar" and "shuddered at [the] face" of a bus driver, he deduces that, for Naomi, the collar must have been a "gas mask against poison" and the driver "a member of the gang" ("Kaddish" 212). On the one hand, Allen's impetus to recover "the lost Naomi" ("Kaddish" 216)—first lost to mental illness and then to death—may be likened to Ricoeur's concept of a restorative hermeneutic, "which is driven by a sense of reverence and goes deeper into the text in search of revelation" (Felski 216). As if Naomi's mind constitutes a text, Allen strives to reveal it in order to make it intelligible. What drives him is the cathartic impulse to revivify his mother's memory, to rebuild her story, and to exalt her as "magnificent" and "mourned no more" ("Kaddish" 212), so that he may mourn no more. Like a restorative reader "driven by a sense of reverence" (Felski 216), he lauds Naomi as the "glorious muse that bore [him] from the womb [...] from whose pained head [he] first took Vision" ("Kaddish" 223). Critics of "Kaddish" also observe the poem's restorative impulse. In "Strange Prophecies Anew," Tony Trigilio reads the recovery of Naomi as "the recovery of a female principle of divinity" (773). Diverging from Ginsberg's earlier poem "Howl" (1956), which "represses signs of women in order to forge male prophetic comradeship," "Kaddish" "constructs maternity as a source of vision, an influence that precedes and sustains prophetic language. In 'Kaddish', Ginsberg attempts to recover the voice of his mother Naomi, which is muted in 'Howl'" (776). Shreiber also acknowledges Ginsberg's redemption of "the feminine, figured specifically as the lost mother," but for her it "is central to both of the long poems that make his reputation," namely "Kaddish" and "Howl" (81). She cites Ginsberg's retrospective confession that "Howl" was actually about Naomi to argue that, "it is in the course of writing 'Howl' that Ginsberg discovers his obligation to the elided (Jewish) mother—whose restoration is the central project of 'Kaddish'" (81). On the other hand, Allen's compulsion to "cut through" to Naomi, to talk to her as he "didn't when [she] had a mouth" ("Kaddish" 211), suggests the brutality of a suspicious hermeneutic where meanings "must be wrestled rather than gleaned from the page, derived not from what the text says, but in spite of what it says" (Felski 223). When Naomi was alive and "had a mouth," Allen aggressively "pushed her against the door and shouted 'DON'T KICK ELANOR!'" in spite of her message: "Elanor is the worst spy! She's taking orders!" ("Kaddish" 221). As a suspicious reader wrestles with a resistant text, Allen wrestles with Naomi, "yelling at her" in exasperation, and even "banging against her head which saw Radios, Sticks, Hitlers—the whole gamut of Hallucinations—for real—her own universe" ("Kaddish" 221).Allen may be also seen as approaching Naomi with a suspicious reader's "adversarial sensibility to probe for concealed, repressed, or disavowed meanings" (Felski 216). This is most visible in his facetiously professed "good idea to try [to] know the Monster of the Beginning Womb"—to penetrate Naomi's body in order to access her mind "that way" ("Kaddish" 219). Accordingly, in his psychoanalytic reading of "Kaddish," James Breslin understands Allen's "incestuous desires as expressing [his] wish to get inside his mother and see things as she does" (424). Breslin's interpretation invokes the Freudian concept of "epistemophilia," which Bran Nicol defines as the "desire to know" (48).Freud is one of "three masters" of suspicion according to Ricoeur (32). Freud, Nietzsche, and Marx "present the most radically contrary stance to the phenomenology of the sacred and to any hermeneutics understood as the recollection of meaning" (Ricoeur 35). They "begin with suspicion concerning the illusions of consciousness, and then proceed to employ the stratagem of deciphering" (Ricoeur 34). Freud deciphers the language of the conscious mind in order to access the "unconscious"—that "part of the mind beyond consciousness which nevertheless has a strong influence upon our actions" (Barry 96). Like their therapeutic counterparts, psychoanalytic critics distinguish "between the conscious and the unconscious mind," associating a text's "'overt' content with the former" and "'covert' content with the latter, privileging the latter as being what the work is 'really' about" (Barry 105). In seeking to expose a text's unconscious, they subscribe to a hermeneutic of suspicion's "conviction that appearances are deceptive, that texts do not gracefully relinquish their meanings" (Felski 216). To force texts to relinquish their meanings suspicious readers bear "distance rather than closeness; guardedness rather than openness; aggression rather than submission; superiority rather than reverence; attentiveness rather than distraction; exposure rather than tact" (Felski 222).For the most part, these qualities fail to characterise Breslin's psychoanalytic criticism on "Kaddish" and "Howl." Far from aggressive or superior, Breslin is a highly sympathetic reader of Ginsberg. "Many readers," he complains, are "still not sympathetic to the kind [sic] of form found in these poems" (403). His words echo Trigilio's endorsement of Marjorie Perloff's opinion that critics are too often "unwilling to engage the experimental scope of Ginsberg's poems" (Trigilio 774). Sympathetic reading, however, clashes with suspicious reading, which "involves a sense of vigilant preparedness for attack" (Shand in Felski 220). Breslin is sympathetic not only to the experimental forms of "Kaddish" and "Howl," but also to their attestation to "deep, long-standing private conflicts in Ginsberg—conflicts that ultimately stem from his ambivalent attachment to his mother" (403). In "Kaddish," Allen's ambivalent feelings toward his mother are conspicuous in his revolted and revolting reaction to her exposed body, combined with his blasé deliberation on whether to respond to her apparent sexual provocation: One time I thought she was trying to make me come lay her—flirting to herself at sink—lay back on huge bed that filled most of the room, dress up round her hips, big slash of hair, scars of operations, pancreas, belly wounds, abortions, appendix, stitching of incisions pulling down in the fat like hideous thick zippers—ragged long lips between her legs—What, even, smell of asshole? I was cold—later revolted a little, not much—seemed perhaps a good idea to try—know the Monster of the Beginning Womb—Perhaps—that way. Would she care? She needs a lover. ("Kaddish" 219)In "Confessing the Body," Elizabeth Gregory observes that "Naomi's ordinary body becomes monstrous in this description—not only in its details but in the undiscriminating desire her son attributes to it ('Would she care?')" (47). In exposing Naomi thus, Allen also exposes himself and his own indiscriminate sexual responsiveness. Such textual exposés pose challenges for those who would practice a hermeneutic of suspicion by "reading texts against the grain to expose their repressed or hidden meanings" (Felski 215). It appears that there is little that is hidden or repressed in "Kaddish" for a suspicious reader to expose. As Perloff notes, "the Ginsberg of 'Kaddish' is writing somewhat against the grain" (213). In writing against the grain, Ginsberg inhibits reading against the grain. A hermeneutic of suspicion holds "that manifest content shrouds darker, more unpalatable truths" (Felski 216). "Kaddish," however, parades its unpalatable truths. Although Ginsberg as a Beat poet is not technically included among the group of poets known as the "confessionals," "Kaddish" is typical of a "confessional poem" in that it "dwells on experiences generally prohibited expression by social convention: mental illness, intra-familial conflicts and resentments, childhood traumas, sexual transgressions and intimate feelings about one's body" (Gregory 34). There is a sense in which "we do not need to be suspicious" of such subversive texts because they are "already doing the work of suspicion for us" (Felski 217). It is also difficult to read "Kaddish" suspiciously because it presents itself as an autobiographical history of Ginsberg's relationship with his mother. "Kaddish" once again accords with Gregory's definition of "confessional poetry" as that which "draws on the poet's autobiography and is usually set in the first person. It makes a claim to forego personae and to represent an account of the poet's own feelings and circumstances" (34). These defining features of "Kaddish" make it not particularly conducive to a "suspicious hermeneutic [that] often professes a lack of interest in the category of authorship as a means of explaining the ideological workings of texts" (Felski 222). It requires considerable effort to distinguish Allen, speaker and character in "Kaddish," from Ginsberg, celebrity Beat poet and author of "Kaddish," and to suspend knowledge of Ginsberg's public-private life in order to pry ideologies from the text. This difficulty of resisting biographical interpretation of "Kaddish" translates to a difficulty of reading the poem suspiciously. In his psychoanalytic reading, Breslin's lack of suspicion for the poem's confession of autobiography dilutes his practice of an inherently suspicious mode of interpretation—that of psychoanalysis. His psychoanalysis of Ginsberg shows that he trusts "Kaddish" to confess its author's intimate feelings—"'It's my fault,' he must have felt, 'if I had loved my mother more, this wouldn't have happened to her—and to me'" (Breslin 422)—whereas a hermeneutic of suspicion "adopts a distrustful attitude toward texts" (Felski 216). That said, Breslin's differentiation between the conscious and unconscious, or surface and underlying levels of meaning in "Kaddish" is more clearly characteristic of a hermeneutic of suspicion's theory that texts withhold "meanings or implications that are not intended and that remain inaccessible to their authors as well as to ordinary readers" (Felski 216). Hence, Breslin speculates that, "on an unconscious level the writing of the poem may have been an act of private communication between the poet" and his mother (430). His response to the previously quoted passage of the poem suggests that while a cursory glance will restore its conscious meaning, a more attentive or suspicious gaze will uncover its unconscious: At first glance this passage seems a daring revelation of an incest wish and a shockingly realistic description of the mother's body. But what we really see here is how one post-Freudian writer, pretending to be open and at ease about incestuous desire, affects sophisticated awareness as a defense [sic] against intense longings and anxieties. The lines are charged with feelings that the poet, far from "confessing out," appears eager to deny. (Breslin 422; my emphasis)Breslin's temporary suspicious gaze in an otherwise trusting and sympathetic reading accuses the poet of revealing incestuous desire paradoxically in order to conceal incestuous desire. It exposes the exposé as an ironic guise, an attempt at subterfuge that the poet fails to conceal from the suspicious reader, evoking a hermeneutic of suspicion's conviction that in spite of itself "the text is not fully in control of its own discourse" (Felski 223). Breslin's view of Ginsberg's denial through the veil of his confession illuminates two possible ways of sustaining a suspicious reading of "Kaddish." One is to distrust its claim to confess Ginsberg, to recognise that "confession's reality claim is an extremely artful manipulation of the materials of poetry, not a departure from them" (Gregory 34). It is worth mentioning that in response to his interviewer's perception of the "absolute honesty" in his poem "Ego Confession," Ginsberg commented: "they're all poems, ultimately" (Spontaneous 404–05). Another way is to resist the double seduction operative in the text: Naomi's attempted seduction of Allen, and, in narrating it, Allen's attempted seduction of the psychoanalytic critic.Sarah Macfarlane's effort to unmask the gender politics that psychoanalytic critics arguably protect characterises her "socio-cultural analysis" (5) of "Kaddish" as unmistakably suspicious. While psychoanalytic critics "identify a 'psychic' context for the literary work, at the expense of social or historical context" (Barry 105), Macfarlane in her thesis "Masculinity and the Politics of Gender Construction in Allen Ginsberg" locates Allen's "perception of Naomi as the 'Monster of the Beginning Womb'" in the social and historical context of the 1950s "concept of the overbearing, dominating wife and mother who, although confined to the domestic space, looms large and threatening within that space" (48). In so doing, she draws attention to the Cold War discourse of "momism," which "envisioned American society as a matriarchy in which dominant mothers disrupted the Oedipal structure of the middle-class nuclear family" (Macfarlane 33). In other words, momism engaged Freudian explanations of male homosexuality as arising from a son's failure to resolve unconscious sexual desire for his mother, and blamed mothers for this failure and its socio-political ramifications, which, via the Cold War cultural association of homosexuality with communism, included "the weakening of masculine resolve against Communism" (Edelman 567). Since psychoanalysis effectively colludes with momism, psychoanalytic criticism on "Kaddish" is unable to expose its perpetuation in the poem. Macfarlane's suspicious reading of "Kaddish" as perpetuating momism radically departs from the dominant restorative criticism on the poem. Trigilio, for example, argues that "Kaddish" revises the Cold War "discourse of containment—'momism'—in which the exposure of communists was equated to the exposure of homosexuals" (781). "Kaddish," he claims, (which exposes both Allen's homosexuality and Naomi's communism), "does not portray internal collapse—as nationalist equations of homosexual and communist 'threats' would predict—but instead produces […] a 'Blessed' poet who 'builds Heaven in Darkness'" (782). Nonetheless, this blessed poet wails, "I am unmarried, I'm hymnless, I'm Heavenless" ("Kaddish" 212), and confesses his homosexuality as an overwhelming burden: "a mortal avalanche, whole mountains of homosexuality, Matterhorns of cock, Grand Canyons of asshole—weight on my melancholy head"("Kaddish" 214). In "Confessing the Body," Gregory asks whether confessional poetry "disclose[s] secrets in order to repent of them, thus reinforcing the initial negative judgement that kept them secret," or "to decathect that judgement" (35). While Allen's confession of homosexuality exudes exhilaration and depression, not guilt—Ginsberg critic Anne Hartman is surely right that "in the context of [the 1950s] public rituals of confession and repentance engendered by McCarthyism, […] poetic confession would carry a very different set of implications for a gay poet" (47)—it is pertinent to question his confession of Naomi. Does he expose Naomi in order to applaud or condemn her maternal transgressions? According to the logic of the Cold War "urge to unveil, [which] produces greater containment" (Trigilio 794), Allen's unveiling of Naomi veils his desire to contain her, unable as she is "to be contained within the 1950's [sic] domestic ideal of womanhood" (Macfarlane 44). "Ginsberg has become such a public issue that it's difficult now to read him naturally; you ask yourself after every line, am I for him or against him. And by and large that's the criticism he has gotten—votes on a public issue. (I see this has been one of those reviews.)" (Shapiro 90). Harvey Shapiro's review of Kaddish and Other Poems (1961) in which "Kaddish" first appeared illuminates the polarising effect of Ginsberg's celebrity on interpretations of his poetry. While sympathetic readings and romantic portrayals are themselves reactions to the "hostility to Ginsberg" that prevails (Perloff 223), often they do not sprout the intellectual vigour and fresh perspectives that a hermeneutic of suspicion has the capacity to sow. Yet it is difficult to read confessional texts such as "Kaddish" suspiciously; they appear to expose themselves without need of a suspicious reader. Readers of "Kaddish" such as Breslin are seduced into sympathetic biographical-psychoanalytical interpretations due to the poem's purported confession of Ginsberg's autobiography. As John Osborne argues, "the canon of Beat literature has been falsely founded on biographical rather than literary criteria" (4). The result is that "we are for the immediate future obliged to adopt adversarial reading strategies if we are to avoid entrenching an already stale orthodoxy" (Osborne 4). Macfarlane obliges in her thesis; she succeeds in reading "Kaddish" suspiciously by resisting its self-inscribed psychoanalysis to expose the gender politics of Allen's exposés. While Allen's confession of his homosexuality suggests that "Kaddish" subverts a heterosexist model of masculinity, a suspicious reading of his exposure of Naomi's maternal transgressions suggests that the poem contributes to momism and perpetuates a sexist model of femininity. Even so, a suspicious reading of a text such as "Kaddish" "contains a tacit tribute to its object, an admission that it contains more than meets the eye" (Felski 230). Ginsberg's own prophetic words bespeak as much:The worst I fear, considering the shallowness of opinion, is that some of the poetry and prose may be taken too familiarly, […] and be given the same shallow treatment, this time sympathetic, as, until recently, they were given shallow unsympathy. That would be the very we of fame. (Ginsberg, Deliberate 252)ReferencesBarry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. 2nd ed. Manchester: Manchester UP, 2002. Breslin, James. "The Origins of 'Howl' and 'Kaddish.'" On the Poetry of Allen Ginsberg. Ed. Lewis Hyde. Ann Arbor: U of Michigan P, 1984. 401–33.Edelman, Lee. "Tearooms and Sympathy, or, The Epistemology of the Water Closet." The Lesbian and Gay Studies Reader. Ed. Henry Abelove, Michèle Aina Barale, and David M. Halperin. New York: Routledge, 1993. 553–74.Felski, Rita. "Suspicious Minds." Poetics Today 32.2 (2011): 215–34. Ginsberg, Allen. Deliberate Prose: Selected Essays 1952-1995. Ed. Bill Morgan. London: Penguin, 2000.---. "Kaddish." Collected Poems 1947–1980. New York: Harper and Row, 1984. 209–27. ---. Spontaneous Mind: Selected Interviews 1958–1996. Ed. David Carter. New York: Harper Collins, 2001. Grace, Nancy M. "Seeking the Spirit of Beat: The Call for Interdisciplinary Scholarship." Rev. of Kerouac, the Word and the Way: Prose Artist as Spiritual Quester, by Ben Giamo, and The Bop Apocalypse: The Religious Visions of Kerouac, Ginsberg, and Burroughs, by John Lardas. Contemporary Literature 43.4 (2002): 811–21.Gregory, Elizabeth. "Confessing the Body: Plath, Sexton, Berryman, Lowell, Ginsberg and the Gendered Poetics of the 'Real.'" Modern Confessional Writing: New Critical Essays. Ed. Jo Gill. London: Routledge, 2006. 22–49. Hartman, Anne. "Confessional Counterpublics in Frank O'Hara and Allen Ginsberg." Journal of Modern Literature 28.4 (2005): 40–56. Howl. Dir. Rob Epstein and Jeffrey Friedman. Perf. James Franco. Oscilloscope Pictures, 2010.Macfarlane, Sarah. "Masculinity and the Politics of Gender Construction in Allen Ginsberg." MA thesis. Brown U, 1999.Nicol, Bran. "Reading Paranoia: Paranoia, Epistemophilia and the Postmodern Crisis of Interpretation." Literature and Psychology 45.1/2 (1999): 44–62.Osborne, John. "The Beats." A Companion to Twentieth Century Poetry. Blackwell Reference Online. Ed. Neil Roberts. 2003. 16 Oct. 2011 ‹http://www.blackwellreference.com/subscriber/uid=1205/tocnode?id=g9781405113618_chunk_g978140511361815&authstatuscode=202›.Perloff, Marjorie. "A Lion in Our Living Room: Reading Allen Ginsberg in the Eighties." Poetic License: Essays on Modernist and Postmodernist Lyric. Evanston: Northwestern UP, 1990. 199–230.Ricoeur, Paul. Freud and Philosophy: An Essay on Interpretation. Trans. Denis Savage. New Haven: Yale UP, 1970. Shapiro, Harvey. "Exalted Lament." Rev. of Kaddish and Other Poems 1958-1960, by Allen Ginsberg. On the Poetry of Allen Ginsberg. Ed. Lewis Hyde. Ann Arbor: U of Michigan P, 1984. 86–91. Shreiber, Maeera Y. "'You Still Haven't Finished with Your Mother': The Gendered Poetics of Charles Reznikoff and Allen Ginsberg." Singing in a Strange Land: A Jewish American Poetics. Stanford: Stanford UP, 2007. 46–97.Trigilio, Tony. "'Strange Prophecies Anew': Rethinking the Politics of Matter and Spirit in Ginsberg's Kaddish." American Literature 71.4 (1999): 773–95.

This paper argues that artist Dope Saint Jude is transforming South African hip-hop by queering a genre that has predominantly been male and heteronormative. Specifically, I analyse the opening skit of her music video “Keep in Touch” in order to unpack the ways which she revives Gayle, a gay language that adopted double-coded forms of speech during the apartheid era—a context in which homosexuals were criminalised. The use of Gayle and spaces close to the city centre of Cape Town (such as Salt River and Woodstock) speaks to the city as it was before it was transformed by the decline of industries due to the country’s adoption of neoliberal economics and, more recently, by the gentrification of these spaces. Dope Saint Jude therefore reclaims these city spaces through her use of gay modes of speech that have a long history in Cape Town and by positioning her work as hip-hop, which has been popular in the city for well over two decades. Her inclusion of transgender MC and DJ Angel Ho pushes the boundaries of hegemonic and binary conceptions of gender identity even further. In essence, Dope Saint Jude is transforming local hip-hop in a context that is shaped significantly by US cultural imperialism. The artist is also transforming our perspective of spaces that have been altered by neoliberal economics.Setting the SceneDope Saint Jude (DSJ) is a queer MC from Elsies River, a working class township located on Cape Town's Cape Flats in South Africa. Elsies River was defined as a “coloured” neighbourhood under the apartheid state's Group Areas Act, which segregated South Africans racially. With the aid of the Population Registration Act, citizens were classified, not merely along the lines of white, Asian, or black—black subjects were also divided into further categories. The apartheid state also distinguished between black and “coloured” subjects. Michael MacDonald contends that segregation “ordained blacks to be inferior to whites; apartheid cast them to be indelibly different” (11). Apartheid declared “African claims in South Africa to be inferior to white claims” and effectively claimed that black subjects “belonged elsewhere, in societies of their own, because their race was different” (ibid). The term “coloured” defined people as “mixed race” to separate communities that might otherwise have identified as black in the broad and inclusive sense (Erasmus 16). Racial categorisation was used to create a racial hierarchy with white subjects at the top of that hierarchy and those classified as black receiving the least resources and benefits. This frustrated attempts to establish broad alliances of black struggles against apartheid. It is in this sense that race is socially and politically constructed and continues to have currency, despite the fact that biologically essentialist understandings of race have been discredited (Yudell 13–14). Thanks to apartheid town planning and resource allocation, many townships on the Cape Flats were poverty-stricken and plagued by gang violence (Salo 363). This continues to be the case because post-apartheid South Africa's embrace of neoliberal economics failed to address racialised class inequalities significantly (Haupt, Static 6–8). This is the '90s context in which socially conscious hip-hop crews, such as Prophets of da City or Black Noise, came together. They drew inspiration from Black Consciousness philosophy via their exposure to US hip-hop crews such as Public Enemy in order to challenge apartheid policies, including their racial interpellation as “coloured” as distinct from the more inclusive category, black (Haupt, “Black Thing” 178). Prophets of da City—whose co-founding member, Shaheen Ariefdien, also lived in Elsies River—was the first South African hip-hop outfit to record an album. Whilst much of their work was performed in English, they quickly transformed the genre by rapping in non-standard varieties of Afrikaans and by including MCs who rap in African languages (ibid). They therefore succeeded in addressing key issues related to race, language, and class disparities in relation to South Africa's transition to democracy (Haupt, “Black Thing”; Haupt, Stealing Empire). However, as is the case with mainstream US hip-hop, specifically gangsta rap (Clay 149), South African hip-hop has been largely dominated by heterosexual men. This includes the more commercial hip-hop scene, which is largely perceived to be located in Johannesburg, where male MCs like AKA and Cassper Nyovest became celebrities. However, certain female MCs have claimed the genre, notably EJ von Lyrik and Burni Aman who are formerly of Godessa, the first female hip-hop crew to record and perform locally and internationally (Haupt, Stealing Empire 166; Haupt, “Can a Woman in Hip-Hop”). DSJ therefore presents the exception to a largely heteronormative and male-dominated South African music industry and hip-hop scene as she transforms it with her queer politics. While queer hip-hop is not new in the US (Pabón and Smalls), this is new territory for South Africa. Writing about the US MC Jean Grae in the context of a “male-dominated music industry and genre,” Shanté Paradigm Smalls contends,Heteronormativity blocks the materiality of the experiences of Black people. Yet, many Black people strive for a heteronormative effect if not “reality”. In hip hop, there is a particular emphasis on maintaining the rigidity of categories, even if those categories fail [sic]. (87) DSJ challenges these rigid categories. Keep in TouchDSJ's most visible entry onto the media landscape to date has been her appearance in an H&M recycling campaign with British Sri Lankan artist MIA (H&M), some fashion shoots, her new EP—Reimagine (Dope Saint Jude)—and recent Finnish, US and French tours as well as her YouTube channel, which features her music videos. As the characters’ theatrical costumes suggest, “Keep in Touch” is possibly the most camp and playful music video she has produced. It commences somewhat comically with Dope Saint Jude walking down Salt River main road to a public telephone, where she and a young woman in pig tails exchange dirty looks. Salt River is located at the foot of Devil's Peak not far from Cape Town's CBD. Many factories were located there, but the area is also surrounded by low-income housing, which was designated a “coloured” area under apartheid. After apartheid, neighbourhoods such as Salt River, Woodstock, and the Bo-Kaap became increasingly gentrified and, instead of becoming more inclusive, many parts of Cape Town continued to be influenced by policies that enable racialised inequalities. Dope Saint Jude calls Angel Ho: DSJ: Awêh, Angie! Yoh, you must check this kak sturvy girl here by the pay phone. [Turns to the girl, who walks away as she bursts a chewing gum bubble.] Ja, you better keep in touch. Anyway, listen here, what are you wys?Angel Ho: Ah, just at the salon getting my hair did. What's good? DSJ: Wanna catch on kak today?Angel Ho: Yes, honey. But, first, let me Gayle you this. By the jol by the art gallery, this Wendy, nuh. This Wendy tapped me on the shoulder and wys me, “This is a place of decorum.”DSJ: What did she wys?Angel Ho: De-corum. She basically told me this is not your house. DSJ: I know you told that girl to keep in touch!Angel Ho: Yes, Mama! I'm Paula, I told that bitch, “Keep in touch!” [Points index finger in the air.](Saint Jude, Dope, “Keep in Touch”)Angel Ho's name is a play on the male name Angelo and refers to the trope of the ho (whore) in gangsta rap lyrics and in music videos that present objectified women as secondary to male, heterosexual narratives (Sharpley-Whiting 23; Collins 27). The queering of Angelo, along with Angel Ho’s non-binary styling in terms of hair, make-up, and attire, appropriates a heterosexist, sexualised stereotype of women in order to create room for a gender identity that operates beyond heteronormative male-female binaries. Angel Ho’s location in a hair salon also speaks to stereotypical associations of salons with women and gay subjects. In a discussion of gender stereotypes about hair salons, Kristen Barber argues that beauty work has traditionally been “associated with women and with gay men” and that “the body beautiful has been tightly linked to the concept of femininity” (455–56). During the telephonic exchange, Angel Ho and Dope Saint Jude code-switch between standard and non-standard varieties of English and Afrikaans, as the opening appellation, “Awêh,” suggests. In this context, the term is a friendly greeting, which intimates solidarity. “Sturvy” means pretentious, whilst “kak” means shit, but here it is used to qualify “sturvy” and means that the girl at the pay phone is very pretentious or “full of airs.” To be “wys” means to be wise, but it can also mean that you are showing someone something or educating them. The meanings of these terms shift, depending on the context. The language practices in this skit are in line with the work of earlier hip-hop crews, such as Prophets of da City and Brasse vannie Kaap, to validate black, multilingual forms of speech and expression that challenge the linguistic imperialism of standard English and Afrikaans in South Africa, which has eleven official languages (Haupt, “Black Thing”; Haupt, Stealing Empire; Williams). Henry Louis Gates’s research on African American speech varieties and literary practices emerging from the repressive context of slavery is essential to understanding hip-hop’s language politics. Hip-hop artists' multilingual wordplay creates parallel discursive universes that operate both on the syntagmatic axis of meaning-making and the paradigmatic axis (Gates 49; Haupt, “Stealing Empire” 76–77). Historically, these discursive universes were those of the slave masters and the slaves, respectively. While white hegemonic meanings are produced on the syntagmatic axis (which is ordered and linear), black modes of speech as seen in hip-hop word play operate on the paradigmatic axis, which is connotative and non-linear (ibid). Distinguishing between Signifyin(g) / Signification (upper case, meaning black expression) and signification (lower case, meaning white dominant expression), he argues that “the signifier ‘Signification’ has remained identical in spelling to its white counterpart to demonstrate [. . .] that a simultaneous, but negated, parallel discursive (ontological, political) universe exists within the larger white discursive universe” (Gates 49). The meanings of terms and expressions can change, depending on the context and manner in which they are used. It is therefore the shared experiences of speech communities (such as slavery or racist/sexist oppression) that determine the negotiated meanings of certain forms of expression. Gayle as a Parallel Discursive UniverseDSJ and Angel Ho's performance of Gayle takes these linguistic practices further. Viewers are offered points of entry into Gayle via the music video’s subtitles. We learn that Wendy is code for a white person and that to keep in touch means exactly the opposite. Saint Jude explains that Gayle is a very fun queer language that was used to kind of mask what people were saying [. . .] It hides meanings and it makes use of women's names [. . . .] But the thing about Gayle is it's constantly changing [. . .] So everywhere you go, you kind of have to pick it up according to the context that you're in. (Ovens, Saint Jude and Haupt)According to Kathryn Luyt, “Gayle originated as Moffietaal [gay language] in the coloured gay drag culture of the Western Cape as a form of slang amongst Afrikaans-speakers which over time, grew into a stylect used by gay English and Afrikaans-speakers across South Africa” (Luyt 8; Cage 4). Given that the apartheid state criminalised homosexuals, Gayle was coded to evade detection and to seek out other members of this speech community (Luyt 8). Luyt qualifies the term “language” by arguing, “The term ‘language’ here, is used not as a constructed language with its own grammar, syntax, morphology and phonology, but in the same way as linguists would discuss women’s language, as a way of speaking, a kind of sociolect” (Luyt 8; Cage 1). However, the double-coded nature of Gayle allows one to think of it as creating a parallel discursive universe as Gates describes it (49). Whereas African American and Cape Flats discursive practices function parallel to white, hegemonic discourses, gay modes of speech run parallel to heteronormative communication. Exclusion and MicroaggressionsThe skit brings both discursive practices into play by creating room for one to consider that DSJ queers a male-dominated genre that is shaped by US cultural imperialism (Haupt, Stealing Empire 166) as a way of speaking back to intersectional forms of marginalisation (Crenshaw 1244), which are created by “white supremacist capitalist patriarchy” (hooks 116). This is significant in South Africa where “curative rape” of lesbians and other forms of homophobic violence are prominent (cf. Gqola; Hames; Msibi). Angel Ho's anecdote conveys a sense of the extent to which black individuals are subject to scrutiny. Ho's interpretation of the claim that the gallery “is a place of decorum” is correct: it is not Ho's house. Black queer subjects are not meant to feel at home or feel a sense of ownership. This functions as a racial microaggression: “subtle insults (verbal, nonverbal, and/or visual) directed toward people of color, often automatically or unconsciously” (Solorzano, Ceja, and Yosso 60). This speaks to DSJ's use of Salt River, Woodstock, and Bo-Kaap for the music video, which features black queer bodies in performance—all of these spaces are being gentrified, effectively pushing working class people of colour out of the city (cf. Didier, Morange, and Peyroux; Lemanski). Gustav Visser explains that gentrification has come to mean a unit-by-unit acquisition of housing which replaces low-income residents with high-income residents, and which occurs independent of the structural condition, architecture, tenure or original cost level of the housing (although it is usually renovated for or by the new occupiers). (81–82) In South Africa this inequity plays out along racial lines because its neoliberal economic policies created a small black elite without improving the lives of the black working class. Instead, the “new African bourgeoisie, because it shares racial identities with the bulk of the poor and class interests with white economic elites, is in position to mediate the reinforcing cleavages between rich whites and poor blacks without having to make more radical changes” (MacDonald 158). In a news article about a working class Salt River family of colour’s battle against an eviction, Christine Hogg explains, “Gentrification often means the poor are displaced as the rich move in or buildings are upgraded by new businesses. In Woodstock and Salt River both are happening at a pace.” Angel Ho’s anecdote, as told from a Woodstock hair salon, conveys a sense of what Woodstock’s transformation from a coloured, working class Group Area to an upmarket, trendy, and arty space would mean for people of colour, including black, queer subjects. One could argue that this reading of the video is undermined by DSJ’s work with global brand H&M. Was she was snared by neoliberal economics? Perhaps, but one response is that the seeds of any subculture’s commercial co-option lie in the fact it speaks through commodities (for example clothing, make-up, CDs, vinyl, or iTunes / mp3 downloads (Hebdige 95; Haupt, Stealing Empire 144–45). Subcultures have a window period in which to challenge hegemonic ideologies before they are delegitimated or commercially co-opted. Hardt and Negri contend that the means that extend the reach of corporate globalisation could be used to challenge it from within it (44–46; Haupt, Stealing Empire 26). DSJ utilises her H&M work, social media, the hip-hop genre, and international networks to exploit that window period to help mainstream black queer identity politics.ConclusionDSJ speaks back to processes of exclusion from the city, which was transformed by apartheid and, more recently, gentrification, by claiming it as a creative and playful space for queer subjects of colour. She uses Gayle to lay claim to the city as it has a long history in Cape Town. In fact, she says that she is not reviving Gayle, but is simply “putting it on a bigger platform” (Ovens, Saint Jude, and Haupt). The use of subtitles in the video suggests that she wants to mainstream queer identity politics. Saint Jude also transforms hip-hop heteronormativity by queering the genre and by locating her work within the history of Cape hip-hop’s multilingual wordplay. ReferencesBarber, Kristin. “The Well-Coiffed Man: Class, Race, and Heterosexual Masculinity in the Hair Salon.” Gender and Society 22.4 (2008): 455–76.Cage, Ken. “An Investigation into the Form and Function of Language Used by Gay Men in South Africa.” Rand Afrikaans University: MA thesis, 1999.Clay, Andreana. “‘I Used to Be Scared of the Dick’: Queer Women of Color and Hip-Hop Masculinity.” Home Girls Make Some Noise: Hip Hop Feminism Anthology. Ed. Gwendolyn D. Pough, Elain Richardson, Aisha Durham, and Rachel Raimist. California: Sojourns, 2007.Collins, Patricia Hill. Black Sexual Politics: African Americans, Gender, and the New Racism. New York: Routledge, 2005. Crenshaw, Kimberle. “Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color”. 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