Analysis of Gd(n,gamma) reaction with 155, 157 and natural Gd targets taken with JPARC-ANNRI and development of Gd(n,gamma) decay model for Gd-doped neutron/neutrino detectors

International audienceThe importance of a good model for the $\gamma$-ray energy spectrum from the radiative thermal neutron capture on Gadolinium (Gd)is specially increased in the present era of Gd-enhanced $\bar{\nu}_e$-search detectors. Its an essential prerequisite for MC studies to evaluate the neutron tagging efficiency, in order to enhance signal sensitivity in the Gd-loaded $\bar{\nu}_e$-search detectors. The $\gamma$-ray spectra produced from the thermal neutron capture on enriched gadolinium targets ($^{\rm 155}$Gd, $^{\rm 157}$Gd and Natural Gd) in the energy range 0.11 MeV to 8.0 MeV, were measured using the ANNRI Germanium Spectrometer at MLF, J-PARC. Based on the data acquired and a GEANT4 simulation of the ANNRI detector, we reported the energy spectrum of $^{\rm 157}$Gd(n, $\gamma$) and developed a $\gamma$-ray emission model of $^{\rm 157}$Gd(n, $\gamma$) in our previous publication. We now present the analysed data of $^{\rm 155}$Gd(n, $\gamma$) and $^{\rm nat}$Gd(n, $\gamma$) reactions, the energy spectra of $\gamma$-rays and an improved model for $^{\rm 155}$Gd(n, $\gamma$), $^{\rm 157}$Gd(n, $\gamma$) and $^{\rm nat}$Gd(n, $\gamma$) reactions. The consistency of the results from the devised model is checked among all the 14 germanium crystals, at the level of 15% spectral shape deviation at 0.2 MeV binning

Between art and gameness: Critical theory and computer game aesthetics

ABSTRACT This article argues that the computer game can be a locus of aesthetic form in contemporary culture. The context for understanding this claim is the decline of the artwork as bearer of form in the late 20th century, as this was understood by Adorno. Form is the enigmatic other of instrumental reason that emerges spontaneously in creative works and, in the modern era, is defined as that which makes them captivating and enigmatic yet resistant to analytic understanding. Clarification of the ways in which form is at work in game play is sought from aesthetic theory (Kant), ludology (or theory of games), and the idea of a neo-baroque entertainment culture (Ndalianis). Kant emphasized the role of play in the constitution of imaginary realms associated with aesthetic pleasure. Ludology takes play as an anthropological given differentiated histori-cally by the development of game structures. Neo-baroque theory postulates a labyrinthine, complex and de-centred entertainment culture, largely shaped by computing as a cultural practice. The article synthesizes insights from these perspectives and, drawing on ideas from Adorno and Benjamin, argues that computer games can occupy an oppositional or critical role within contempor-ary aesthetics and culture. Reflection on the constitutive processes of computer game play discloses a new place for instrumental reason within aesthetic experi-ence, as the dialectic of form and analysis migrates from traditional art materials to digital electronics