Another Deleuzian Resnais: l'année dernière à Marienbad as conflict between sadism and masochism

The Deleuzian reading of L'Année dernière à Marienbad proposed here draws less on what has become a virtually canonical concept in film studies – Deleuze's time-image – than on a much earlier work by the same author, Masochism, which treats sadism and masochism as qualitatively different symbolic universes. Resnais's film, with its deployment of mirrors and statuary and its suggestion of a contract between the characters A and X, presents striking resemblances to the world of masochism as described by Deleuze (drawing on the work of Theodor Reik). At the same time, the role of the third protagonist, M, like that of Robbe-Grillet who wrote the screenplay, has Sadean overtones, suggesting that it might be possible to read the film with its diegetic ambiguities as a Möbius strip linking the sadistic and the masochistic world not only with each other, but with the crystalline universe of the time-image

Measuring the Magnetic Flux Density with Flux Loops and Hall Probes in the CMS Magnet Flux Return Yoke

The Compact Muon Solenoid (CMS) is a general purpose detector, designed to run at the highest luminosity at the CERN Large Hadron Collider (LHC). Its distinctive features include a 4 T superconducting solenoid with 6-m-diameter by 12.5-m-length free bore, enclosed inside a 10,000-ton return yoke made of construction steel. The flux return yoke consists of five dodecagonal three-layered barrel wheels and four end-cap disks at each end comprised of steel blocks up to 620 mm thick, which serve as the absorber plates of the muon detection system. To measure the field in and around the steel, a system of 22 flux loops and 82 3-D Hall sensors is installed on the return yoke blocks. A TOSCA 3-D model of the CMS magnet is developed to describe the magnetic field everywhere outside the tracking volume that was measured with the field-mapping machine. The voltages induced in the flux loops by the magnetic flux changing during the CMS magnet standard ramps down are measured with six 16-bit DAQ modules. The off-line integration of the induced voltages reconstructs the magnetic flux density in the yoke steel blocks at the operational magnet current of 18.164 kA. The results of the flux loop measurements during three magnet ramps down are presented and discussed.Comment: 3 pages, 6 figures, presented at the IEEE Nuclear Science Symposium 2016 (NSS) in Strasbourg, France on November 3, 2016. arXiv admin note: text overlap with arXiv:1605.0877

A vanguarda e a dialéctica: uma nota sobre a Nouvelle Vague

Na Europa do pós-guerra, depois da experiência neo-realista, surge uma corrente, aparentemente (des)organizada, que possuía pontos de contacto com a cinematografia italiana, e que incluía como figura emblemática Alain Robbe-Grillet. Este movimento viria a reestruturar a concepção do romance e do cinema. Segundo Roland Barthes, não existe propriamente uma escola ou corrente que reunisse o já citado Alain Robbe-Grillet, Nathalie Sarraute e Michel Butor, entre outros, e que propusera o conceito de Nouveau Roman, dado que as dissemelhanças são também uma marca do «grupo», unido, contudo, por linhas de pensamento comuns. Na caminhada que afastava o romance das formulações tradicionais do enredo, surgia, como nos diz Aguiar e Silva , o Nouveau Roman, designação criada por jornalistas, que identificava uma tipologia que aparecera após 1950, possuindo como principal ideal o afastamento dos vectores tradicionais na concepção do romance e uma aproximação a Joyce, Woolf, Faulkner e Dos Passos

Deleuz's narrative series

In The Logic of Sense (section 33) Gilles Deleuze defines novelists/artists as "clinicians of civilisation". Great authors are more like doctors than their patients - in that, like great clinicians, they create a set of disorders out of disorder, a table or grouping of symptoms out of disparate symptoms, so that "it is not the [Freudian Oedipus] complex which provides us with information about Oedipus and Hamlet, but rather Oedipus and Hamlet who provide us with information about the complex". For Deleuze, this creation of disorders takes on a particular character. In truth, for him, these structurings are not created from "disorder", since that would be to define the "choasmos" of differences - "disorder" in common parlance - by means of the notion of order; that is, it would be to define differences in terms of sameness - something he had spent the whole of his preceding book, Difference and Repetition, battling against. Thus the creation of disorders can only occur within a field where originary difference has been proclaimed and acknowledged, and where every notion of the same or the one is derived from, or "said of" (as he puts it) that which always and from the start differs. The exemplary novelist - Deleuze cites Joyce's Ulysses, Proust and Robbe-Grillet - disposes within this original difference two heterogeneous series of signifier and signified (section 6). These two series resonate through a single homogenous series of names where each term can be seen to relate to the preceding one and the next one, thus: n1 - n2 - n3 - n4... The first name, or signifier, relates to the second name/signifier, relates to the third etc in the familiar continuous chain of signifiers. But it is the novelist's task to consider this homogenous chain instead from the point of view of "that which alternates in this succession" - ie the alternation of signified and signifier through the terms - and to allow these to resonate. In the case of Joyce, for instance, there is a series surrounding "Bloom" which is given as the signifying set; and a corresponding signified series "Ulysses"; between which the author establishes a resonance and relation by various means. In the case of Robbe-Grillet, the two series operate on the smaller scale of descriptions of tiny "states of affairs" against "rigorous designations". In all cases, it is for Deleuze the differences between the series and their terms which "become [through the auspices of the author] primary", not the resemblances. This paper will attempt a preliminary transposition of these Deleuzian strategies onto a creative spatial field. Can a place be disposed according to this strategy of primary difference, homogenous chain of signifiers and the creative diagnosis of two resonating, heterogeneous series? In this case, what would constitute the two aspects of sense? How does this relate to the stoic disjunctive logic of the state of affairs of bodies and the entirely other order of "events", which hover over states of affair as "the battle hovers over its own field" (section 15)? It will be shown that the creation of a place must, like literature, stay true to Deleuze's words in Difference and Repetition: ... [it] opens on to the difference of Being by taking its own difference as object - in other works, by posing the question of its own difference (p195