Interactive simulation of fire, burn and decomposition

This work presents an approach to effectively integrate into one unified modular fire simulation framework the major processes related to fire, namely: a burning process, chemical combustion, heat distribution, decomposition and deformation of burning solids, and rigid body simulation of the residue. Simulators for every stage are described, and the modular structure enables switching to different simulators if more accuracy or more interactivity is desired. A “Stable Fluids” based three gas system is used to model the combustion process, and the heat generated during the combustion is used to drive the flow of the hot air. Objects, if exposed to enough heat, ignite and start burning. The decomposition of the burning object is modeled as a level set method, driven by the pyrolysis process, where the burning object releases combustible gases. Secondary deformation effects, such as bending burning matches and crumpling burning paper, are modeled as a proxy based deformation. Physically based simulation, done at interactive rates, enables the user to ef- ficiently test different setups, as well as interact and change the conditions during the simulation. The graphics card is used to generate additional frames for real-time visualization. This work further proposes a method for controlling and directing high resolution simulations. An interactive coarse resolution simulation is provided to the user as a “preview” to control and achieve the desired simulation behavior. A higher resolution “final” simulation that creates all the fine scale behavior is matched to the preview simulation such that the preview and final simulations behave in a similar manner. In this dissertation, we highlighted a gap within the CG community for the simulation of fire. There has not previously been a physically based yet interactive simulation for fire. This dissertation describes a unified simulation framework for physically based simulation of fire and burning. Our results show that our implementation can model fire, objects catching fire, burning objects, decomposition of burning objects, and additional secondary deformations. The results are plausible even at interactive frame rates, and controllable

SAGA Vol.85 / 2021-2022

https://digitalcommons.augustana.edu/saga/1006/thumbnail.jp

Computer graphics simulation of organic and inorganic optical and morphological appearance changes.

Organic bodies are subject to internal biological, chemical and physical processes as well as environmental interactions after death, which cause significant structural and optical changes. Simulating corpse decomposition and the environmental effects on its surface can help improve the realism of computer generated scenes and provide the impression of a living, dynamic environment. The aim of this doctorate thesis is to simulate post mortem processes of the human body and their visual effects on its appearance. The proposed method is divided into three processes; surface weathering due to environmental activities, livor mortis and natural mummification by desiccation. The decomposing body is modelled by a layered model consisting of a tetrahedral mesh representing the volume and a high resolution triangle surface mesh representing the skin. A particle-based surface weathering approach is employed to add environmental effects. The particles transport substances that are deposited on the object’s surface. A novel, biologically-inspired blood pooling simulation is used to recreate the physical processes of livor mortis and its visual effects on the corpse’s appearance. For the mummification, a physically-based approach is used to simulate the moisture diffusion process inside the object and the resulting de- formations of the volume and skin. In order to simulate the colouration changes associated with livor mortis and mummification, a chemically-based layered skin shader that considers time and spatially varying haemoglobin, oxygen and moisture contents is proposed. The suggested approach is able to model changes in the internal structure and the surface appearance of the body that resemble the post mortem processes livor mortis, natural mummification by desiccation and surface weathering. The surface weathering approach is able to add blemishes, such as rust and moss, to an object’s surface while avoiding inconsistencies in deposit sizes and dis- continuities on texture seams. The livor mortis approach is able to model the pink colouration changes caused by blood pooling, pressure induced blanching effects, fixation of hypostasis and the purple discolouration due to oxygen loss in blood. The mummification method is able to reproduce volume shrinkage effects caused by moisture loss, skin wrinkling and skin darkening that are comparable to real mummies

Write the Body Bloody: Violence, Gender & Identity in the Poetry of Sylvia Plath & Ai

Poems that hang themselves on the rope of acts, apparitions and assertions of violence, voiced by a fierce ‘I’, are primary modes in the work of both Sylvia Plath and Ai. Their violent ‘I’s burst the boundaries of acceptable poetic expression in moments of crisis, trauma and uncertainty, giving voice to the unspeakable. Yet critical analysis has made a habit of dividing these poets’ violent use of the first person, placing Plath firmly in the category of (naked) autobiographical confession and Ai in the tradition of (masked) dramatic monologue. This thesis highlights the links between the modes in which Plath and Ai inhabit the poetic ‘I’, exploring how they each use scenes of violence to perform and interrogate issues of gender and identity, expose the nexus of tenderness and cruelty and obscure the roles of villain and victim. It argues that neither the category of confessional poetry or dramatic monologue can cage these poets’ seizure of the ‘I’ or explain their emphasis on self as theatre and character as concert. It examines the ways in which selected poems from each writer’s work do violence to the gender and identity limits implicit in both labels. The creative section which follows this legacy of ‘unacceptable’ women’s writing continues to agitate against the gender limits imposed upon women. It does not flinch from conflict and unpicks the body to discover what identity really means. It embodies the ghosts that haunt my writing self, demanding they be given a voice. My poetry is a breathing fusion of my personal and my dramatic selves. Like the poetry of Plath and Ai, my own creative work refuses to be caged

Master of Fine Arts

thesisGravity is a work of fiction focused on our inevitable endings and our ability to ignore the signs of impending termination. The protagonist is a depressed, alienated office worker who gets off the elevator on the floor of his employer just after a catastrophic event occurs that will lead to the collapse of the structure. He is able to ignore the screams of everyone else in the office space, and his reaction to the panic of everyone else is that of a "Home Alone"esque self indulgence, while he still finds himself unable to escape his feelings of inadequacy and paranoia of being judged by others. His realization of impending death comes after passing a point-of-no-return for postponing his death

Building Bonfires

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Building Bonfires

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