Multi-dimensional numerical simulations of type Ia supernova explosions

The major role type Ia supernovae play in many fields of astrophysics and in particular in cosmological distance determinations calls for self-consistent models of these events. Since their mechanism is believed to crucially depend on phenomena that are inherently three-dimensional, self-consistent numerical models of type Ia supernovae must be multi-dimensional. This field has recently seen a rapid development, which is reviewed in this article. The different modeling approaches are discussed and as an illustration a particular explosion model -- the deflagration model -- in a specific numerical implementation is presented in greater detail. On this exemplary case, the procedure of validating the model on the basis of comparison with observations is discussed as well as its application to study questions arising from type Ia supernova cosmology.Comment: 30 pages, 7 figures (Fig. 6 with reduced resolution

Black Mirrors: Reflecting (on) Hypermimesis

Reflections on mimesis have tended to be restricted to aesthetic fictions in the past century; yet the proliferation of new digital technologies in the present century is currently generating virtual simulations that increasingly blur the line between aesthetic representations and embodied realities. Building on a recent mimetic turn, or re-turn of mimesis in critical theory, this paper focuses on the British sci-fi television series, Black Mirror (2011-2016) to reflect critically on the hypermimetic impact of new digital technologies on the formation and transformation of subjectivity. It argues that emerging forms of digital simulations do not simply set up a realistic mirror to “reality” restricted to aesthetic “representation” (Auerbach 1953); nor are they confined to the disembodied sphere of “hyperreality” that goes beyond the logic of “imitation” (Baudrillard 1981). Rather, the digital simulations reflected in Black Mirror dramatize the performative powers of hyperreal simulations to retroact on reality to form and transform increasingly mimetic subjects. I call this technological process of transformation “hypermimesis” (Lawtoo 2015, 2018), to indicate that it is located at the juncture where hyperreal simulacra and mimetic reflexes meet and reflect on each other.Las reflexiones sobre la mímesis han tendido a restringirse a las ficciones estéticas en el siglo pasado; sin embargo, la proliferación de nuevas tecnologías digitales en el presente siglo está generando actualmente simulaciones virtuales que difuminan cada vez más la línea entre las representaciones estéticas y las realidades encarnadas. Partiendo de un reciente giro mimético, o vuelta a la mímesis en la teoría crítica, este artículo se centra en la serie de televisión británica de ciencia ficción Black Mirror (2011-2016) para reflexionar de forma crítica sobre el impacto hipermimético de las nuevas tecnologías digitales en la formación y transformación de la subjetividad. Sostiene que las formas emergentes de simulaciones digitales no se limitan a establecer un espejo realista de la "realidad" restringido a la "representación" estética (Auerbach 1953); tampoco se limitan a la esfera incorpórea de la "hiperrealidad" que va más allá de la lógica de la "imitación" (Baudrillard 1981). Más bien, las simulaciones digitales reflejadas en Black Mirror dramatizan los poderes performativos de las simulaciones hiperreales para retroceder en la realidad y formar y transformar sujetos cada vez más miméticos. Llamo a este proceso tecnológico de transformación "hipermímesis" (Lawtoo 2015, 2018), para indicar que se sitúa en la coyuntura en la que el simulacro hiperreal y los reflejos miméticos se encuentran y se reflejan mutuamente.post-print24 p

Night rendering

Journal ArticleThe issues of realistically rendering naturally illuminated scenes at night are examined. This requires accurate models for moonlight, night skylight, and starlight. In addition, several issues in tone reproduction are discussed: eliminatiing high frequency information invisible to scotopic (night vision) observers; representing the flare lines around stars; determining the dominant hue for the displayed image. The lighting and tone reproduction are shown on a variety of models

SENJA DI BANDUNG DALAM SENI LUKIS

Sebagai ungkapan estetik, dalam berkarya inspirasi bisa datang dari mana saja. Sebuah inspirasi hadir dari diri sendiri dan dari lingkungan. Berkaitan dengan hal tersebut, melalui skripsi penciptaan ini, penulis ingin menghadirkan visualisasi dengan suasana langit senja di Bandung dalam karya seni lukis. Karya seni lukis ini awalnya terinspirasi dari nama penulis sendiri, Senja. Hal itu kemudian membuat penulis seolah memiliki keterkaitan yang kuat setiap kali penulis melihat senja. Saat ini suasana senja menjadi sebuah trendsetter dikalangan masyarakat dengan mengambil dokumentasi senja yang estetik menjadi sebuah kepuasan tersendiri terutama millenial. senja itu dibagi menjadi tiga bagian senja yaitu senja sipil senja mulai dari matahari terbenam kemudian dilanjutkan oleh senja nautikal dimana langit mulai gelap dan ditutup oleh senja astronomikal yang seutuhnya gelap sekitar 1 jam setengah setelah matahari terbenam. Semua itu menunjukan senja adalah hal yang menarik saat ini begitu juga dengan Bandung. Bandung yang merupakan Ibu Kota Jawa Barat memiliki banyak bangunan-bangunan dengan gaya arsitektur yang estetik dengan latar belakangnya masing-masing. Metode penciptaan yang digunakan melalui tahap ide berkarya, stimulasi, dan kontemplasi kemudian penciptaan karya dan deskripsi visual karya. Dalam prosesnya, dimulai dari persiapan alat dan bahan kemudian proses berkarya. Lukisan yang dibuat berjumlah 64 buah dengan semua ukuran A5. Melalui karya ini, penulis ingin menyampaikan persembahan karya khusus untuk Bandung dan langit senja yang begitu indah. As an aesthetic expression, inspiration can come from anywhere. An inspiration comes from oneself and from the environment. Related to this, through this thesis of creation, the writer wants to present a visualization with the atmosphere of the twilight sky in Bandung in term of a painting. The painting is initially inspired from the author's own name, Senja. It then makes the writer seem to have a strong connection every time he sees it. At the moment the twilight becomes a trendsetter among the people by taking the aesthetic twilight documentation into a particular satisfaction, especially millennial. The twilight is divided into three parts, that is, civil twilight, starting from sunset and then followed by nautical twilight, in which the sky starts to get dark and is closed by astronomical twilight that is completely dark about 1 hour and a half after sunset. All of that shows that twilight is an interesting thing right now as well as Bandung. Bandung, the capital of West Java, has many aesthetically architectural styles buildings with their respective backgrounds. The method of creation is used through the stages of the idea of creating, stimulating and contemplating, then creating the work and visual description of the work. In the process, starting from the preparation of tools and materials then the process of creating. There are 64 paintings made in all A5 sizes. Through this work, the writer wants to present a special work offering for Bandung and the beautiful sunset. Keywords : Twilight, Bandung, Art Paintin

The Last Scientific Revolution

Critically growing problems of fundamental science organisation and content are analysed with examples from physics and emerging interdisciplinary fields. Their origin is specified and new science structure (organisation and content) is proposed as a unified solution