Technology Corner: Virtual Crime Scene Reconstruction: The Basics of 3D Modeling

Digital crime scenes take place in the context of physical crime scenes. Virtual crime scene reconstruction is an activity where investigators create a 3- dimensional (3-D) model of an actual crime scene for the purpose of determining the events that lead to the crime. While virtual crime scene reconstruction is currently used for analyzing physical scenes, it can also help investigators visualize and explore ways digital media could have been used to perpetrate a crime. In this technology corner we explore one of the technologies underlying virtual crime scene reconstruction: 3-D modeling

3D forensic crime scene reconstruction involving immersive technology: A systematic literature review

Recreation of 3D crime scenes is critical for law enforcement in the investigation of serious crimes for criminal justice responses. This work presents a premier systematic literature review (SLR) that offers a structured, methodical, and rigorous approach to understanding the trend of research in 3D crime scene reconstruction as well as tools, technologies, methods, and techniques employed thereof in the last 17 years. Major credible scholarly database sources, Scopus, and Google Scholar, which index journals and conferences that are promoted by entities such as IEEE, ACM, Elsevier, and SpringerLink were explored as data sources. Of the initial 17, 912 papers that resulted from the first search string, 258 were found to be relevant to our research questions after implementing the inclusion and exclusion criteria

Architectural visualisation toolkit for 3D Studio Max users

Architectural Visualisation has become a vital part of the design process for architects and engineers. The process of modelling and rendering an architectural visualisation can be complex and time consuming with only a few tools available to assist novice modellers. This paper looks at available solutions for visualisation specialists including AutoCAD, 3D Studio Max and Google SketchUp as well as available solutions which attempt to automate the process including Batzal Roof Designer. This thesis details a new program which has been developed to automate the modelling and rendering of the architectural visualisation process. The tool created for this thesis is written in MAXScript and runs along side 3D Studio Max. N.B.: Audio files were attached to this thesis at the time of its submission. Please refer to the author for further details

Visualizing the Cherokee Homeland through Indigenous Historical GIS: An Interactive Map of James Mooney's Ethnographic Fieldwork and Cherokee Collective Memory

In 1887, the Bureau of American Ethnology appointed James Mooney to work among the Eastern Band of Cherokee. From 1887 to 1916, Mooney documented the sites and stories of the Cherokee homeland as shared with him by members of the community. Mooney's working maps and field notes were recently discovered at the archive of the Smithsonian Institution. For this thesis, I combine Mooney's work with Cherokee collective memory to re-interpret the stories of the Cherokee homeland according to Duyuktv, a Cherokee theoretical framework and paradigm. Asking the question, "How can the Mooney archive be transformed into a digital map that will engage and inspire Cherokee youth to learn and explore the stories of their homeland?" I demonstrate what is possible when Cherokee perspective is synthesized with geospatial technologies to present the ancient stories of the Cherokee homeland in a way that weaves traditional and modern culture into its components

Set design, spatial configurations and the architectonics of 1930s French poetic realist cinema

SIGLEAvailable from British Library Document Supply Centre- DSC:DXN062832 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Into theatre, under the knife: cultures of dissection and contemporary art practice

Dissection can be considered a process of calculated dividing and a form of meticulous dismantling. As a method of analysis, it remains inextricably linked to explorations of the human body and the investigations staged to uncover its hidden depths. This research examines historical cultures of dissection and their relationship to contemporary art practice. It proposes that such a culture is characterised by an inherent cutting spectacle; one that remains grounded within a complex and pre-existing visual culture that has dissected, divided and dismantled the body and its image. Into theatre, Under the Knife: Cultures of Dissection and Contemporary Art Practice is the outcome of a practice-led research project comprising this written thesis and a diverse body of work that spans sculpture, assemblage, installation and painting. Across the development of both the textual and creative work, cutting has been employed as a methodology for the research, and forms a significant basis for the material and conceptual inquiry of the study. Over the course of this thesis historical source material, theoretical propositions and the work of contemporary artists are gradually and methodically dissected for examination. The paper that has then developed as a result of this process-led research proposes a series of significant intersections, and a framework of ‘cuttings and cross-cuttings’ to consider art practice as a form of anatomical enquiry. In suggesting these points of connection, and by intentionally traversing the historical and contemporary, new ground is proposed to consider a culture of dissection within contemporary art through an analyses of the seminal practitioners who maintain and continue to enact their own distinct practice of cutting. Whether undertaken as a light incision to permeate a surface, or a dramatic slash that severs, this research will attempt to reveal that cutting is a significant yet under-recognised gesture being used by contemporary artists. Much like the surgeon or anatomist who performs incisions in theatre, artists too inflict cutting gestures with strategic and decisive intent. The cutting gesture that embodies both dual creative and destructive possibilities acts also as a sign of authorship, a signature of authenticity from one who wields the knife