Psychological Profiling of an Offender The purpose of the thesis is to describe and demystify the subject of offender profiling, also called criminal profiling or psychological profiling. Criminal profiling is one of key disciplines of forensic psychology which approximately in the last twenty years became recognized as a helpful investigative tool for resolving difficult criminal cases. The thesis is structured into four chapters, each one covering different aspect of criminal profiling. First chapter defines criminal profiling, its basic premises, formation and history, different approaches to profiling and possible uses of profiling. Second chapter focuses on practical use of criminal profiling. It covers criteria for using profiling in a particular criminal investigation, includes basic information about perpetrators and victims and shortly touches upon computer databases used in profiling. Third chapter covers the actual creation of profile of an unknown offender, from different sources suitable for gathering information to uncovering the offender's motivation and finally to the finished psychological profile. It also includes information about perpetrators of arson, rape and murder, as samples of serious offenses where offender profiling is often applied. Fourth chapter analyses the use of...

The thesis describes psychological profiling of an offender, which is a method used for investigating serious criminal acts. It was developer in the United States of America, particularly on the FBI ground, and is based on creating an image of probable unknown offender. The goal of the thesis is to provide readers with basic information about what is psychological profiling and how the process works. The paper is divided into five chapters. First, opening chapter is divided into three parts. In the first one, the reader can find information about the term psychological profiling, how it is defined and what is it for. Second part contains information about history of the method including some about the development in the Czech Republic. The third part describes offences suitable for profiling and those which are not. The second chapter is focused on creating the profile. First it describes the characteristic of the crime scene as basic information for the investigation, and then the typology of offenders is mentioned, directed at organized and disorganized typology. The end of this chapter is dedicated to the final look of the profile. In the third chapter some approaches to profiling are mentioned. These are the FBI model, named crime scene analysis, then profiling in Germany and Great Britain. This...

Visual navigation is a ubiquitous yet complex task which is performed by many species for the purpose of survival. Although visual navigation is actively being studied within the robotics community, the determination of elemental constituents of a robust visual navigation system remains a challenge. Motion estimation is mistakenly considered as the sole ingredient to make a robust autonomous visual navigation system and therefore efforts are made to improve the accuracy of motion estimations. On the contrary, there are other factors which are as important as motion and whose absence could result in inability to perform seamless visual navigation such as the one exhibited by humans. Therefore, it is needed that a general model for a visual navigation system be devised which would describe it in terms of a set of elemental units. In this regard, a set of visual navigation elements (i.e. spatial memory, motion memory, scene geometry, context and scene semantics) are suggested as building blocks of a visual navigation system in this thesis. A set of methods are proposed which investigate the existence and role of visual navigation elements in a visual navigation system. A quantitative research methodology in the form of a series of systematic experiments is conducted on these methods. The thesis formulates, implements and analyzes the proposed methods in the context of visual navigation elements which are arranged into three major groupings; a) Spatial memory b) Motion Memory c) Manhattan, context and scene semantics. The investigations are carried out on multiple image datasets obtained by robot mounted cameras (2D/3D) moving in different environments. Spatial memory is investigated by evaluation of proposed place recognition methods. The recognized places and inter-place associations are then used to represent a visited set of places in the form of a topological map. Such a representation of places and their spatial associations models the concept of spatial memory. It resembles the humans’ ability of place representation and mapping for large environments (e.g. cities). Motion memory in a visual navigation system is analyzed by a thorough investigation of various motion estimation methods. This leads to proposals of direct motion estimation methods which compute accurate motion estimates by basing the estimation process on dominant surfaces. In everyday world, planar surfaces, especially the ground planes, are ubiquitous. Therefore, motion models are built upon this constraint. Manhattan structure provides geometrical cues which are helpful in solving navigation problems. There are some unique geometric primitives (e.g. planes) which make up an indoor environment. Therefore, a plane detection method is proposed as a result of investigations performed on scene structure. The method uses supervised learning to successfully classify the segmented clusters in 3D point-cloud datasets. In addition to geometry, the context of a scene also plays an important role in robustness of a visual navigation system. The context in which navigation is being performed imposes a set of constraints on objects and sections of the scene. The enforcement of such constraints enables the observer to robustly segment the scene and to classify various objects in the scene. A contextually aware scene segmentation method is proposed which classifies the image of a scene into a set of geometric classes. The geometric classes are sufficient for most of the navigation tasks. However, in order to facilitate the cognitive visual decision making process, the scene ought to be semantically segmented. The semantic of indoor scenes as well as semantic of the outdoor scenes are dealt with separately and separate methods are proposed for visual mapping of environments belonging to each type. An indoor scene consists of a corridor structure which is modeled as a cubic space in order to build a map of the environment. A “flash-n-extend” strategy is proposed which is responsible for controlling the map update frequency. The semantics of the outdoor scenes is also investigated and a scene classification method is proposed. The method employs a Markov Random Field (MRF) based classification framework which generates a set of semantic maps.

Este estudo busca analisar alguns trabalhos da cena contemporânea de Fortaleza, que discutem de algum modo as questões de gênero e reconfiguram seus padrões de representação. O foco da pesquisa é o que chamaremos de cena performativa-política, com suporte teórico dos estudos do teatro contemporâneo e da performance, da teoria queer e da filosofia. Nesse sentido procuraremos estabelecer relações entre nossos objetos e o pensamento de autores distintos dos campos dos estudos performativos e de gênero, como Taylor, Fischer-Lichte, Caballero, Dubatti, Turner, Butler, Preciado, Halberstam, Louro, Gadelha, Martins, Leal, Coelho; além de filósofos como: Foucault, Artaud, Agamben e Didi-Huberman, para citar alguns. Num primeiro momento, procuraremos situar nossa pesquisa a partir do que propõem alguns desses pensadores em relação ao contexto nacional e local, sobretudo a partir do diálogo com pesquisadores como Ramos, Fernandes, Mostaço, Yamamotho, Castro, Costa e Honório, por exemplo. Num segundo momento, analisaremos as \"respostas gays\" pelo teatro, sobretudo a partir dos anos 1970, com foco na análise do espetáculo Caio e Léo, encenado pelo Outro Grupo de Teatro. Em seguida, buscaremos ver como se desconstroem imagens do chamado \"universo feminino\" em algumas encenações e sobretudo no espetáculo Corpornô, da Cia. Dita. Por fim, observaremos a criação de \"transtopias\" e remixagens no trabalho do coletivo As travestidas, com foco na encenação de BR-Trans. Ao longo dos capítulos, teremos uma seção de provocações críticas e, ao final, buscaremos responder à questão sobre como esses processos (e os demais vistos brevemente) podem reagir à heteronormatividade / This study aims to analyze some works from the Fortaleza´s contemporary scene, which discuss gender issues and reconfigure its patterns of representation in any way. The focus of this research is what we will call a performative-political scene, with theoretical support from studies of contemporary theater and performance, queer theory and philosophy. In this sense, we will try to establish relations between our objects and the thought of different authors from the performative ande gender areas, such as: Taylor, Fischer-Lichte, Caballero, Dubatti, Turner, Butler, Halberstam, Louro, Gadelha, Martins, Leal, Coelho; and philosophers as: Foucault, Artaud, Agamben and Didi-Huberman. to name a few. At first, we will seek to situate our research from what some of these thinkers propose in relation to the national and local context, especially from the dialogue with researchers such as Ramos, Fernandes, Mostaço, Yamamotho, Castro, Costa and Honório, for example. In a second moment, we will analyze the \"gay answers\" by the theater, especially from the 1970s, focusing on the analysis of the play Caio and Léo, staged by Outro Grupo de Teatro. Then, we try to see how images of the so-called \"female universe\" are deconstructed in some scenarios and especially in the performance Corpornô, by Cia. Dita. Finally, we will observe the creation of \"transtopias\" and remixes in the work of the collective As travestidas, focusing on the staging of BR-Trans. Throughout the chapters, we will have a section of critical provocations and, in the end, we will try to answer the question about how these processes (and the others seen briefly) can react to heteronormativity.

A presente pesquisa consiste no relato reflexivo de vinte anos de trabalhos como ator na Companhia do Latão, grupo teatral paulistano fundado em 1997. A análise se estende às visões dos demais intérpretes que integraram e integram esse coletivo cênico, cujo cerne é o aprendizado para uma atuação dialética. Tendo como fundamento as poéticas atorais de Constantin Stanislavski e Bertolt Brecht, minha escrita filtrou todas as produções espetaculares da Companhia, no sentido de apontar uma possível apropriação dos legados do dramaturgo alemão e do ator e diretor russo. E o que foi mais importante: de que modo propusemos nossos próprios meios pedagógicos, estéticos, políticos e técnicos nas salas de ensaios e apresentações públicas, para lidar tanto com textos estabelecidos por autores como Bertolt Brecht e Heiner Müller quanto os que foram criados pelo grupo. Orientei-me pelas minhas memórias, pelas publicações editadas pelo grupo, através dos depoimentos que colhi junto aos meus consortes, adicionando bibliografias sobre atuação, nacionais e estrangeiras. O resultado dessa interseção aponta para o levantamento de recursos e conceitos teatrais, indicando uma interpretação dialética no Brasil que, de forma alguma, encerra-se com este trabalho. / The present research comprises a reflective account of twenty years of work as an actor in the Companhia do Latão, which is a theater group from São Paulo founded in 1997. The analysis extends to include the perspectives of other interpreters who have been part of, or continue to be part of, this theatre collective, whose core work is in learning for dialectical performance. Taking as a basis the original poetic writings of Constantin Stanislavski and Bertolt Brecht, my own writing has explored all the theatrical productions of the Company in order to point out a Brazilian appropriation to the legacies of the German playwright and the Russian actor and director. More importantly, the question was in how we proposed our own pedagogical, aesthetic, political, and technical methods in the rehearsal rooms and in public presentation, to deal with both the established texts by authors such as Bertolt Brecht and Heiner Müller, and those which were created by the group. I went through my memories, publications edited by the group, and the testimonials that I collected together with my colleagues, adding bibliographies on acting from Brazil and other countries. The result of this sythesis points to a collection of resources and theatrical concepts, indicating a dialectical interpretation in Brazil, a work which is in no way yet completed with this work.

Holistic scene understanding is one of the major goals in recent research of computer vision. Most popular recognition algorithms focus on semantic understanding and are incapable of providing the global depth information of the scene structure from the 2D projection of the world. Yet it is obvious that recovery of scene surface layout could be used to help many practical 3D-based applications, including 2D-to-3D movie re-production, robotic navigation, view synthesis, etc. Therefore, we identify scene geometric reasoning as the key problem of scene understanding. This PhD work makes a contribution to the reconstruction problem of 3D shape of scenes from monocular images. We propose an approach to recognise and reconstruct the geometric structure of the scene from a single image. We have investigated several typical scene geometries and built a few corresponding reference models in a hierarchical order for scene representation. The framework is set up based on the analysis of image statistical features and scene geometric features. Correlation is introduced to theoretically integrate these two types of features. Firstly, an image is categorized into one of the reference geometric models using the spatial pattern classi cation. Then, we estimate the depth pro le of the speci c scene by proposing an algorithm for adaptive automatic scene reconstruction. This algorithm employs speci cally developed reconstruction approaches for di erent geometric models. The theory and algorithms are instantiated in a system for the scene classi cation and visualization. The system is able to fi nd the best fi t model for most of the images from several benchmark datasets. Our experiments show that un-calibrated low-quality monocular images could be e fficiently and realistically reconstructed in simulated 3D space. By our approach, computers could interpret a single still image as its underlying geometry straightforwardly, avoiding usual object occlusion, semantic overlapping and defi ciency problems.

How do we know that a melody is a melody? In other words, how does the human brain extract melody from a polyphonic musical context? This thesis begins with a theoretical presentation of musical auditory scene analysis (ASA) in the context of predictive coding and rule-based approaches and takes methodological and analytical steps to evaluate selected components of a proposed integrated framework for musical ASA, unified by prediction. Predictive coding has been proposed as a grand unifying model of perception, action and cognition and is based on the idea that brains process error to refine models of the world. Existing models of ASA tackle distinct subsets of ASA and are currently unable to integrate all the acoustic and extensive contextual information needed to parse auditory scenes. This thesis proposes a framework capable of integrating all relevant information contributing to the understanding of musical auditory scenes, including auditory features, musical features, attention, expectation and listening experience, and examines a subset of ASA issues - timbre perception in relation to musical training, modelling temporal expectancies, the relative salience of musical parameters and melody extraction - using probabilistic approaches. Using behavioural methods, attention is shown to influence streaming perception based on timbre more than instrumental experience. Using probabilistic methods, information content (IC) for temporal aspects of music as generated by IDyOM (information dynamics of music; Pearce, 2005), are validated and, along with IC for pitch and harmonic aspects of the music, are subsequently linked to perceived complexity but not to salience. Furthermore, based on the hypotheses that a melody is internally coherent and the most complex voice in a piece of polyphonic music, IDyOM has been extended to extract melody from symbolic representations of chorales by J.S. Bach and a selection of string quartets by W.A. Mozart.

A presente pesquisa consiste no relato reflexivo de vinte anos de trabalhos como ator na Companhia do Latão, grupo teatral paulistano fundado em 1997. A análise se estende às visões dos demais intérpretes que integraram e integram esse coletivo cênico, cujo cerne é o aprendizado para uma atuação dialética. Tendo como fundamento as poéticas atorais de Constantin Stanislavski e Bertolt Brecht, minha escrita filtrou todas as produções espetaculares da Companhia, no sentido de apontar uma possível apropriação dos legados do dramaturgo alemão e do ator e diretor russo. E o que foi mais importante: de que modo propusemos nossos próprios meios pedagógicos, estéticos, políticos e técnicos nas salas de ensaios e apresentações públicas, para lidar tanto com textos estabelecidos por autores como Bertolt Brecht e Heiner Müller quanto os que foram criados pelo grupo. Orientei-me pelas minhas memórias, pelas publicações editadas pelo grupo, através dos depoimentos que colhi junto aos meus consortes, adicionando bibliografias sobre atuação, nacionais e estrangeiras. O resultado dessa interseção aponta para o levantamento de recursos e conceitos teatrais, indicando uma interpretação dialética no Brasil que, de forma alguma, encerra-se com este trabalho. / The present research comprises a reflective account of twenty years of work as an actor in the Companhia do Latão, which is a theater group from São Paulo founded in 1997. The analysis extends to include the perspectives of other interpreters who have been part of, or continue to be part of, this theatre collective, whose core work is in learning for dialectical performance. Taking as a basis the original poetic writings of Constantin Stanislavski and Bertolt Brecht, my own writing has explored all the theatrical productions of the Company in order to point out a Brazilian appropriation to the legacies of the German playwright and the Russian actor and director. More importantly, the question was in how we proposed our own pedagogical, aesthetic, political, and technical methods in the rehearsal rooms and in public presentation, to deal with both the established texts by authors such as Bertolt Brecht and Heiner Müller, and those which were created by the group. I went through my memories, publications edited by the group, and the testimonials that I collected together with my colleagues, adding bibliographies on acting from Brazil and other countries. The result of this sythesis points to a collection of resources and theatrical concepts, indicating a dialectical interpretation in Brazil, a work which is in no way yet completed with this work.

A presente dissertação investiga as possíveis irrupções do feminismo na cena contemporânea, com a finalidade de identificar no espetáculo Hysteria, do Grupo XIX de Teatro, procedimentos e propostas que coincidam com os modelos de teatros feministas. Ainda que a obra em questão não se intitule como tal, existe na criação da peça uma intuição feminista por parte do grupo? O que uma peça necessita apresentar para ser considerada feminista? \"Feminista\" é uma categoria suficientemente consistente para ser aplicada à arte? Visando responder a tais questões, o trabalho pretende se aproximar da teoria crítica feminista, estudos de gênero e sexualidade, e teorias teatrais. A dissertação está dividia em três capítulos: o primeiro, com recorte histórico, contextualiza brevemente o movimento feminista e sua relação com a arte; o segundo relaciona o espetáculo com alguns procedimentos e teorias teatrais aderentes à obra; e por fim, o terceiro capítulo traz questões relacionadas à sexualidade e questões feministas para culminar com análise do espetáculo e suas relações com o feminismo. / The present dissertation investigates the possible eruptions of feminism in the contemporary scene, with the purpose of identifying in the spectacle \"Hysteria\", from Grupo XIX de Teatro, procedures and proposals that coincide with the models of feminist theaters. Although the work in question is not titled as such, is there a feminist intuition on the part of the group in the creation of the play? What does a play need to present to be considered feminist? \"Feminist\" is a sufficiently consistent category to be applied to art? Aiming to answer such questions, the paper approaches feminist critical theory, gender and sexuality studies, and theatrical theories. The dissertation is divided into three chapters: the first one counts with a historical cut - it contextualizes briefly the feminist movement and its relation with art; the second makes a relation with the play and some theatrical procedures and theories; and finally, the third chapter brings issues related to sexuality and feminist questions to culminate with analysis of the play and its relations with feminism.

acase@tulane.edu