Thesis (M.F.A.)--Montana State University--Bozeman, 2004. / Typescript. Chairperson, Graduate Committee: Stephanie Newman.

The aim of this research paper is to evaluate the techniques used to collect latent prints from documents in Addis Ababa Police Commission and give some recommendations on how to cope with the problem. The researcher started off by looking at the general orientation of the research and how the research has been done. Then in the next chapter, the meaning and objective of Forensic Investigation, right or mandate to investigate, the meaning of physical evidence and the prints and techniques used internationally to collect latent prints are discussed. In the third chapter, the best method of collecting latent prints from documents and the method and practice of collecting latent prints from documents at Addis Ababa Police Commission Forensic Evidence Collection Department were discussed. Finally, the finding of the research and some critical recommendations were given. Latent prints from documents are very crucial to identifying the suspects and for legal proceedings or the court process. Even if it is known by the police officers, the techniques and the materials they are using to collect latent prints are with powders which are less effective. According to the research, the Ninhydrin chemical is the best technique recommended to collect latent prints from documents This research paper gives a truly unique perspective on how latent prints should be collected from documents.

Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-08-07Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000796259.pdf: 5906776 bytes, checksum: 65d64d976a5a077c5e1e52eabba4f2fa (MD5) / A presente dissertação reflete acerca do processo de criação artística, partindo do espaço urbano como campo de experiência poética via a Artedas Gravuras como lugar da “memória” e da “identidade”. Intenta-se buscar uma perspectiva que permita propor uma tradução desse ambiente, no caso o bairro do Ipiranga, na cidade de São Paulo, tornando legíveis os sistemas de representação que aparentemente ignoram significados imagéticos. A narrativa da linha de construção e concepção de idéias pode ser justificada por meio de associações e por meio da observação crítica. Nela são estabelecidas relações entre os processos de criação – iniciados com apropriação e deslocamento dos sinais – e seu desenvolvimento como apoio da repetição através da impressão. Tudo isto permite abrir potencialidades construtivas do espaço urbano e dialógicas com ele. O resultado dessa abordagem pode abrir novas vertentes de pesquisa e elaboração de trabalhos, transformados em projetos que, de certa forma, sintetizam esta reflexão. O evento, como objeto de trabalho e ponto de partida, traz a reflexão da artista sobre sua produção, os procedimentos e relações visuais das obras produzidas que materializam sua arte. / The present research is motivated by the study of latent issues in current artistic making. It approaches theory and practice towards the perspective of a dialogue among the arts, especially an interdisciplinary study between the languages of the engraved images / printed and urban spaces inside of the creative process in the work of Selma Daffré where artistic languages, the use of techniques and visual poetics intertwine throughout its production, focusing on their visual and tactile materiality, memory traces, the skin of thecity, the parties or the remains of a map. This dialogue, attempts to be a mapping relations from the record of discussions involving artists, works, and critical institutions. The research project intends to seek perspectives that propose a reinterpretation of this environment, in this case the neighborhood of Ipiranga, in São Paulo, making readable the representation systems, which apparently ignore imagistic meanings. The result of the matters, engraved or printed, must be the search for new proposals of relations between the languages of the Engravings and Urban Spaces which can lead to processes as important as the results obtained from them, andso collaborate with the autonomy of the arts, realizing itself completely as language, contemplating like so conversation singular contemporary.

This project aims to optimise patterns in dress. Prints that rearrange forms have for example been used on warships called Dazzle ships, which disorientate the distance of the ship. Dazzle ships demonstrate the potential of prints and pattern in a dynamic depth for the viewer. Similarly, this project explores these aspects but in relation to the body and its interaction with print and colour. In this project, the method of trial and error of the materials and layers of print challenges the static archetypical print and garment. This is done through photography, color studies, layers and investigations of effects of transparency. This results in a collection that presents a dynamic spectrum of color combinations, prints, and materials.

The stability of inkjet print is influenced by a lot of factors. Just the surrounding environment in image stability plays an important role. When the prints fade, not only this does occur by light exposure, but also considerable effect has relative humidity, ozone and other air pollutants. The types of receiving layers or ink composition belong to other factors, which affect the stability of prints. This diploma thesis deals with the long-term ageing of digital prints produced by ink jet technology. The study of resistance of inkjet prints was realized on nine different types of media. Samples were prepared with use of dye-based and pigment-based inks. The attention was especially focused on the influence of light on print durability, but study was also oriented on the impact of ozone. The samples were exposed to the indoor daylight. Changes in printed colours were measured and evaluated in colorimetric quantities. In this study of inkjet prints degradation the dependence of colour gamut volumes on UV and VIS exposure dose was evaluated.

The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century.

Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1909. / Vita. Includes bibliographical references (p. [5]).

In 1998, the national Department of Arts, Culture, Science and Technology published a document aimed at the growth of culture industries in South Africa (DACST, "Creative South Africa", July 1998). Focussing on aspects of economic growth which this development could generate for South Africa, it nonetheless points to issues of cultural understanding which need to be addressed. Projects aimed at the development of arts and culture in South Africa have followed troubled paths. While projects aimed at establishing discourse for this development have succeeded on many levels, the imperatives of showcasing, rather than implementing cultural concepts appropriate to South African contexts, have tended to dominate. When the Dakawa Art and Craft Project was established by the ANC, in 1992, in Grahamstown, as the locus for the deve! opment of an arts and culture discourse in the liberated South Africa, all seemed set for success. Yet, less than four years after opening, the Project was closed. While speculatory reasons for closure tended to focus on financial and administrative problems, the basis for this closure had its roots in problems of cultural understanding manifesting themselves at the Project. These reflected a lack of cultural understanding on the part of the ANC and SIDA, the Swedish administrators sent to the Project, and the lack of clear cultural guidelines on the part of the trainees to the Project itself. These reasons for the Project's failure are integral to an understanding of arts add culture development and needs in South Africa today. As other projects, aimed at the same issues of development grow, an understanding of the history of the Project's failure is essential, for it poses questions still in need of answers. Part One examines the historical significance of the Dakawa Art and Craft Project between 1982 and 1994, recording the reasons for its establishment, the path of implementation it followed, and the cultural misunderstandings it posed to development. Part Two examines the cultural context of the trainees to the Project, followed by an account of the printmaking teaching practice, and the effects of cultural concepts on two printmakers trained during the Project's initial establishment, at the time of South Africa's political transformation.

M.Tech. / This research study examines ways in which the use of graphic imagery and printmaking in visual art may help to create social awareness and responsiveness to human rights. My study examines how a critical level of social awareness at higher education level, can lead to an ability to make choices as responsible citizens in terms of redress and social justice. My research focuses on two curricular interventions for first and second year Visual Art printmaking students who are introduced to issues of human rights through projects that require both personal and public engagement. This study is grounded in the history of printmaking as a democratic medium that proposes a function for inculcating social consciousness. The contextual framework for this study includes recent countrywide political developments and human rights abuses (such as the xenophobic attacks) as well as HIV/AIDS issues, which contrast with the lack of visibility of social-awareness campaigns at a higher education institution. Issues of human rights are introduced to incoming university Visual art students as part of the curriculum. I focus my research on a specific educational programme-intervention engaging social injustices as human rights violations. I use a mixed-method approach as well as aspects of Action research as methodologies to explore the curricular interventions and analyse visual solutions as a process to create awareness about these issues. I examine the extent to which a curriculum-based visual graphics programme may be used as a means to advocate human rights and social justice. In an educational environment, the means of addressing these social injustices are that these have to be participatory, non-invasive and empowering. These values should subscribe to a system of ethical standards which promote agency among respondents initially and thereafter, in the community at large. Human rights awareness also addresses the lack of social and political acumen and criticality among visual art students. Individual change impacts on citizenship by means of inculcating a broader social awareness through individual acts of civic engagement.

L’auteur inventorie les sources iconographiques de la plupart des quelque 250 peintures de l’église Sainte-Bethléem et de la cathédrale Saint-Sauveur de la cité arménienne de la Nouvelle-Djoulfa, dans les faubourgs d’Ispahan. Elle établit que ces sources, contrairement à la thèse qui faisait autorité depuis plus de cinquante ans, ne sont pas des xylographies du graveur Christoffel Van Sichem, mais des estampes de la Bible de Natalis, ouvrage jésuite publié pour la première fois à Anvers en 1593. L’auteur démontre qu’il existe également une autre source, à savoir l’album Thesaurus veteris et novi Testamenti de l’éditeur anversois de confession calviniste G. de Jode, dont la première publication date de 1579 et dont les planches furent reprises, entre autres, dans l’album Theatrum Biblicum publié à Amsterdam à partir de 1639 par l’éditeur C. J. Visscher. Une comparaison avec des miniatures de l’école de la Nouvelle-Djoulfa conservés au Matenadaran et à la BNF permet de confirmer que ces deux albums sont parvenus dans la cité arménienne. Enfin, la thèse recense plusieurs estampes isolées qui ont aussi servi de modèle aux peintures murales. Par une étude stylistique comparée mettant en évidence la transformation caractéristique de certains modèles utilisés, l’auteur établit que les peintres impliqués dans la décoration de l’église Sainte-Bethléem et de la cathédrale Saint-Sauveur sont des artistes de la cité, dont l’un au moins a une connaissance approfondie des techniques et des conventions de l’art pictural occidental. Dans le même temps, elle fait ressortir le fait que l’influence de la gravure flamande sur l’art pictural arménien se traduit à la fois par un renouvellement des formes et par une évolution de certains contenus et signale que le rayonnement de la Nouvelle-Djoulfa en prolonge les effets tant en Arménie que dans d’autres communautés de la diaspora arménienne. Enfin, en fournissant plusieurs exemples inédits témoignant de l’influence internationale de l’art flamand de cette époque – et tout particulièrement des œuvres de Maarten De Vos – par le truchement de la gravure, l’auteur ouvre des pistes de recherche tant en Perse que dans d’autres zones géographiques.