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.

This thesis is a description and analysis of work that I produced during my Graduate studies at The University of New Orleans. The central theme of these work is the end of the world. Through prints, sculpture and painting I explore this idea.

Orientador: José Paiani Spaniol / Banca: Norberto Stori / Banca: Adilson Josè Gonçalves / Acompanha CD com anexos / Resumo: 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. / Abstract: 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. / Mestre

No description available.

Our everyday lives can be complex and fast paced. Places, people, sounds and memories all make lasting impressions. "Identity" is the title and basis for my creative project. My identity has been created though a series of memories or impressions. Songs, stories, the media, location and other people have had a great impact on my personal development.I have taken all these influences into account while creating my thesis works. I questioned myself in different ways. "Whom do I relate to? What songs describe me? Through these question, I found icons and images that formed my personal identity. The difference between what is and what appears to be.Is identity created or do we create identity? The question may seem philosophical, but I do not consider myself a philosopher. My series "Identity", documents my investigation of self, a deconstruction of society that has and has not formed my artistic identity. / Department of Art

This creative project is a series of self portraits, records of self and the stamp of culture that is placed on the physical body. In the series of prints and handmade books described in these pages, self-portrait provides a vehicle for examining creativity and humanity, self-image as a reflection on women, and autobiography as a means of cultural storytelling. / Department of Art

Diss. (sammanfattning) Karlstad : Karlstads universitet, 2007. / Härtill 5 uppsatser.

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 24-25).

Thesis (M.F.A.)--Rochester Institute of Technology, 1996. / Typescript.

Thesis--Bonn. / Vita. Bibliography: p. 289-290.