Complete the following questions below in detail. Please discuss thoroughly and substantively in your post.
It is critical that computer forensic examiners understand processes such as capturing volatile data, recognizing and collecting digital evidence, analyzing the evidence once it is collected, etc.; however, what I want you to focus on this week is why and how the processes are designed to identify, seize, collect, preserve, and analyze digital evidence, and how they relate to the criminal justice process. Digital evidence must not just be simply collected (e.g., picked up and put in a bag), but procedures must be put in place to preserve the evidence so the defense cannot raise reasonable doubt (in the criminal case) about the integrity or provenance of the evidence.
1) Describe at least 5 steps in a process to collect digital evidence to the time you testify that you consider important. Please explain why they are important.
2) You are a witness and I am asking you the following question – please answer thoroughly as if you are testifying in court on the witness stand. “Upon entering the room where the computer was located, what was the first thing you did?”
3) Continue your testimony by answering – “After seizing the computer evidence, explain what you did with it?”
Does the individual (or individuals) who produce a work (picture, film, craftsmanship and so forth.) at last control its significance and elucidation? The connection between an individual as well as individuals controlling a bit of work, and subsequently its importance, are intently between related. Picture takers, for instance, hold numerous hypotheses. One picture taker may agree with the thought of between connection, while another may hold a thought opposing – hypotheses that help a negative understanding of, for this situation, a picture. All through this exposition I will investigate various picture takers sees on implications of a bit of work and origin. I will do this by looking at the picture takers' perspectives, closing the inquiries answer s and after that clarifying my feeling and condensing the paper. I accept most picture takers concur that they have full control of the significance or understanding of a picture, when we take a gander at a picture and read at that point read the idea driving it we are persuaded that, that is the expected importance of that bit of work. In any case, now and then when we are investigating repudiating and misleading pictures that is the point at which the open eye see that the idea may not be what the photographic artist planned to appear through his photos. It is normal practice for picture takers to utilize different strategies to examine the importance and elucidation of a picture. They have a decision with regards to the strategy utilized, which can give results running from the subjective, to the quantitative. Kevin Carter's Pulitzer Prize, given for an honor winning picture of a malnourished Sudanese tyke, is one specific case of how the proposed importance of a picture can really be deciphered. The picture implied no festival – a tyke scarcely enduring, and a vulture anxious for remains. Be that as it may, this picture which embodied Sudan's starvation would proceed to win Kevin Carter distinction, from past any expectations of a lifelong based on harassing the news, outsourcing in war-attacked nations, and sitting tight tensely for assignments in the midst of critical funds; he would remain in the line of flame for that one extraordinary picture. http://mikophoto.net/wordpress/wp-content/transfers/2012/04/Female-Starving-Sudanese-Toddler-and-Vulture-by-Kevin-Carter.jpg The photo was offered to 'The New York Times' the place it showed up on 26 March 1993, as an 'analogy for Africa's misery'. Medium-term, hundreds reached the paper to inquire as to whether the tyke has endure. Therefore, the paper ran a surprising unique editors' note disclosing to the open that the young lady had enough solidarity to make tracks in an opposite direction from the vulture, however that her definitive destiny was obscure. Columnists inside Sudan were mentioned not to contact casualties of starvation because of the danger of malady transmission. Regardless of this, Carter went under forceful analysis for not helping the young lady. The'St. Petersburg Times'in Florida stated "The man modifying his focal point to take only the correct edge of her enduring may very well also be a predator, another vulture on the scene.'' The methodology that general sentiment destined on Carter was not just that of taking the picture rather than promptly pursuing the vulture away, yet additionally the component that he didn't help the little young lady a short time later who obviously required assistance. On the other hand, as Carter clarified later that he left her in such a frail condition to proceed with the walk without anyone else towards the nourishing focus. Kevin Carter ended it all two years in the wake of getting the Pulitzer Prize. We are persuaded that Kevin Carter's suicide note is as pursued: "Im extremely grieved. The agony of life abrogates the delight to the point that euphoria does not exist… discouraged… without telephone… cash for lease… cash for tyke support… cash for obligations… cash!!! I am spooky by the striking recollections of killings and cadavers and outrage and torment of starving or injured youngsters, of trigger-cheerful crazy people, frequently police, of executioner killers… I have gone to joinKenif I am that lucky." Joanne Cauciella Bonica, Massapequa, New York communicated her sentiments to the world by saying "Ironicly Kevin Carter won the Pulitzer for a photo which to me is his very own photo soul and represents his own life. Kevin is that little kid clustered facing the world, and the vulture is the thing that we could call 'the heavenly attendant of death'. I simply wish somebody would have pursued that malevolent from his life. I'm certain that little youngster given up to death similarly as Kevin did. Both more likely than not endured significantly." This is a prime case of whether the picture taker, the maker of the picture, has extreme command over the importance and understanding of their work. An investigation into Kevin Carter's 'vulture stalking a kid' picture uncovers that his expectations were just to demonstrate a feathered creature spreading its wings. Actually, the outcome was considerably more frightful – on the most essential level, it is translated as a picture of a predator and its prey, by the watchers. Following such perceptions and data solicitations to The New York Times, the watchers adjusted the significance of the picture, from one that ought to have demonstrated a vulture spreading its wings, to one which shows a remorseless, disastrous, and social issues picture. "He heard a delicate, shrill crying and saw a modest young lady attempting to advance toward the nourishing focus. As he squatted to photo her, a vulture arrived in sight. Making an effort not to irritate the winged creature, he situated himself for the most ideal picture. He later at that point said he hung tight quietly for around 20 minutes, trusting the vulture would spread its wings. Anyway it didn't, and after he took his photos, he professed to pursue the flying creature away, yet still looked as the young lady proceeded with her battle to the bolstering centre." In this manner, when we glance back at the inquiry, does the individual (or individuals) who produce a work (picture, film, fine art and so forth.) at last control its significance and elucidation? We can see this inquiry from multiple points of view when we start to deconstruct the picture a tiny bit at a time, so we can watch various individual pieces of this picture to translate. When we see this picture entire, what we are pushed to accept that the picture is speaking to a malnourished Sudanese tyke that is sobbing for assistance, you could state the picture is demonstrating consciousness of what's going on in various zones of the world. Notwithstanding, if we somehow managed to deconstruct this picture, the idea of the photo is totally changed to a wild creature searching for its appeal to jump on. Which at that point identifies with natural life/narrative photography. Of course, if we somehow managed to deconstruct the picture the other path around we would see a bringing issues to light picture of the individuals of Sudan requiring help, rather than the writer photography that Kevin Carter is so profoundly known for. KevinCartePulitzer1994 ''The standard of thirds is connected by adjusting a subject to the rules and their crossing point focuses, putting the skyline on the top or main concern, or enabling direct includes in the picture to spill out of area to section.'' When investigating the guidelines of thirds we outline the photo and envision it partitioned into 9 individual pieces of the picture, as a picture taker when utilizing the standard of thirds appropriately we attempt to position the primary pieces of the photo close to the lines and crossing points of the lattice. In this manner, when we take a gander at Kevin Carters picture utilizing this technique, we see that the vulture and tyke meet the criteria of the standard of thirds controls, the principle parts of the picture line up with the fundamental focus lines of the matrix. This could be known as an ideal picture, maybe. In any case, we are informed that Carter's aims of this picture was to snap a photo of the flying creature 'spreading its wings' and taking off. Carter more likely than not been set up in a position where on the off chance that he took the picture it would be viewed as an ideal picture, of course since this was the picture he delivered rather, this one ended up being 'The ideal picture in photography rules.' Stephen Bull Talks are scandalously precarious to assess. As far back as the 1970's this thought of revelation has idealized, ingested and on the off chance that you will supplanted the hypothesis of philosophy. Its utilization in the investigation of photos, belief system by and large devises from the compositions of the French rationalist Michel Foucault. Anyway in synopsis of Foucault's work the meaning of revelation is known as 'a gatherings explanations which structure the manner in which a thing is thought, and the manner in which we follow up based on that thinking,'. The majority of the components around a specific photos or photographic practice' are its wide-extending point of view that is delivered and after that how it is considered. Consequently to delineate this thought, it is valuable to investigate altogether a wide range of hypotheses, for example, Martin Parr's preservationist 'Midsummer Madness' gathering has been communicated through various talks, the initially importance has been re-deciphered, now and then unobtrusively, different occasions essentially in its procedure. The average cost for basic items traditionalist Midsummer Madness is a piece of the narrative talk – where 'things as they seem to be' are appeared. Numerous journalists, for example, John Tagg would have been bound to contend that the masterminding of the photos in this specific symbolism is inside the divulgence of narrative, which creates the possibility that they depict the truth of the working class industrialism in the 1980's in Britain. On the other hand Parr's work is associated with an advancement of the talk narrative where the picture taker permits to a greater degree an individual, free perspective all through their picture of decision. (Bull, 2010). Marita Sturken and Lisa Cartwright Numerous pictures produce implications, anyway implications of a bit of work don't are not, carefully, completely deciphered in the work itself, this is the place the maker of the bit of work has put its individual components for the watcher to reveal them. The implications and translations o>GET ANSWER