Read the articles on the 4 websites listed below and in a total of 1000 words, discuss the following statement. Blood spatter interpretation is useful because it allows you to reconstruct the crime scene. http://www.forensicsciencesimplified.org/blood/principles.html https://science.howstuffworks.com/bloodstain-pattern-analysis.htm https://www.bloodspatter.com/bloodstain-tutorial http://4n6.com/crime-scene-reconstruction/ Q2. Using any resources available to you, research the available technology that exists to aid in blood spatter interpretation at a crime scene. Name 2 different automation software applications that can aid in crime scene reconstruction and describe each one in a total of 600 words.
The Myth of the Sixties It has been said that of all the counterfeit ideas of the twentieth century, the sixties have the best hang on the creative ability. The decade has come to go up against legendary extents, a period in the historical backdrop of the reality where "everything changed," and whether for good or to no end relies upon which side of the fence you remain on. The nonconformists, specialists and bohemians, at that point and now, see it as a mysterious time, while the "squares," traditionalists, individuals from the standard and such view it as a bad dream. Furthermore, regardless of whether one was excessively youthful or excessively old, making it impossible, making it impossible to take an interest, or, truth be told, was not by any means conceived, holds no significance; the legend of the sixties will never bite the dust. In any case, in all actuality the decade and its members were just the epitome of three intense legends: the fantasy of the nonconformists as "grimy filth," as coordinated by the media and the legislators; the fantasy of the flower children as world-evolving progressives, as made by the hipsters themselves; and the propagation and expansion of this last fantasy by advertisers and sponsors for benefit. This paper will analyze the sixties in view of these three fantasies. Before we can completely disentangle the primary legend (the job the media played in the production of the hippy counterculture), it is important to take a gander at the development's points of reference. The late 50s and mid 60s saw the entry of three "subcultures," the Beats, the Teds and the Mods, all of which got a bigger number of media consideration than they merited; that is, for all intents and purposes each part of these gatherings (the quantity of individuals, the degree of their exercises, the term of the developments, and so on.), was misrepresented (Green, 41). For instance, the mid sixties were apparently host to endless "turf wars" between two of these subcultures (the Rockers and the Mods). The first of these occurred in Clacton in 1964, and in spite of the fact that the real turnout was low, the adversary bunches were immediately marked as "groups" by the media (Green, 46). The day after the occasion, almost every national daily paper ran furious, first page stories on the occurrence, asking Home Secretary Henry Brooke to make a move (on the same page). After a year, comparable scenes rehashed themselves in Brighton, Weston-super-Mare and Great Yarmouth, and media reports were loaded up with "broken deckchairs, escaping grannies, stern-confronted policemen, offended councilors, and so forth.," which were generally decorated or through and through manufactured (Green, 47). The truth was in certainty a pale impersonation of the legend. It advanced later that there were no "groups" all things considered, there was little proof of planned antagonistic vibe (the vast majority had come just to watch), and for every one of the reports of "blood and brutality" there was in reality almost no (Cohen, 1973). In any case, the seeds had been sown, the harm had been done, and when the Rocker and Mod subcultures subsided, there was the requirement for another "open irritation" to have their spot, another "bunch characterized as a risk to societal qualities and interests, its inclination exhibited in a stylised and cliché form by the broad communications, the ethical blockades kept an eye on by editors, priests, government officials and other right-thinking individuals, findings and arrangements articulated by certify specialists" (in the same place). Enter the hippy. The term hippy, at first glance, establishes an immense range of bohemian and understudy subcultures, running from imaginative learned people to dropouts and dope smokers (Brake, 92). There are the individuals who consider them to be sentimental, uncorrupt and agnostic; other people who consider them to be adolescent, epicurean and hostile. The British flower child underground became out of the "nonconformist scholarly creative scene," the peace development and the comparing American group, prodded on by such pseudo-political gatherings as The Yippies, the Diggers and the Merry Pranksters, and additionally different people including Ken Kesey (creator of The Electric Kool-Aid Acid Test), LSD master Timothy Leary, and Beat writer Allen Ginsberg, who showed up at the Albert Hall International Poetry Incarnation in 1965 (Brake, 102). In any case, while there were unquestionably representative points of reference as specified above, and indeed little portions of the populace were "tuned in" to another state of mind and acting, the reality was that a genuine, unavoidable, binding together development didn't generally exist: "We've all obliged the deception that Ginsberg and Dylan and Baez and the Beatles and the Stones were all piece of a similar thing. Indeed, they are a piece of a certain something, as in we're all individuals and we are all piece of the word and one another. So is Lyndon Johnson, so it the mafia head of Chicago, so are the Hell's Angels. We've tended to make the refinement among Us and Them. Presently in the event that we must remember anything, there's very little distinction between the Angles beating that child over the head with a pool sign, and the Chicago cops beating you over the head since you have long hair" (Gleason, 219). It could be contended that if there were any progressions occurring, they weren't such a great amount of social as financial and social, which pegged youngsters against their folks, and prompted tremendously unique perspectives and way of life decisions (Brake, 93). While the flower children were inexactly gathered around the idea of social and political change (which, in America, to a great extent implied protestation of the Vietnam War), in Britain, there was never any relating social driving force. On the off chance that anything, their conduct was simply a deliberate endeavor to show unmistakably oppositional convictions than those supported by society, favoring "promptness, suddenness and gratification" (Weider and Zimmerman, 1977). Furthermore, it is these inclinations that the media bounced on. English daily papers detailed hipsters as being "filthy, inactive, indiscriminate and tranquilize clients" (Brake, 96). A common report demonstrated a bare, whiskery, since a long time ago haired man with the inscription: "The hippy clique is corrupting, wanton and plain stupid" (on the same page). A tale about the London Street Commune who chose to squat in a surrendered Georgian manor in 144 Piccadilly depicted their home as: "lit just by the diminish light of their medicated cigarettes," finish with "tranquilize taking… couples having intercourse while others look on… an overwhelming crowd equipped with iron bars, rottenness and stench, foul dialect… these are not bits of gossip but rather certainties, corrupt realities which will stun standard fair living individuals" (News of the World, 1969). A comparable report showed up in The Daily Mail on 2 August, 1969: "It makes me embarrassed to be British. They [the hippies] live around in tarnished garments, battering in one another in the lanes. No big surprise our nation has gone to the mutts." The radicals went about as helpful substitutes, and the Tories enthusiastically hopped on the fleeting trend in depicting them as good deteriorates who should have been squelched in order to spare the world from its baser senses (Green, 448). In all actuality the greater part of these radicals were not ruffians and lawbreakers but rather understudies and ex-understudies, who could take part in a way of life loaded up with LSD, shake music and "free love" in view of understudy stipends and welfare installments (Brake, 95). Not exclusively did the media paint an incorrect picture of them, yet the radicals trusted their own publicity and became tied up with their very own legend. For while they railed against realism, their way of life was upheld on account of the advantages they got from living in a welfare framework; while they were "hostile to innovation," they approached hey tech stereo frameworks and complex light shows; to put it plainly, they "felt opportunity was an individual component yet were controlled by an intense state" (Brake, 97). The development was brief on the grounds that a "full-time recreation expressive subculture can just create in an economy with adequate surplus and business" (Brake, 99). At the point when the economy dove, so did the participation of the subculture; the nonconformists blurred away in the wake of joblessness and monetary emergency (on the same page). Notwithstanding, notwithstanding portraying the radicals as a real "development" is sketchy. One issue is that in taking a gander at subcultures, it should be considered that they are really a minority, who, as a result of their sensational style, are given immense media inclusion (Green, 158). Numerous flower children were latchers-on, best case scenario. The individuals who joined may have been defiant, they may have embraced particular styles and qualities, yet their disobedience did not encapsulate bona fide restriction (Green, 159). For some included, it was not about social or political change by any stretch of the imagination; it was only about design. As Angela Carter wrote in her Notes for a hypothesis of sixties style: "The idea of our clothing is exceptionally mind boggling. Garments are such a large number of things without a moment's delay. Our social shells, the arrangement of signs with which we communicate our aims, are frequently the projections of our dream selves… garments are our weapons, our difficulties, our visual abuse" (Carter, 1967). Murdock and McCron, in a tremendous seething counter-social examination, found that the greater part of the general population they studied were not really engaged with neighborhood subcultures, but rather had embraced the styles as a result of the young media outlet (Murdock and McCron, 1976). The respondents "were articulation and expansion of the predominant significance framework, as opposed to deviation from or contrary to it" (in the same place). In all actuality the vast majority are not enticed by subcultures, and just dress or act in comparative complex ways when they have turned out to be adequate by the standard. A significant part of the flower child culture was intentionally produced for advertising utilization, and a great part of the workmanship and music of the sixties was popularized and changed into an item for the bigger society (Brake, 99). A portion of the decade's chief demonstrations – the Beatles, the Rolling Stones, and so on – and shake 'n come all in all, which had once been so undermining, had progressed toward becoming as sheltered as the blue-chip organizations that supported and sold it (Green, 446). >GET ANSWER