Based upon your readings for this module, complete the application and critical thinking below. This assignment should be uploaded as a Word document.
A forensic biologist must examine the outside of a small leaf and a thin slice of the leaf one cell thick. She has at her disposal a transmitted light microscope and a stereomicroscope(vertical illumination). What instrument should she use for the analysis of each object and why? A trace evidence analyst places crystals of an unidentified white powder onto the stage of a polarizing microscope and observes the crystals through the eyepiece. Under correct focus, some of the crystals show bright colors while others appear very dark and hardly distinguishable. What can be concluded about the contents of the white powder? Numerous red-colored fibers from a sexual assault crime scene are delivered to the crime lab along with red fibers from the suspects clothing. What instrument should the trace analyst use to view the fibers and obtain chemical information that could be used to compare the crime-scene and clothing samples? Upon arrival at the crime scene of an attempted homicide, police officers, observe a man fleeing the scene and apprehend him. He is suspected to be the shooter in the attempted homicide, and the police wish to test his hands for the presence of compounds consistent with gunshot residue. How should they proceed?
t is immediately evident that Goldsworthy’s works, in general, strongly accentuate texture and shape. Goldsworthy describes the working process as a tactile expression, implying the involvement of a multi-sensory extension of the body, a recurring artistic intention, especially through cues signifying touch and vision. For me, looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. This obsession with recurring forms in nature using different materials has a ritualistic edge, where the earthworks have lost the purpose and functionalism of the commercial product. This tactile gaze, used as the central way of identifying the object, is further evoked through the use of text. For example, in a photograph of a spherical ice ball positioned aside a bleak Autumn bridge, his texts connotes the image not only in terms of its visual impact but also the texture implied by its aural qualities: Stacked ice sound of cracking. The shape and texture of the river in the 1988-9 Leadgate and Lambton Earthworks symbolizes its sensual form in a way which still identifies it as relating to a river, but without the non-abstracted seamless visual art representation of a river. Goldsworthy describes this process: The snake has evolved through a need to move close to the ground, sometimes below and sometimes above, an expression of the space it occupies. Similarly, rather than use the language of signposts to designate a river (in its non-place), the use of more tactile cues reclaims the spectator’s newness of vision: in Auge’s words, the traveller (AG) is recapturing the landscape like it is the first journey of birththe primal experience of differentiation.While Auge asserts that non-places exist only through the words that evoke them, AG’s words work to clarify the gaze rather than condense it to a unified vision. But what constitutes this gaze? When we refer to his earthworks, are we referring only to the symbolic object, or the whole space inside the photo frame? Like a travel writer, a heightened perception or rediscovery of the landscape is the central tenet of Goldsworthy’s working process: Some places I return to over and over again, going deeper- a relationship made in layers over a long time. There is a suggestion by AG that site or context affects and, to an extent, has a significant role in generating the features of his objects: When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around itThe energy and space around a material are as important as the energy and space within While the train, for Auge, is one of the greatest culprits behind the spectator’s fleeting vision of space, Goldsworthy’s immobilization and transposition of the train track and its practical function to a snaking in the Lambton earthworks?, is a way for AG to recapture the essence of the landscape, to shift its perceptual status from non-place to place: Staying in one place makes me more aware of change.>