Car Chase Research Articles

Law on Display: The Digital Transformation of Legal Persuasion and Judgment. By Neal Feigenson and Christina Spiesel. New York: New York University Press, 2009. 333 pp. $45.00 cloth.

Law on Display: The Digital Transformation of Legal Persuasion and Judgment. By Neal Feigenson and Christina Spiesel. New York: New York University Press, 2009. 333 pp. $45.00 cloth. In Law on Display, Neal Feigenson and Christina Spiesel take readers into the high-tech world of twenty-first-century law. From the evidence gathered by the cameras in the police cars during the Scott v. Harris car chase to the animations and simulations prepared for litigation in the Vioxx product liability and Michael Skakel criminal trials, the authors show how technology can change what attorneys present, what judges are asked to consider in reaching decisions on admissibility, and what jurors see and hear in the courtroom. Laced with images that illustrate their examples, Law on Display presents a compelling picture of multiple aspects of digital technology that have the potential to influence comprehension and persuasion. For example, in the trial of Michael Skakel, accused of murdering his neighbor Martha Moxley, the prosecution's closing argument replayed a portion of a journalist's interview with the defendant that had previously been admitted into evidence. In the closing, it became part of a multimedia CD-ROM that combined the audio and text from the interview in which Skakel recalled how he had reacted when Moxley's mother asked him if he had seen Moxley (''I had a feeling of panic.'') with the picture of Moxley dead, presenting an implicit argument that Skakel felt panic when he recalled in horror what he had done the night before. In another case, the attorney for the SEC in SEC v. Koenig used a series of pictures and animations to describe a complex fraud scheme. How effective were these methods? One can be sure, although seasoned court observers who viewed the arguments were impressed. Did these presentations merely clarify, or did they introduce bias? As Feigenson and Spiesel warn, while the clarity and compelling nature of digital technology can aid comprehension, technology can also mislead. The question increasingly faced by judges is how to evaluate these potential effects. The challenge for judges is that they too are subject to the naive realism that Feigenson and Spiesel describe, the potentially distorting dangers of the human tendency to believe in the truthfulness of perception. A few years ago, Judge Michael Brown of the Pima County Superior Court in Arizona spoke to a judicial audience at a panel on jury trials. Imagine, he said, that an eighteenth-century physician entered a twentieth-century hospital operating room. Nothing would look remotely familiar to the time-traveler doctor. In contrast, although an eighteenth-century trial attorney might be surprised by the absence of wigs and the presence of women in the jury box, the twentieth-century courtroom and procedures would be comfortably familiar. …

Cut to the Chase: Editing Time and Space through Closed-Circuit Television Surveillance

The UK is said to have the largest number of CCTV cameras of any European nation. These cameras have been involved in a variety of changes in UK police practices. Such changes range from new evidential practices in court cases, through access to new materials, to new questions posed regarding invasions of privacy. One unexplored area of police practices, which this paper will argue have undergone significant changes since the introduction of CCTV cameras, is police accountability. This paper will draw on recent controversies in the UK regarding police car chases to investigate the ways in which CCTV cameras have led to new and complex questions of police accountability.

슈퍼 히어로 액션 스릴러 <다크 나이트>의 연출 분석

이 글의 목적은 개봉 당시 비평과 흥행 양면에 성공한 <다크 나이트>를 통해 할리우드 슈퍼히어로를 주인공으로 한 액션 스릴러를 연출적인 관점에서 분석하고자 하는데 있다. 크리스토퍼 놀란의 <다크나이트>는 과거 슈퍼히어로 액션물의 기본적인 내러티브 원리에 충실하면서도 그 주제의 진지함과 시각적 표현력에 있어 한 단계 업그레이드된 명품 액션스릴러라고 할 수 있다. 연출 분석은 크게 내용과 형식으로 나뉜다. 내용에 있어서는, 선악의 존재론적 딜레마를 다룬 주제, 과거 배트맨 시리즈보다 깊고 강해진 캐릭터, 5막 구성, 특히 조커의 게임을 활용한 극적 구성, 그리고 다양한 아이러니와 모티프 활용이 돋보인다. 형식에 있어서는 아이맥스 카메라의 효과적인 활용, 특히 카 체이스와 격투액션 등의 액션 연출이 뛰어나다. 편집, 음악, 미술 역시 전편을 뛰어 넘는다. 이 작품이 높이 평가받을 수 있었던 가장 큰 요인은 슈퍼히어로의 액션스릴러라는 블록버스터에 철학적인 주제를 깊이 있게 담아내는데 성공했다는 점이다. 무엇보다도 오랜 역사를 거친 할리우드의 슈퍼히어로 전통과 액션 스릴러의 진화된 기술력이 정점에 이른 시점에 놀란 감독이 뛰어난 연출력이 영화적 스타일과 극적으로 조화를 이뤘기에 가능했던 것이라고 본다. Through this thesis, I intended to analyze superhero action thriller through <Dark Knight> that achieved in art and box office after the film release. I would to access about it centering around directing viewpoint. <Dark Knight> of Christoper Nolan is evaluate as 'upgraded excellent action thriller'that have remarkable theme and excellent visual. Analysis of directing'll classify both contents and form. See about contents... theme of existential dilemma about the good and the evel, characters who is grew more powerful, and deeper than Batman series in old times. the fifth plot, especially dramatic plot by Joker's game, and various irony and motif. About form... efficient use of IMAX camera, prominence of action directing about car chase and fighting... better editing and music and art than former super hero series. The most important merit of <Dark Knight> is it's a philosophical theme. It is dipicted very seriously and successfully. First of all, the film has more advanced technique power and new directing style.

이동형 배출가스 측정시스템(MEL)을 이용하여 디젤, CNG, LPG 시내버스에서 배출되는 입자상 물질 평가

차량에 의한 대기오염을 실제 주행 조건에서 시간과 공간에 구애받지 않고 실시간으로 측정하기 위하여 이동형 배출가스 측정장치 (MEL)가 제작되었다. 미니밴 차량에 배출가스 측정을 위한 장비와 입자의 수 농도 및 입경분포 측정을 위한 FMPS, CPC가 탑재되었다. 차량 전단에 장착되는 흡입 샘플링 포트를 사용하여 여러 종류의 차량 추적 실험을 수행하였다. 본 연구에서는 MEL의 구축 과정 및 디젤, CNG, LPG 연료를 사용하는 버스를 추적 실험한 결과를 나타내었다. 배출가스의 희석비는 추적차량의 엔진 배기 NOx 및 MEL 차량에서 샘플링 되는 NOx의 비로 계산하였다. 디젤버스에서 배출되는 입자의 대부분은 300 ㎚ 이하의 크기이며 입경분포의 피크값은 30~60 ㎚ 사이에 위치하였다. 하지만, 가스연료인 CNG와 LPG를 사용하는 버스에서 배출되는 입자들은 극미세입자 영역인 50 ㎚ 이하로 측정되었다.

7 Souls (review)

Reviewed by: 7 Souls Kate Quealy-Gainer Miller, Barnabas. 7 Souls; by Barnabas Miller and Jordan Orlando. Delacorte, 2010. 373p. Library ed. ISBN 978-0-385-90625-8 $20.99 Trade ed. ISBN 978-0-385-73673-2 $17.99 E-book ed. ISBN 978-0-375-89381-0 $17.99 Ad Gr. 9-12. Waking up butt naked in a busy Manhattan store with no recollection of how she got there was not exactly how New York socialite Mary Shayne wanted to begin her seventeenth birthday. Unfortunately, the day only gets worse from there: after being unceremoniously dumped by her boyfriend, falling into a pit while trying to [End Page 30] save her best friend's life, and engaging in a high-speed car chase in which neither she nor her accomplice totally understands what she is running from, the poor girl finally winds up dead with a bullet through the head. The fun doesn't stop there, however, as she then relives the day of her death as seven other people in her life and discovers not only that plenty of her so-called pals wanted her dead but that chief among them was her beloved little sister. Although Mary's death doesn't occur until halfway through the novel, the events preceding the gunshot are just as intriguingly chaotic as the strange soul-jumping that follows it. Unfortunately, some of the suspense is dampened by an overabundance of product placement (Michael Kors, Starbucks, and Blackberry all make several appearances), and while the materialism is certainly part of Mary's spoiled princess image, the routine descriptions of fashion, cars, and gadgets quickly become distractions from the actual story. As the typical mean girl, Mary is appropriately egocentric in her narration, but her limited viewpoint leaves most of the characters as flat stereotypes—the vengeful nerd, the jealous sister, etc.—so that even when Mary supposedly learns her lesson, we feel little sympathy for any involved. Readers looking for a more philosophical take on life and second chances may want to pick up Oliver's Before I Fall (BCCB 4/10), but this will engage readers wanting a fast-paced mystery with a hint of paranormal activity. Copyright © 2010 The Board of Trustees of the University of Illinois

Narrative Function of Deafness and Deaf Characters in Film

Narrative Function of Deafness and Deaf Characters in Film

Cue-specific reactivity in experienced gamblers.

To examine whether gambling cue reactivity is cue-specific, 47 scratch-off lottery players and 47 horse race gamblers were presented with video clips of their preferred and nonpreferred modes of gambling, and two control stimuli including an exciting car race and a mental stressor task while heart rates, excitement, and urge to gamble were being measured. Heart rates for both groups of gamblers were highest to the mental stressor and did not differ in response to the other three cues. Excitement for both groups was highest in response to the action cues (horse race and car chase). Urge to gamble was significantly higher for each group to their preferred mode of gambling. A post hoc exploratory analysis comparing social gamblers (n = 54) and probable pathological gamblers (n = 40) revealed a similar pattern of responses. However, pathological gamblers reported overall significantly higher urges to gamble than social gamblers. As urges have been shown to play a pivotal role in addictive behaviors and relapse, the current findings may have implications for the development of gambling problems and relapse after successful treatment.

Characterization of vehicle driving patterns and development of driving cycles in Chinese cities

Current driving cycles used in China are not able to accurately assess vehicle emissions due to their inadequate representation of real-world driving. We in this study analyzed the driving characteristics and developed the driving cycles in Chinese cities, then compared them to the European test cycle and the American Federal Test Procedure. Eleven cities were selected, covering different city sizes and geographical locations. Car chasing technique was employed in each city to collect speed–time data on freeways, arterials, and residential roads during traffic peak and non-peak periods. The data collected were adjusted by the traffic adjustment factors to reflect the overall traffic. Eleven driving parameters were used to characterize driving characteristics and develop driving cycles. The results indicate that city size, local road infrastructure, and driving behavior are the most important factors that lead to the significant differences in vehicle driving patterns among the cities. The comparison with the European and US cycles suggests that the emission factors produced from the European or US cycles-based tests could be significantly different than those from the driving cycles in China.

Lights, Cameras, Pencils! Using Descriptive Video to Enhance Writing

Students of various ages and abilities can increase their comprehension and build vocabulary with the help of a new technology, Descriptive Video. Descriptive Video (also known as described programming) was developed to give individuals with visual impairments access to visual media such as television programs and films. Described programs, currently available on major television networks and in theaters, contain additional audio tracks that can be activated by using the Secondary Audio Program feature on a television, videocassette recorder, or DVD player. The description is intended to explain a program's highly visual elements (such as an actor's unusual costume or a car chase scene) to an individual with a visual impairment. Classroom research, however, suggests that descriptive programming can enhance comprehension and vocabulary for all students.

Playing Outside the Box with &lt;i&gt;Mind Game&lt;/i&gt;

Playing Outside the Box with Mind Game Paul Jackson (bio) Yuasa, Masaaki (director). Maindo geemu, 2004. Translated as Mind Game, subtitled Japanese DVD. Big Time Entertainment, 2004. ASIN B0001X9D90. The notion of what constitutes avant-garde film has always been contentious. Defining anime variations, it seems, has also been difficult. The commonly cited characteristics of individual artists—low budgets and mainstream opposition—don’t quite apply to Mind Game, director Yuasa Masaaki’s debut feature. But, paradoxically, neither does it resemble more typical anime films. [End Page 263] Therein lies the film’s strength—formal experimentation paired with a popular narrative. Using traditional 2D cel animation, rotoscoping, and computer-generated effects, among other techniques, Mind Game displays a kaleidoscopic patchwork of filmmaking practices.1 The plot follows Nishi, a twenty-year-old manga artist, who by chance runs into Myon, a physically well-endowed past love from high school. Unbeknownst to Nishi, Myon is being followed by two yakuza in search of her father to settle debts. At her family yakitori restaurant, Myon introduces her fiancé to a predictably devastated Nishi. Enter the two pursuing yakuza, and a heartbroken, terrified Nishi is killed. Moments later, standing before God, he is instructed to walk through a red portal and disappear. Meanwhile, God opens a path back to earth. Naturally, grief-stricken Nishi defies God’s instruction and runs to the earthbound path, traversing time and space until he is back in his body seconds before his murder. This time, Nishi kills the yakuza and flees with Myon and her sister Yan in tow. A high-speed car chase ensues, culminating in Nishi and company being swallowed by a whale. Yuasa is no stranger to eccentric plots and challenging aesthetics, having previously worked as storyboard artist and animation producer on the similarly experimental Cat Soup (2001, Nekojiru-so). The story of anthropomorphic cat siblings Nyako and Nyatta, Cat Soup charts the journey their souls undertake as Nyatta’s body lies on the brink of death. Traditional narrative devices are dropped in favor of a series of related vignettes (this technique is carried over into Mind Game and perhaps explains its occasional pacing problems). Cat Soup’s central set piece of a giant mechanical clock reversing time is visualized using many of the techniques so prominent in Mind Game: men evolve and devolve in a barrage of digital brush strokes, a firing squad resurrects the dead with a chalk-like finish, and fatal accidents are rewound in abstract landscapes. However, for all the similarities between the two films, one major difference cannot be overlooked. Whereas Cat Soup is an exercise in decoding the signifiers, Mind Game is much more traditional in its storytelling. Aside from the obvious questions (i.e., how can Nishi reverse time?), Mind Game makes perfect sense by its own logic. It is perhaps more accurate to place Mind Game alongside Gainax’s FLCL (2000). Both mix the mundane, absurd, and experimental; are thematically similar; and are equally entrenched in popular culture. Like FLCL, Mind Game’s intertextual references and allusions aren’t exclusively Japanese. In fact, Village Voice commentator Michael Atkinson tellingly describes the film as “anti-anime.”2 Once inside the whale, Nishi, Myon and Yan meet Jiisan, a man who has been living inside for more than thirty years. The obvious Western comparison is Disney’s animated film Pinocchio (1940), but Jiisan’s home of raised platforms and rickety walkways also recalls Disney’s Swiss Family Robinson (1960). Mind Game shares with Swiss Family Robinson the same sense of an unlikely utopia away from society’s trappings, even if material needs still exist. Indeed, the first thing Jiisan utters is “I’ve got a radio.” Of course, the film subverts such similarities exponentially. Like Swiss Family Robinson, the characters of Mind Game also befriend the “locals.” Whereas the Robinson animals were incarcerated against their will, Jiisan’s collection of fish preserves species thought long extinct, including a Loch Ness–style monster. Furthermore, Yuasa incorporates three musical sequences that recall both Disney and the overt sexualization of Japanese animation, yet fully succumb to neither. The first depicts a Fantasia-style (1940) routine of synchronized swimming, as the characters...

Spaces of vision: architecture and visuality in the modern era

The film has enriched our field of perception with methods which can be illustrated by those of Freudian theory. … Since the Psychopathology of Everyday Life things have changed. This book isolated and made analyzable things which had heretofore floated along unnoticed in the broad stream of perception. For the entire spectrum of optical and now acoustical, perception the film has brought about a similar deepening of apperception. … By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action. Our taverns and our metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second. … Evidently a different nature opens itself to the camera than opens to the naked eye—if only because an unconsciously penetrated space is substituted for a space consciously explored by man … The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.1 Walter Benjamin I have never set foot in scores of buildings in scores of towns, but they are familiar to me. I know thousands of buildings, streets and cities, not from any tactile encounter, but through trips in vehicles and through images taken by cameras. Not long ago I spent an entire day viewing architecture on the run. Downtown, in a major industrial city, I boarded an elevated train that skimmed by walls, rooftops and antennae and in sight of faraway towers. At the airport, I boarded a plane and, viewed from aloft, that same city receded into the geometries of line and plane. Airborne, I watched a film that transported me to a car chase through the streets of Mexico City. On the ground in a new city, the walk to baggage claim took me past an exhibit of sepia photos of Victorian storefronts. The cab ride from the airport wheeled me back into the present along a strip-malled highway, its signs looking like colorful tinted cellophane through the windshield. At the end of the day, in a motel, a cable news station broadcast pictures of a volcanic eruption that had destroyed the town of Goma in the Congo, red lava submerging houses on the large screen just a few feet from my bed. I was in the zoomscape all day—a largely optical mode of perception characterized by speed and surface.2 Mitchell Schwarzer

Agency in Adaptation

Agency in Adaptation

Who Do I Turn (in)to for Help?

Who Do I Turn (in)to for Help?

Retrieval of movie scenes by semantic matrix and automatic feature weight update

A new semantic-based video scene retrieval method is proposed in this paper. Twelve low-level features extracted from a video clip are represented in a genetic chromosome and target videos that user has in mind are retrieved by the interactive genetic algorithm through the feedback iteration. In this procedure, high-level semantic relevance between retrieved videos is accumulated with so-called semantic relevance matrix and semantic frequency matrix for each iteration, and they are combined with an automatic feature weight update scheme to retrieve more target videos at the next iteration. Experiments over 300 movie scene clips extracted from latest well-known movies, showed an user satisfaction of 0.71 at the fourth iteration for eight queries such as “gloominess”, “happiness”, “quietness”, “action”, “conversation”, “explosion”, “war”, and “car chase”.

The Landscape of Hollywood Westerns: ecocriticism in an American film genre

Films located in the American West and the Western as a cinematic genre have endured throughout the history of moviemaking. Today, this tradition of battles between good versus evil, populists versus profiteers, and man versus nature may have been largely assimilated and transformed into action adventures with car chases replacing mounted posses, yet the genre remains popular with audiences. In studies of the Hollywood Western, the importance of landscape itself, the idyllic or treacherous environment portrayed in these films, often receives supporting-role status. Without the land, however, American national mythmaking would not exist.The essays in this volume scrutinize the special place of nature and landscape in films including silent, documentary, and feature length film that are specifically American and Western. The films discussed here go beyond the stereotypical sagebrush setting. Although many of the films closely fit the standard conventions of the Western, others demonstrate the fluidity of the genre. The wildness of the western environment as a central fact of the American mythos encompasses far more than a brief period of national history or a specific geographical location.

Development of a practical driving cycle construction methodology: A case study in Hong Kong

A practical methodology for constructing a representative driving cycle reflecting the real-world driving conditions is developed for vehicle emissions testing and estimation. The methodology tackles three major tasks, i.e., data collection, route selection and cycle construction. Both car chasing and on-board measurement techniques were employed to collect vehicle speed data. Route selection was based on the records of average annual daily traffic of the road network between major residential areas and commercial/industrial areas. A variety of parameters were employed as the target statistics characterising the driving pattern in the construction of driving cycles. The performance value and speed-acceleration probability distribution were utilised to determine the best synthesised driving cycle. The method is easy to follow and the driving cycles are comparative to other renounced cycles.

From Soucouyant

From Soucouyant David Chariandy (bio) Long ago, she began to forget. It started with ordinary things. Shopping lists and recipes, bus change and savings cards, pens for jotting down those household tasks that always manage to slip away. But then Mother began to forget in far more creative ways. She began to forget names and places, goals and meanings. She began to forget the laws of language and the routes to salvation and the proper things to do with one's body. She began to excuse herself from the world we knew. My brother and I were the first to notice. We were young children when it started and naturally alert for the smallest signs of adult weakness. When Mother wasn't looking, we'd climb up to the cupboards and eat peanut butter and corn syrup, lime pickle and molasses. Also the most perverse delicacy we could then imagine, Crisco shortening, spooning up the white sludge with our fingers and leaving greasy prints on the cupboard doors and the walls and the doorknobs. Mother couldn't understand why she never remembered to replenish her cooking goods. Why she never remembered to give the home a good all-round scrubbing. We were never caught. Of course Mother was minding five or six other children in those early days. Her wits were already strained to the limit. Friday evenings, the children's parents would come and apologize for the days when they were forced to work overtime at their offices without proper warning. They would smile apologetically when handing Mother envelopes. But what messages were these people passing her, really? What kind of people envelop their words? This was still the earliest stage of Mother's condition and she had already learned to conceal her confusion from others and trust that in time things would become clear. She would wave the children's parents goodbye and open the envelopes carefully with a knife, sorting through the small number of fives and tens. Dirty numbers. Meaning new safety boots for her husband and belts for her boys and, of course, more endlessly dwindling cooking goods. Money was still too precious a meaning to forget. But soon there came the times when Mother hurriedly dressed one boy in his snowmobile suit and ushered him to his parents waiting outside. Only then to remember (too late) that these parents had a girl. That girl with the haunting glass-marble eyes and the brilliant golden hair. Or brown. She would have had brown hair, Mother reminded herself. Mother would laughingly explain to the parents just how difficult it was to tell the difference between boys and girls these days. Just look at the rock stars, she would say. Nanny standup. But her jokes fell flat and Mother steadily lost her jobs. She was supposed to be minding children, after all. She was living on the edge of the bluffs, near an active railway. [End Page 797] Metal monsters in the night. Dirty numbers and greasy doorknobs. This was our belonging. Memory was a carpet stain that nobody would confess to. History was a television set left on all night. The car chases and gun fights sponsored by oil companies. The anthems at the end of broadcast days. * * * Then a crisis in something called "the economy." Father was laid off at the factory but later rehired as a temp after two agonizing weeks. The work was erratic. The factory wouldn't need him for weeks on end, but then, faced with a last minute order to fill, it would suddenly call upon him round the clock. Father became a maniac on those days, a blur of energy bursting through the front door to bolt cold dal and rice from Tupperware in the fridge. Frantic nap. Bathroom. Frantic nap. Chugging lukewarm cups of instant coffee, then back out to catch another shift, a toppled milk carton in his wake, pattering white upon the floor. Mother's jokes continued to fall flat. One afternoon, Father took his first long chug from his coffee mug before running to the kitchen sink to retch endlessly. Waving away our concern as another belt of sickness took him. Mother had accidentally filled...

First Boy (review)

Reviewed by: First Boy Karen Coats Schmidt, Gary First Boy. Holt, 2005 [208p] ISBN 0-8050-7859-2$16.95 Reviewed from galleys R Gr. 5-8 Having never even seen so much as a picture of his parents, fourteen-year-old Cooper is left alone when his grandfather dies, but he resolves to be what he's always wanted to be, and what his grandfather always was—a steadfast New Hampshire [End Page 284] dairyman. Still, the work is hard, and he is tempted when Senator Wickham, who is running for president, asks Cooper to join him on the campaign trail as a representative of the small farmer who is trying to make ends meet. He decides, instead, that the senator is not someone his grandfather would trust, and his refusal to join the campaign leads to more trouble and danger than he bargained for. As it turns out, his grandfather's last words—"You're my first boy, Cooper, my first boy"—may have been oddly prophetic, as Cooper finds himself at the center of a scandal that reaches all the way to the White House, and that may—or may not—be a concoction of the senator's. Schmidt goes for an easy target in constructing his villain here (an unscrupulous politician, imagine that?), and he tends to overplay the clean-living virtues of the New Hampshire farmer, but he offsets this too-rigid opposition by introducing leavening doses of both irony and humor into his portrayal of Cooper's neighbors (and sometimes Cooper himself). Threading its way through all of the action of barn-burning, kidnapping, escape, and car chases, though, is Cooper's grief, which gets dragged around willy-nilly by the events that immediately follow his grandfather's death; eventually it finds a solid path of its own through the stubborn kindness of neighbors who bolster Cooper's integrity and grit while keeping his stomach filled and helping with the farm work. Combining the thrills of political intrigue with the simple joys of "mucking out proper," this will be well received by middle-school boys. Copyright © 2006 The Board of Trustees of the University of Illinois

The Getaway

The Getaway

Nucleation Particles in Diesel Exhaust: Composition Inferred from In Situ Mass Spectrometric Analysis

Mass spectrometric measurements of size and composition of diesel exhaust particles have been performed under various conditions: chassis dynamometer tests, field measurements near a German motorway, and individual car chasing. Nucleation particles consisting of volatile sulfate and organic material could be detected both at the chassis dynamometer test facility and during individual car chasing. We found evidence that if nucleation occurs, sulfuric acid/water is the nucleating agent. Low-volatile organics species condense only on the preexisting sulfuric acid/water clusters. Nucleation was found to depend strongly on various parameters such as exhaust dilution conditions, fuel sulfur content, and engine load. The latter determines the fraction of the fuel sulfur that is converted to sulfuric acid. The organic compounds (volatile and low-volatile) condense only on preexisting particles, such as both sulfuric acid nucleation particles and larger accumulation mode soot particles. On the latter, sulfuric acid also condenses, if the conditions for nucleation are not given. The overall ratio of sulfate to organic (volatile and low-volatile) is also strongly dependent on the engine load. It was found that the production of nucleation particles even at high engine load can be suppressed by using low-sulfur fuel.