Forensic Architecture Research Articles

포렌식 아키텍처와 디지털 시대 다큐멘터리 작업 : 하이브리드 액티비즘, 다큐멘터리 불확정성, 대항시각성

포렌식 아키텍처와 디지털 시대 다큐멘터리 작업 : 하이브리드 액티비즘, 다큐멘터리 불확정성, 대항시각성

Rekonstruktion von Evidenz. Forensic Architectures 77sqm_9:26min

Abstract The essay focuses on the investigative methods of Forensic Architecture (FA) and in particular the architectural design tools used to build reconstructions of incidents and their spatio-temporal relations. FA’s retrospective investigation of the murder of Halit Yozgat in Kassel in 2004 spotlights the NSU complex as a composite of institutional and structural racism as well as questioning the dubious activities of the Intelligence Service in the NSU case.

Erasing, Obfuscating and Teasing out from the Shadows

Three practice-based investigations discussed in this essay—Razing Manzanar II, States of Exception, and Palimpsest—correlate two seemingly separate conditions of invisibility. One is invisibility produced through the making and unmaking of spaces of internment or detention called forth through governmental utterances. The other is hidden labour, specifically related to architecture and built environments. These performance-installations reflect upon government-mandated, and now-demolished, camps and the labour occurring there. The sites of study include World War II-era Japanese American internment camps in the American West, where interned citizens wove camouflage for the US Army, and the Centre d’Identification de Vincennes (CIV) in Paris used to detain French Algerian labourers during their war of independence. Most traces of the Japanese American camps are now invisible—razed long ago—but are acknowledged by government. The camps situated within the Paris city limits are also invisible, but not simply by erasure; they are obfuscated by government obstacles to locating them, with the CIV’s whereabouts, the city’s largest intentional camp, remaining elusive. While seeking to render sensible, or knowable through the senses, these internment camps, and the camp as a recurrent condition, my practices of installation and performing spatial labour also explore rendering visible otherwise-invisible labour. My labour is architectural, employing the discipline’s instruments, such as drawings and models. These labours take cues from Eyal Weizman’s Forensic Architecture (2017) and age-old techniques of descriptive geometry and shadow projection. Juxtaposing these concerns problematizes both the now-razed architectures that once disappeared whole populations and (hyper/in)visibility (Kunst 2015) of spatial labour. Performed and installed spatial labours of erasing, obfuscating and teasing out of the shadows are the three modes of rendering the invisible visible I examine in this essay, arguing that the performative nature of the explorations is critical to rendering sensible what the artefacts normally conceal.

An Anatomy for Recognizing Network Attack Intention

Research in the field of Network forensics is tremendously expanding with the tendency to help in arbitrating, capturing and detaining the exponential growth of the cyber crimes. With this expansion, the field of Network forensics is still not clear and is uncertain. In this paper, we have presented the architecture of an analysis mechanism for network forensics. The work followed by generic process model for network forensics investigation is also presented and discussed in detail. Overall this paper presents an overview of the network forensics architecture, generic process models to help a user in the times of emergency by considering the incident and thus maintaining the privacy and security policies.

Review of Weizman's Forensic Architecture: Violence at the Threshold of Detectability

Review of Weizman's Forensic Architecture: Violence at the Threshold of Detectability

FORENSIC ARCHITECTURE: VIOLENCE AT THE THRESHOLD OF DETECTABILITY. By EyalWeizman. New York: Zone Books, 2017. Pp. 355. Hardcover, $39.95.

Religious Studies ReviewVolume 45, Issue 3 p. 361-361 Short Reviews of Recent Publications: Religion and Law FORENSIC ARCHITECTURE: VIOLENCE AT THE THRESHOLD OF DETECTABILITY. By Weizman, Eyal. New York: Zone Books, 2017. Pp. 355. Hardcover, $39.95. First published: 19 September 2019 https://doi.org/10.1111/rsr.14149Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume45, Issue3Special Issue: Jessica Johnson's Biblical Porn September 2019Pages 361-361 RelatedInformation

Regarding the ruins: ruins and humanitarian witnessing in Satrapi and Sacco

ABSTRACT This essay considers the significance of images of ruins in Marjane Satrapi’s Persepolis and Joe Sacco’s works on Palestine. I discuss how these comics artists position the built environment in ruins as witnesses to human rights violations. I argue that Satrapi and Sacco use images of ruins to strategically document the extent of war’s devastation, and simultaneously, to advance complex arguments about the nature of suffering and trauma. Their works engage with human rights discourse and forensic architecture towards the inclusion of objects and things (the ruins) as legitimate victims of war and atrocity.

Arte, pesquisa e ensino em tempos de deslegitimação do Ensino das Artes

In this essay, I discuss the relations between art, research and teaching in reference to a recent, reactionary or defamatory process of discrediting the arts and education, as well as to a wider process of delegitimization, notoriously thematized by Jean-Francois Lyotard. In this course, I evaluate some displacements within the Art Education related to the use of the arts as a methodology by certain theoretical streams associated to the proposition of an art-based educational research. In contrast, my argument goes through the idea of an invention of teaching-research, for which I bring as an example the work of the research agency Forensic Architecture.

Architecture as event space: Violence, securitisation, and resistance

AbstractCentral to the conception of this article is the architectural theorist Bernard Tschumi's dictum, ‘There is no architecture without action, no architecture without events, no architecture without program … no architecture without violence.’ Shaped as well by Eyal Weizman's conception of ‘forensic architecture’, the focus of the investigation is on Israel's architecture of security and on the corresponding Palestinian architecture of resistance. Emphasising an encounter of cartographies that reveals the way Palestinians make life livable in response to the architectural violence they face, the analysis continues with reference to Yari Sharif's analysis of architectures of resistance and with a reading of a feature film, Hany Abu-Assad'sOmar(2013) in which the Separation Wall between Israel and Palestine is one of the film's primary agent/protagonists. The article surveys popular culture texts, focused on crime and espionage to analyse a range of security practices and breaches that amplify the analysis with attention to security issues in individual households, multiple-person dwelling arrangements, architectural locations throughout cities, and buildings housing governmental security agencies. That trajectory of architectural sites lends a micropolitical analysis to the macropolitical level of governmental policy and modes of resistance to it.

Murder in Miniature

The Nutshell Studies of Unexplained Death re-present murder scenes in miniature dioramas to doll’s house scale. Created in the 1940s by Frances Glessner Lee to help to improve crime scene investigation in the US, they establish a curious but compelling connection between forensic investigation and craft. These miniature crime laboratories were made by hand by Lee and her carpenter to exacting levels of mimetic realism, with doors that can be locked using tiny keys and windows that can open. Based on real life crimes but embellished by Lee to stage more complex pedagogic scenes, they are still used today to train police officers in crime scene investigation. They are scientific models that replicate doll’s houses in their scale and form, seemingly offering total visibility of the crime scene to the trainee detective but, in fact, withholding the possibility of a definitive solution in a counter-forensic approach (Lee wanted officers to consider the importance of medical and laboratory techniques in their work).Susan Stewart suggests that there is an ‘essential theatricality of all miniatures’, an idea that is explored in this essay in relation to the Nutshell Studies (Stewart, 1993: 54). Offering murder in miniature and crochet, the dioramas put violence at the centre of the domestic space and the child’s toy. The ‘murder doll’s house’ is the fantastical creation of the tiny home that is exposed to view as though through naturalism’s fourth wall, and predominantly stages the female body as the victim and subject of violence. Drawing on notions of ‘forensic architecture’, Bouchard examines these performative re-stagings of death, of domestic and bodily wreckage, to consider how they function performatively as forensic tools.

The Critical Foundations of Visual Criminology: The State, Crisis, and the Sensory

This article considers the manner in which visual criminology has flourished in the current moment, while exploring its foundational relations and points of distinction as a form of critical criminology. In particular, we devote attention to the relationship of images to control, power and resistance at a time defined by the spectacular proliferation of media. We also discuss new and recent directions in visual criminology that enlarge our understandings of both critical and visual work, including forensic architecture and sensory criminology.

An Efficient Forensics Architecture in Software-Defined Networking-IoT Using Blockchain Technology

A Potential solution for solving forensic is the use of blockchain in software-defined networking (SDN). The blockchain is a distributed peer-to-peer network that can be utilized on SDN-based Internet of Things (IoT) environments for security provisioning. Hence, to meet some challenges in digital forensics such as data integrity, evidence deletion or alteration, blockchain is used. However, some problems such as poor attack detection and slow processing existed in previous works. To address these issues, an efficient forensics architecture is proposed in SDN-IoT that establishes the Chain of Custody (CoC) in blockchain technology. The proposed SDN-based IoT architecture is initiated with flow table rules on switches for the three different traffics Voice over Internet Protocol (VoIP), File Transfer Protocol (FTP), and Hyper Text Transfer Protocol (HTTP). In this work, overloaded switches migrate the packets to nearby switches to balance the packet flow. The packets disobeying flow rules will be discarded by switches. The blockchain-based distributed controller in this forensic architecture is designed to use the Linear Homomorphic Signature (LHS) algorithm for validating users. Each controller is fed with a classifier that uses the Neuro Multi-fuzzy to classify malicious packets based on packet features. The logs of events are used and stored on the blockchain in the proposed SDN-IoT architecture. We evaluated the performance of our forensic architecture and compared it to the existing model using various performance measures. Our evaluation results demonstrate performance improvement by reducing delay, response time and processing time, increasing throughput, accuracy, and security parameters.

Digital Forensics Architecture for Evidence Collection and Provenance Preservation in IaaS Cloud Environment Using SDN and Blockchain Technology

Cloud forensics is an intelligent evolution of digital forensics that defends against cyber-crimes. However, centralized evidence collection and preservation minimizes the reliability of digital evidence. To resolve this severe problem, this paper proposes a novel digital forensic architecture using fast-growing Software-Defined Networking (SDN) and Blockchain technology for Infrastructure-as-a-Service (IaaS) cloud. In this proposed forensic architecture, the evidence is collected and preserved in the blockchain that is distributed among multiple peers. To protect the system from unauthorized users, Secure Ring Verification based Authentication (SRVA) scheme is proposed. To strengthen the cloud environment, secret keys are generated optimally by using Harmony Search Optimization (HSO) algorithm. All data are encrypted based on the sensitivity level and stored in the cloud server. For encryption, Sensitivity Aware Deep Elliptic Curve Cryptography (SA-DECC) algorithm is presented. For every data stored in the cloud, a block is created in the SDN controller and the history of data is recorded as metadata. In each block, the Merkle hash tree is built by using Secure Hashing Algorithm-3 (SHA-3). Our system allows users to trace their data by deploying Fuzzy based Smart Contracts (FCS). Finally, evidence analysis is enabled by constructing Logical Graph of Evidence (LGoE) collected from the blockchain. Experiments are conducted in an integrated environment of java (for cloud and blockchain) and network simulator-3.26 (for SDN). The extensive analysis shows that proposed forensic architecture shows promising results in Response time, Evidence insertion time, Evidence verification time, Communication overhead, Hash computation time, Key generation time, Encryption time, Decryption time and total change rate.

THE PROMISE OF THE INDEX IN CONTEMPORARY DOCUMENTARY PERFORMANCE


 
 
 This essay investigates the troubled status of the concept of the index and its concomitant notion of evidence within the context of a global, visual culture. Specifically, the essay centres on the notion of the index in an era, where the use of digital images claiming to truthfully represent war and conflict has become an increasingly important part of warfare. Focusing on two documentary works by respectively performance artist Rabih Mroué and visual artist Abu Lawrence Hamdan (Forensic Architecture), the article shows that whilst both artists rely on material documents, which in each their way index back to conflictual events, the crucial point is not so much the status of the evidentiary material per se. Instead, enabled by fictitious strategies, the artists invite us to pay attention to the differing statuses and meanings assigned to documents depending on the particular knowledge systems and spaces of appearance within which they are perceived. In this way, the essay argues, the works of Mroué and Hamdan help us move beyond the discourses within documentary theory, which tend to conform to either a postmodernist relativist position or a realist epistemology.
 
 

Is forensic architecture the new muralism of the Mexican state? A reflection on racialized violence and the construction of Mexican identity

Abstract In Mexico, the art of historical representation from the last 100 years has influenced and been influenced by the way we understand ourselves as Mexicans. The racial divisions of our society and the racialized state violence have been part of this process of representation. To me, the arts as a medium and mediator for the state’s incessant project of racializing indigenous peoples have intentionally overshadowed racial differences as part of the state’s political discourse. This article shows this relationship by taking as examples two case studies: Forensic Architecture’s exhibition at the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City, which portrays the brutal disappearance of 43 students in Ayotzinapa, Guerrero in 2014, and Diego Rivera’s mural The History of Mexico, commissioned in 1929 by the federal government, located today in the National Palace of Mexico City. Legacies of colonial past, such as racial segregation and oppression, and the influence of international ideas of modernization, liberalism and economic progress in Post-Revolutionary Mexico can be located in the material forms of representation of these two narratives. By re-problematizing the virtual spaces they represent, and the physical spaces they occupy or come from, my research points out a new layer of hidden racialized violence in the processes of construction of new and old historical narratives.

Violencia de archivo

El texto plantea un análisis en torno a las políticas de archivo que, a su vez, activan, en su forma más violenta, políticas de borramiento y de olvido; esto a la luz de una de las piezas más importantes del grupo interdisciplinario Forensic Architecture: el mural que lleva por título Los senderos de Ayotzinapa que se bifurcan. Desde el análisis del relato, como forma de enunciación y de archivo, intentaremos extraer las voces silenciadas por una mal llamada Verdad Histórica.

Forensic Architecture: A New Photographic Language in a Factual Era

A group of visual activists, architects, software developers and archaeologists as well as a multicultural team composed of artists, investigative journalists and lawyers – an organic organization. Forensic Architecture ‘Investigative aesthetic’ is based on visual aggregation on data allowing viewers to enhance their perception-cognition of events by the integrated use of augmented photography. Their works have been presented in front of a court, but also exhibited at international shows all around the world. FA expanded use of photography, integrating in the urbanistic reconstruction of frames of any kind of multimedia information collected, consider it not simply as a medium, but as a proper tool for triggering critical reflections and political action. Forensic Architecture have mainly been investigating the area of conflicts with the aim to present counter- investigation on unclear circumstances, often underlining social constructs in the public forum. The particular role that FA plays, claiming social truth and assigning to photography the function to be a “civil act,” remarks its place in the history of war photography, and underlines the importance of also having a contra-culture in a post- industrial society, permeated by the presence of technology. Keywords: evidence, Forensic Architecture, forensic reconstruction of event, photography, truth-value

Reflections on Photogrammetry

This article presents an overview of the history, principles, and current developments in the media technological field of photogrammetry. By chronicling the isomorphic shift taking place in image capturing, we seek to show that photogrammetry has led the way forward in seeing technical images not only as two dimensional projections, but as three-dimensional model-based images. In the mid-nineteenth century, photogrammetry was first used for the documentation of architectural objects and it later became a standard technique in aerial photography. Although its fields of application have become more extensive, photogrammetry’s basic principle hasn’t fundamentally changed: it is still defined as the three- dimensional geometric reconstruction of two-dimensional photographs through the measuring of reference points. With digital technological standards and advances in camera technology, photogrammetric imaging nowadays is intensively used for object recognition in machine vision and robotics. Beside this, photogrammetry is also opening new possibilities for documentation in the fields of investigative arts, this being explored with a discussion on the “Ground Truth” project from Forensic Architecture. Keywords: investigative art, machine vision, object recognition, photogrammetry, photography

Book Review: Eyal Weizman, Forensic Architecture: Violence at the Threshold of Detectability

Book Review: Eyal Weizman, <i>Forensic Architecture: Violence at the Threshold of Detectability</i>

Under the microscope

Rothstein reviews Forensic Architecture: Violence at the threshold of detectability by Eyal Weizman.