Paul Smith

Crime scene investigation is a form of Distributed Cognition. The principal concept we explore in this paper is that of `resource for action'. It is proposed that crime scene investigation employs four primary resources-for-action: the environment, or scene itself, which affords particular forms of search and object retrieval; the retrieved objects, which afford translation into evidence; the procedures that guide investigation, which both constrain the search activity and also provide opportunity for additional activity; the narratives that different agents within the system produce to develop explanatory models and formal accounts of the crime. For each aspect of distributed cognition, we consider developments in technology that could support activity

Crime scene investigation is a form of Distributed Cognition. The principal concept we explore in this paper is that of `resource for action'. It is proposed that crime scene investigation employs four primary resources-for-action: the environment, or scene itself, which affords particular forms of search and object retrieval; the retrieved objects, which afford translation into evidence; the procedures that guide investigation, which both constrain the search activity and also provide opportunity for additional activity; the narratives that different agents within the system produce to develop explanatory models and formal accounts of the crime. For each aspect of distributed cognition, we consider developments in technology that could support activity.

Many artists and scientists - including Buffon, Goethe, and Philipp Otto Runge - who observed the vividly coloured shadows that appear outdoors around dawn and dusk, or indoors when a candle burns under waning daylight, chose to describe their colours as 'beautiful'. Paul Smith explains what makes these ephemeral effects worthy of such appreciation - or how depictions of coloured shadows have genuine aesthetic and epistemological significance. This multidisciplinary book synthesises methodologies drawn from art history, psychology and neuroscience, history of science, and philosophy. This title will be of interest to scholars in art history, art theory, and the history of science and technology.

This book offers a radically new account of the rich and varied culture of contemporary Spain. It focuses on three intellectuals who chronicle contemporary life (including journalist Francisco Umbral); three filmmakers who engage with the many nationalisms of the Spanish state (Victor Erice,Bigas Luna, and Julio Medem); and three crucial topics that are expressed in many media (the replaying of history, the rise and fall of the city, and the practice of everyday life). Ranging from the ethnographic photography of Cristina Garcia Rodero to the high tech architecture of SantiagoCalatrava and from the hyperrealist painting of Antonio Lopez to the neo-flamenco dance of Joaquin Cortes, this book is also the first to draw on theorists of the intellectual field, the production of space, and the arts of bricolage (Pierre Bourdieu, Henri Lefebvre, and Michel de Certeau). Refutingthe charge that contemporary Spanish culture is trivial or superficial, this book argues that it is fully engaged in the aesthetic and historical project of modernity.