From crime to court - an experience report of a digital forensics group project module.

This paper discusses the large-scale group project undertaken by BSc Hons Digital Forensics students at Abertay University in their penultimate year. The philosophy of the project is to expose students to the full digital crime "life cycle", from commission through investigation, preparation of formal court report and finally, to prosecution in court. In addition, the project is novel in two aspects; the "crimes" are committed by students, and the moot court proceedings, where students appear as expert witnesses for the prosecution, are led by law students acting as counsels for the prosecution and defence. To support students, assessments are staged across both semesters with staff feedback provided at critical points. Feedback from students is very positive, highlighting particularly the experience of engaging with the law students and culminating in the realistic moot court, including a challenging cross-examination. Students also commented on the usefulness of the final debrief, where the whole process and the student experience is discussed in an informal plenary meeting between DF students and staff, providing an opportunity for the perpetrators and investigators to discuss details of the "crimes", and enabling all groups to learn from all crimes and investigations. We conclude with a reflection on the challenges encountered and a discussion of planned changes.

Reproducing violence: Rihanna, Chris Brown and the aestheticisation of the Ciudad Juarez Femicides.

When Kate and Laura Mulleavy of Rodarte worked with MAC to create their Autumn/Winter 2010 makeup collection and based their ideas on the murdered women of Ciudad Juarez, there was a public and industry outcry which led to the withdrawal of cosmetics with names such as ‘Factory’ ‘Juarez’ and ‘Ghost Town’. Rodarte tapped into the borderland mythologies of Juarez and crated an illusory fantasy world which sought to simultaneously obliterate and venerate the dead women. One eyeshadow, ‘Bordertown’, appears to look like chunks of rotting flesh streaked with blood. The models for their catwalk show had hollow blackened eyes, green-white pallor and lips that had been bloodlessly ‘lip-erased’ with a product specifically designed for the purpose. In Spanish, maquillar is to make up, to assemble. The women in the factories are asked to repeat simple mechanical operations thousands of times a day to make up the products which will be sold by global corporations. At the same time their images are being assembled, made up and aestheticized to create a cosmetic erasure of the crimes which they are subject to. When two American women and a global company make profit from this dangerous cosmetic erasure in order to sell products, the borders between bodies, countries, art and crime become leaky through the act and the illusion of symbiosis between the women of Ciudad Juarez and the products they inspired is threatened by the haunting of exploitation. Since then, the situation has become more complex. Chris Brown got a neck tattoo, based, he says, on the promotional material produced by MAC for the Rodarte sisters campaign. The image, which is of a skull, bears a striking resemblance to the police photographs of his ex, and now current, girlfriend, superstar Rihanna. The controversy over gendered violence, race and exploitation, begun by Rodarte and MAC, came back, haunting, once again. This paper seeks to address these connections, and ask what happens when domestic violence collides with globalism, fashion and murder.