Is characterizing the digital forensic facial reconstruction with hair necessary? A familiar assessors' analysis

Background: In the international scientific literature, there are few studies that emphasize the presence or absence of hair in forensic facial reconstructions. There are neither Brazilian studies concerning digital facial reconstructions without hair, nor research comparing recognition tests between digital facial reconstructions with hair and without hair. The miscegenation of Brazilian people is considerable. Brazilian people, and, in particular, Brazilian women, even if considered as Caucasoid, may present the hair in very different ways: curly, wavy or straight, blonde, red, brown or black, long or short, etc. For this reason, it is difficult to find a correct type of hair for facial reconstruction (unless, in real cases, some hair is recovered with the skeletal remains). Aims and methods: This study focuses on the performance of three different digital forensic facial reconstructions, without hair, of a Brazilian female subject (based on one international database and two Brazilian databases for soft facial-tissue thickness) and evaluates the digital forensic facial reconstructions comparing them to photographs of the target individual and nine other subjects, employing the recognition method. A total of 22 assessors participated in the recognition process; all of them were familiar with the 10 individuals who composed the face pool. Results and conclusions: The target subject was correctly recognized by 41% of the 22 examiners in the International Pattern, by 32% in the Brazilian Magnetic Resonance Pattern and by 32% in the Brazilian Fresh Cadavers Pattern. The facial reconstructions without hair were correctly recognized using the three databases of facial soft-tissue thickness. The observed results were higher than the results obtained using facial reconstructions with hair, from the same skull, which can indicate that it is better to not use hair, at least when there is no information concerning its characteristics. © 2013 Elsevier B.V. All rights reserved.

Plasma Steroid Dynamics in Late- and Near-term Naturally and Artificially Conceived Bovine Pregnancies as Elucidated by Multihormone High-resolution LC-MS/MS

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Estudo epidemiológico das dermatofitoses em cães e gatos atendidos no serviço de dermatologia da Faculdade de Medicina Veterinária e Zootecnia da UNESP - Botucatu

The objective of this study was to assess the medical records of the patients whose mycological culture of the hair in Sabouraud Dextrose Agar supplemented with chloramphenicol and cycloheximide was positive for dermathophytes, and review the cases of dermatophytosis. One hundred and thirty six medical records of patients (114 dogs and 22 cats) with dermatophytosis attended in a period of 54 months in the Veterinary Hospital of the UNESP - Botucatu were evaluated. Results obtained in this analysis have shown that the majority of the cultures were positive for Mycrosporum canis. There was no statistical difference between genders, but the number of defined breed dogs presenting dermatophytosis was higher than mongrel dogs. Among feline cases, however, there were a higher number of mongrel cats. The majority of the people and animals in contact with the patients did not report skin lesions. 32,5% of the dogs presented middle intensity itchiness, while in cats itchiness was absent in 77,3% of cases. 69,3% of the animals did not present clinical signs other than dermatological. Mean ages were 4 years in dogs and 3 years in cats. There was no statistical effect of season in the occurrence of dermatophytosis. Among animals submitted to Wood lamp evaluation, 40,9% of the dogs and 33,3% of the cats were positive for dermatophytes. Most dogs had generalized lesions, while the majority of cats presented focal lesions. The most common lesions observed were: alopecia, crusts and erythema.

Convergência de linguagens nas artes visuais: cinema, vídeo, teatro e internet

Pós-graduação em Artes - IA

Teatro Ventoforte de 1985 a 1995: a formação de um artista e arte-educador

Pós-graduação em Artes - IA

A representação do feio na arte: um breve estudo sobre quatro gravuras de Francisco Goya

Pós-graduação em Artes - IA

Território contemporâneo em jogo: uma proposta lúdica para o ensino da arte

Pós-graduação em Artes - IA

Arte, vida e formação de professores

Pós-graduação em Artes - IA

Arte em cerâmica e a memória como elemento criativo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

AR | RA: a arte na realidade aumentada

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Questões preliminares sobre aspectos do vazio na arte contemporânea

Pós-graduação em Artes - IA

Avaliação do ensino e aprendizagem em arte: o lugar do aluno como sujeito da avaliação

Pós-graduação em Artes - IA

Infografia impressa: a aplicação de tecnologias digitais na construção de estampas artísticas

Pós-graduação em Artes - IA

Olhares que pensam e sentem: arte e mediação cultural na aula de geometria

Pós-graduação em Artes - IA

A arte não esquece a arte: aproximação : apropriação e citação em arte

Pós-graduação em Artes - IA