We are providing this report for information and use. We evaluated the long- term DoD efforts to develop cased telescoped ammunition and gun technology. Our evaluation was in response to a Defense Hotline complaint, alleging that DoD has been wasting money on cased telescoped ammunition and gun technology for 41 years. Our evaluation did not substantiate the allegation that fluids were wasted, in the sense of program mismanagement. The goal of cased telescoped ammunition and gun programs has been to increase weapon system lethality and the technology long held reasonable promise. However, the DoD expenditure of $213 million over 41 years has not resulted in a viable weapon system because several major problems have not been resolved. Despite the ultimate disappointing failure to move the technology to the battlefield, we did not identify any information to suggest that the pursuit of weapon system lethality using cased telescoped ammunition technology was not a worthwhile research and development endeavor for the DoD.

What Is Telescoped Ammunition The term "telescoped ammunition" refers to a kind of projectile that is either partly or entirely encased by the propellant in the construction of the ammunition. To provide just one example, there is ammunition designed for both hand weapons and artillery. Telescoping is often used for caseless ammunition. How You Will Benefit (I) Insights, and validations about the following topics: Chapter 1: Telescoped ammunition Chapter 2: 5.56 x 45mm NATO Chapter 3: Squad automatic weapon Chapter 4: Grenade launcher Chapter 5: Sniper rifle Chapter 6: Heckler and Koch G11 Chapter 7: Caseless ammunition Chapter 8: Special Purpose Individual Weapon Chapter 9: 6.8mm Remington SPC Chapter 10: Advanced Combat Rifle Chapter 11: Heckler and Koch HK CAWS Chapter 12: Ares Incorporated Chapter 13: Lightweight Small Arms Technologies Chapter 14: Underwater firearm Chapter 15: LSAT light machine gun Chapter 16: LSAT rifle Chapter 17: LSAT caseless ammunition Chapter 18: Polymer-cased ammunition Chapter 19: CTA International Chapter 20: .277 Fury Chapter 21: Next Generation Squad Weapon Program (II) Answering the public top questions about telescoped ammunition. (III) Real world examples for the usage of telescoped ammunition in many fields. (IV) 17 appendices to explain, briefly, 266 emerging technologies in each industry to have 360-degree full understanding of telescoped ammunition' technologies. Who This Book Is For Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of telescoped ammunition.

Crime Scene Photography is a book wrought from years of experience, with material carefully selected for ease of use and effectiveness in training, and field tested by the author in his role as a Forensic Services Supervisor for the Baltimore County Police Department. While there are many books on non-forensic photography, none of them adequately adapt standard image-taking to crime scene photography. The forensic photographer, or more specifically the crime scene photographer, must know how to create an acceptable image that is capable of withstanding challenges in court. This book blends the practical functions of crime scene processing with theories of photography to guide the reader in acquiring the skills, knowledge and ability to render reliable evidence. Required reading by the IAI Crime Scene Certification Board for all levels of certification Contains over 500 photographs Covers the concepts and principles of photography as well as the "how to" of creating a final product Includes end-of-chapter exercises

An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.