If the ratio m/p tends to zero, where m is the number of factors m and p the number of observable variables, then the inverse diagonal element of the inverted observable covariance matrix (σ pjj) -1 tends to the corresponding unique variance ψ jj for almost all of these (Guttman, 1956). If the smallest singular value of the loadings matrix from Common Factor Analysis tends to infinity as p increases, then m/p tends to zero. The same condition is necessary and sufficient for (σ pjj) -1 to tend to ψ jj for all of these. Several related conditions are discussed. © 2006 The Psychometric Society.
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Previous quantitative studies applying Routine Activity Theory (RAT) to cybercrime victimization produced mixed results. Through semi-structured interviews with cybersecurity experts, the current study aims to qualitatively reevaluate the applicability of RAT to cyber-dependent crime, specifically data theft from organizations. An in-depth assessment of environmental factors appearing to affect data thieves’ actions resulted in concrete operationalizations of theoretical concepts. Importantly, we highlight the distinction between target selection and strategic choices made during the attack. Furthermore, RAT appeared to be as relevant, if not more, for explaining offender actions during an attack as for the initial convergence of offenders and digital targets.
In media audience research we tend to assume that media are engaged with when they are used, however ‘light’ such engagement might be. Once ‘passive media use’ was banned as a reference to media use, being a media audience member became synonymous with being a meaning producer. In audience research however I find that media are not always the object of meaning making in daily life and that media texts can be hardly meaningful. Thinking about media and engagement, there is a threefold challenge in relation to audience research. The coming into being of platform media and hence of new forms of media production on a micro level that come out of and are woven into practices of media use, suggests that we need to redraft the repertoire of terms used in audience research (and maybe start calling it something else). Material and immaterial media production, the unpaid labour on the part of otherwise audience members should for instance be taken into account. Then, secondly, there is the continuing challenge to further develop heuristically strong ways of linking media use and meaning making, and most of all to do justice, thirdly, to those moments and ways in which audiences truly engage with media texts without identifying them with those texts.
My research investigates the concept of permacomputing, a blend of the words permaculture and computing, as a potential field of convergence of technology, arts, environmental research and activism, and as a subject of future school curricula in art and design. This concept originated in online subcultures, and is currently restricted to creative coding communities. I study in what way permacomputing principles may be used to redefine how art and design education is taught. More generally, I want to research the potential of permacomputing as a critical, sustainable, and practical alternative to the way digital technology is being taught in art education, where students mostly rely on tools and techniques geared towards maximising productivity and mass consumption. This situation is at odds with goals for sustainable production and consumption. I want to research to what degree the concept of permacomputing can be broadened and applied to critically revised, sustainable ways of making computing part of art and design education and professional practice. This research will be embedded in the design curriculum of Willem de Kooning Academy, focused on redefining the role of artists and designers to contribute to future modes of sustainable organisation and production. It is aligned with Rotterdam University of Applied Sciences sectorplan masters VH, in particular managing and directing sustainable transitions. This research builds upon twenty years of experience in the creative industries. It is an attempt to generalise, consolidate, and structure methods and practices for sustainable art and design production experimented with while I was course director of a master programme at WdKA. Throughout the research I will be exchanging with peers and confirmed interested parties, a.o.: Het Nieuwe Instituut (NL), RUAS Creating 010 kenniscentrum (NL), Bergen Centre for Electronic Arts (NO), Mikrolabs (NO), Varia (NL), Media Arts department at RHU (UK), Media Studies at UvA (NL).
