Crime script analysis as a methodology to analyse criminal processes is underdeveloped. This is apparent from the various approaches in which scholars apply crime scripting and present their cybercrime scripts. The plethora of scripting methods raise significant concerns about the reliability and validity of these scripting studies. In this methodological paper, we demonstrate how object-oriented modelling (OOM) could address some of the currently identified methodological issues, thereby refining crime script analysis. More specifically, we suggest to visualise crime scripts using static and dynamic modelling with the Unified Modelling Language (UML) to harmonise cybercrime scripts without compromising their depth. Static models visualise objects in a system or process, their attributes and their relationships. Dynamic models visualise actions and interactions during a process. Creating these models in addition to the typical textual narrative could aid analysts to more systematically consider, organise and relate key aspects of crime scripts. In turn, this approach might, amongst others, facilitate alternative ways of identifying intervention measures, theorising about offender decision-making, and an improved shared understanding of the crime phenomenon analysed. We illustrate the application of these models with a phishing script.
MULTIFILE
The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
In Videoblogging Before YouTube, Trine Bjørkmann Berry offers a cultural history of online video, focusing on the critical moment when the internet moved from being a mostly textual medium to a truly multimedia one. Through a close analysis of the early videoblogging community and their creative practices, she argues that early in the new millennium a new cultural-technical media hybrid emerged. This coalesced around the short-form digital film whose aesthetic, technical form and content is a predecessor to, and anticipator of our current media ecology.
MULTIFILE
Within the food industry there is a need to be able to rapidly react to changing regulatory requirements and consumer preferences by adjusting recipes, processes, and products. A good knowledge of the properties of food ingredients is crucial in this process. Currently this knowledge is available in scattered heterogeneous resources such as scientific peer-reviewed articles, databases, recipes, food blogs as well as in the experience of food-experts. This prevents, in practice, the efficient integration and use of this knowledge, leading to inefficiency and missed opportunities. In this project we will build a structured database of properties of food ingredients, focusing in particular on the taste and texture properties. By large-scale collection and text mining on a large number of textual resources, a comprehensive data set on ingredient properties will be created, along with knowledge on the relationships between these ingredients. This database will then be used for to find new potential applications for healthy and taste enhancing ingredient combinations by network-based discovery methods and artificial intelligence algorithms will be used. A concrete focus will be on application questions formulated by the industrial partners. The resulting hypothesis will be validated in a real life setting at the premises of the industrial partners. The deliverables of this project will be: - A reusable open-access ingredient database that is accessible via a user-friendly web portal - A set of state-of-the-art mining algorithms that can address a wide variety of industry driven use cases - Novel product formulations that can be further developed for the consumer and business2business market
In this project we will build a structured database of properties of food ingredients, focusing in particular on the taste and texture properties. By large-scale collection and text mining on a large number of textual resources, a comprehensive data set on ingredient properties will be created, along with knowledge on the relationships between these ingredients. This database will then be used for to find new potential applications for healthy and taste enhancing ingredient combinations by network-based discovery methods and artificial intelligence algorithms will be used. A concrete focus will be on application questions formulated by the industrial partners. The resulting hypothesis will be validated in a real life setting at the premises of the industrial partners.The deliverables of this project will be:• A reusable open-access ingredient database that is accessible via a user-friendly web portal• A set of state-of-the-art mining algorithms that can address a wide variety of industry driven use cases• Novel product formulations that can be further developed for the consumer and business2business market
The precarity in the cultural sector became exposed during the COVID-19 pandemic. With the lockdowns, the sources of income for cultural venues and cultural workers vanished overnight, intensifying an already challenging labour market. Particularly freelance cultural workers were hit hard. While the immediate shock of the pandemic on the cultural sector has been well documented, the effects on the sector in the aftermath of the pandemic are still to be revealed and repaired. This project tackles these issues by zooming in on the case of the performing arts scene in Groningen. This scene constitutes the part of the cultural sector that was affected the most by the lockdowns. Currently, venues and event organizers in Groningen lack qualified freelance staff as many left the industry during the pandemic. At the same time, self-employed cultural workers find it difficult to generate sufficient incomes and develop sustainable careers in the city. The municipality is eager to support the industry, including freelancers, but is unsure about how best to do so. With a consortium composed of the university, the municipality, a knowledge organisation specialised in cultural entrepreneurship, and a network for creative freelancers in the North of the Netherlands the project is well-equipped to reach its two-fold aims of investigating this current situation and coming up with suggestions for solutions. The core component of the project is an interview study with three groups of self-employed cultural freelancers: experienced production staff, experienced performers, and nascent freelancers (both production staff and performers). Based on data from this study, the project provides a multifaceted picture of the cultural ecosystem in Groningen, highlighting how this system is experienced. This establishes a solid foundation for staging discussions on working conditions in the sector, enabling the project to eventually conclude with recommendations on how to improve the situation.
