Do cyber-birds flock together? Comparing deviance among social network members of cyber-dependent offenders and traditional offenders

The distinct setting in which cyber-dependent crime takes place may reduce the similarity in the deviance of social network members. We test this assumption by analysing the deviance of the most important social contacts of cyber-dependent offenders and traditional offenders in the Netherlands (N = 344 offenders; N = 1131 social contacts). As expected, similarity in deviance is weaker for cyber-dependent crime. Because this is a strong predictor of traditional offending, this has important implications for criminological research and practice. Additionally, for both crime types the offending behaviour of a person is more strongly linked to the deviance of social ties if those ties are of the same gender and age, and if the offender has daily contact with them. Implications and future criminological research suggestions are discussed

Three-phase packed bed reactor with an evaporating solvent—II. Modelling of the reactor

In this paper two models are presented for a three-phase catalytic packed bed reactor in which in evaporating solvent is used to absorb and remove most of the reaction heat. A plug flow model and a model comprising mass and heat dispersion in the reactor are discussed. The results of both models are compared to each other and to experimental data obtained in a miniplant on the hydrogenation of 2,4,6-trinitrotoluene to triaminotoluene described in Part I. The influence of reactor pressure, feed temperature and the molar ratio of hydrogen to the reactant in the feed are discussed. It is concluded that both models can well describe the influence of the operating variables on the reactor behaviour and that a large part of the reaction heat can be removed by evaporation of the solvent. From a comparison with the experimental results it is concluded that the dispersion model can well describe the experimental data for a fresh catalyst. The agreement between the model and the experimental data for a deactivated catalyst is not good. As long as no quantitative description of the local deactivation in the packed bed is available, any model will fail to predict local concentrations in the reactor. Despite this drawback recommendations can be given how to use this reactor type of optimize the selectivity in producing an intermediate product

Photography Today: Between Tableau and Document

This essay seeks to examine the position of photography in contemporary art or, more specifically, the way photography now hovers between tableau and the ‘document’ Three methodological levels are considered: first, a co-textual reading of select images by Jeff Wall and Allan Sekula in relation to their titles; secondly, an examination of their various treatment of pictorial elements, remnants of a long-standing artistic tradition; thirdly, at the level of the meta-text, the same images are confronted with a much broader contextual relationship. Here, the differences between two modes of working in contemporary photography — singular tableau and (pseudo-) documentary montage — become clear. A historical flashback traces this current photographic paragone back to 16th Century Southern Netherlandish art. Finally, the author raises a question pertaining to a fourth, practical level: that of the art market.Cet essai explore la position qu’occupe la photographie dans l’art contemporain et plus particulièrement la manière dont elle oscille actuellement entre ce que nous pouvons nommer le ‘tableau’ et le ‘document’. En vue de s’engager dans ce débat, l’auteure prend en considération trois plans méthodologiques : a) elle effectue une lecture co-textuelle de photos de Jeff Wall et d’Allan Sekula en fonction de leurs titres, b) elle s’attarde aux divers traitements des éléments picturaux, vestiges d’une longue tradition artistique et c) au plan métatextuel, les mêmes images sont examinées selon des considérations contextuelles plus vastes. Ici, les différences entre deux manières de travailler en photographie contemporaine — le tableau singulier et le (pseudo-) montage documentaire — deviennent claires. Dans une rétrospective historique, l’auteure fait remonter ce paragone photographique actuel à l’art méridional néerlandais du XVIème siècle. Pour conclure, elle soulèvera la question pratique du marché de l’art