title: The effect of reporting errors on the cross-country relationship between inequality and crime

authors: Gibson, John

subjects: crime

abstract: This paper analyzes reporting errors in crime data to see how they impact econometric estimates, particularly of the key relationship between inequality and crime. Criminal victimization surveys of 140,000 respondents in 37 industrial, transition and developing countries are used. Comparing the crimes experienced by these respondents with those reported to the police, non-random and mean-reverting errors are apparent. Time-varying factors affect the propensity of victims to report crimes to the police, undermining the use of country-specific fixed effects as a means of dealing with measurement error in official crime data. These errors substantially attenuate both cross-sectional and panel estimates of the partial correlation between inequality and crime.

text: The effect of reporting errors on the cross-country relationship between inequality and crime This paper analyzes reporting errors in crime data to see how they impact econometric estimates, particularly of the key relationship between inequality and crime. Criminal victimization surveys of 140,000 respondents in 37 industrial, transition and developing countries are used. Comparing the crimes experienced by these respondents with those reported to the police, non-random and mean-reverting errors are apparent. Time-varying factors affect the propensity of victims to report crimes to the police, undermining the use of country-specific fixed effects as a means of dealing with measurement error in official crime data. These errors substantially attenuate both cross-sectional and panel estimates of the partial correlation between inequality and crime.

year: 2008

title: Constructing Artistic Integrity: An Exploratory Study

authors: Barbour, Kim Jaime

subjects: artistic integrity

abstract: This thesis explores the concept of artistic integrity. A historical foundation for
artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that
the concept is used frequently both in the popular media, and in arts and creative
industries policy and research.
Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to
investigate how artistic integrity is perceived by those working within the New Zealand arts environment.
The multifaceted nature of the history of artistic integrity is mirrored in the
complexity of the responses from the artists involved in this research. Key themes
to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory.
The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research
provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

text: Constructing Artistic Integrity: An Exploratory Study This thesis explores the concept of artistic integrity. A historical foundation for
artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that
the concept is used frequently both in the popular media, and in arts and creative
industries policy and research.
Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to
investigate how artistic integrity is perceived by those working within the New Zealand arts environment.
The multifaceted nature of the history of artistic integrity is mirrored in the
complexity of the responses from the artists involved in this research. Key themes
to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory.
The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research
provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

year: 2006

title: ‘Inside Out’: The politics of enumerating the nation by ethnicity

authors: Kukutai, Tahu

abstract: Since the 1990s, state practices of counting and classifying populations by ethnicity have come under increased scrutiny within the social sciences (Arel 2002 ; Kertzer and Arel 2002 ; Nobles 2000 ; Perlmann and Waters 2002 ; Petersen 1997 ; Statistics Canada and U.S. Census Bureau 1993 ). A number of excellent case studies have provided critical insights into how and why ethnic enumeration is pursued in particular times and places. ¹ However, with some notable exceptions (Morning 2008 ; Rallu
et al. 2006 ), little attention has been given to theorizing or empirically testing a global
model of ethnic classifi cation and counting. Consequently, there is a limited understanding
about the general conditions that impede or encourage state recognition of ethnicity in the national census and the forms that such recognition takes.

text: ‘Inside Out’: The politics of enumerating the nation by ethnicity Since the 1990s, state practices of counting and classifying populations by ethnicity have come under increased scrutiny within the social sciences (Arel 2002 ; Kertzer and Arel 2002 ; Nobles 2000 ; Perlmann and Waters 2002 ; Petersen 1997 ; Statistics Canada and U.S. Census Bureau 1993 ). A number of excellent case studies have provided critical insights into how and why ethnic enumeration is pursued in particular times and places. ¹ However, with some notable exceptions (Morning 2008 ; Rallu
et al. 2006 ), little attention has been given to theorizing or empirically testing a global
model of ethnic classifi cation and counting. Consequently, there is a limited understanding
about the general conditions that impede or encourage state recognition of ethnicity in the national census and the forms that such recognition takes.

year: 2015