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Sociologists of education find that participation in institutionally-valuable activities, like attending museums, and following news, politics, and art, can operate as a resource for student achievement in school. But this explanation has started to come into question since the advent and proliferation of many twenty-first century digital technologies. First, many of these cultural activities have migrated to include digital spheres, as well, such as seeking information from online news, participating in online debates, creating and sharing art of various forms online, and even accessing certain government resources. Further, in the contemporary moment, the sources of the skills needed to participate in these digital contexts are not necessarily coming from parents - the mechanism for such participation outlined in previous work. Drawing on comparative ethnographic data collected in three middle schools varying by student raceethnicity and class, I argue that schools may, in part, shape how students come to participate online. Each school differently constructs the value of kids' digital participation in ways that affect how students behave online both in and outside of school. As a result, teachers inculcate resources in students that influence whether and how youth take advantage of opportunities to engage in the digital sphere. Children learn from teachers whether it is appropriate, or even essential, to participate online in capital-enhancing activities like online news and debate, digital art, or even curating their online presence. [ABSTRACT FROM AUTHOR]

This paper discusses two different types of crime that occur in art museums and galleries: the theft of art objects and the vandalism of works of art. With respect to theft, this paper explores the extent to which stealing may affect our memory of a given piece of art (regardless of whether the object is ultimately recovered), as well as our experience of the museum (especially if efforts are subsequently undertaken to improve security, such as with the Munch Museum following the theft of the Scream). With respect to vandalism, this paper considers whether and how these acts (such as when Russian performance artist Alexander Brener sprayed a green dollar sign over Kazimir Malevich's painting, Suprematisme 1920-1927, or when French artist Rindy Sam kissed one panel of Cy Twombly's triptych Phaedrus leaving a red lipstick smudge that she claimed was an "artistic act") subsequently affect the value we place on the assaulted items as cultural icons and the meaning of the paintings as art objects. This paper argues that how we regard such events should be determined not by their criminality, but by the intent and the effect of the acts on the meaning and memory of the works. [199] ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

The paper addresses the underlying rationale of various principles and policies that can be observed in art theft ransom situations. Every ransom situation displays a mixture of incentives on the side of various self-interested actors involved. The sides involved need to make choices and bear the expected consequences. By using real life examples from the world of art theft the article analyses the strategic thinking that takes place and its policy relevance. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

This presentation will focus on several transnational routes for illicit art and antiquities. It is based on an empirical study of this field of transnational crime. The presentation will point at the way in which these routes are used to launder stolen art and antiquities. The laundering can be explained by differences in legislation and law enforcement, as well as the specific characteristics of the objects involved. The findings from the study of the illicit art and antiquities trade can be used also to understand other illicit trades that are embedded in licit trades. Examples are the arms trade and the trade in so-called conflict-diamonds. [ABSTRACT FROM AUTHOR]

Trade in stolen and illegally exported arts and antiquities is now commonly recognized to be one of the most serious and widespread categories of international crime. It has also become one of the most lucrative, monetarily rivaling the trafficking of illicit drugs worldwide. The purpose of this poster is fourfold: first, to discuss the importance of cultural property and recent legislative efforts undertaken to curb its illegal removal; second, to elucidate how the traffic in antiquities differs from other forms of international trafficking; third, to address the corruption among law enforcement and customs officials that normally accompanies such illicit trade; lastly, to discuss the implications that cultural plunder holds for the whole of human history. [ABSTRACT FROM AUTHOR]

This poster will focus on the role of states as interface between legal and illegal actors around transnational crime. It shows the way in which states can thus act as launderette for a range of activities like trafficking stolen art, 'conflict diamonds' or arms. It is based on both an empirical study of the illicit art and antiquities trade, as well as a study of the literature on a range of transnational crimes. [ABSTRACT FROM AUTHOR]