Matt DeLisi, Dennis E. Reidy, Mark H. Heirigs, Jennifer J. Tostlebe and Michael G. Vaughn
That psychopathy imposes substantial societal costs and economic burden is axiomatic, but monetization studies have overlooked cost estimates of the disorder. The paper aims to…
Abstract
Purpose
That psychopathy imposes substantial societal costs and economic burden is axiomatic, but monetization studies have overlooked cost estimates of the disorder. The paper aims to discuss these issues.
Design/methodology/approach
Drawing on a near census of institutionalized delinquents from Missouri, the current study devised new crime cost measures for self-reported offending.
Findings
Youth imposed $30 million in total costs annually in large part due to extensive involvement in robbery, theft, and assault. The most criminally active youth imposed costs in excess of $700 million. Psychopathy features were differentially correlated with crime costs. APSD-SR callous-unemotional traits, mPPI-SF Blame Externalization, mPPI-SF Machiavellian Egocentricity, and mPPI-SF Social Potency were significantly associated with between four and five crime costs. Psychopathic traits associated with ruthless self-interest, callousness, and expectations to control and dominate others manifest in diverse ways including serious violence and repeated property crime. Other features such as mPPI-SF Impulsive Nonconformity, mPPI-SF Stress Immunity, mPPI-SF Coldheartedness, mPPI-SF Carefree Nonplanfulness, mPPI-SF Fearlessness, APSD-SR Impulsivity, and APSD-SR Narcissism had limited associations with crime costs.
Originality/value
To the authors’ knowledge, this is the first monetization study to quantify the effects of assorted psychopathy features on crime costs.
Details
Keywords
Hayley Reid, Andreana Drencheva and Malcolm Patterson
This chapter offers a conceptual framework to explicate the current configurations of temporary art spaces in the United Kingdom and how they seek to support the interests of…
Abstract
This chapter offers a conceptual framework to explicate the current configurations of temporary art spaces in the United Kingdom and how they seek to support the interests of artists as self-employed individuals. This chapter begins with a review of the literature on artists’ (temporary) spaces. Next, we present a conceptual framework of the dimensions of temporary art spaces and explore how they support or hinder entrepreneurs in the cultural and creative industries to create and sustain their businesses and their wellbeing. The framework questions notions of temporary art space design that are often taken for granted by putting the most fundamental facets of the space (time and use) under a microscope. It can be used as a basis for future research into temporary art spaces and as a way to design better spaces that prioritise artists and their ways of working.