Cyber crimes in the banking sector: Case study of Vietnam

2020 ◽  
Vol 6 (05) ◽  
Author(s):  
LE Thanh Tam ◽  
Nguyen Minh Chau ◽  
Pham Ngoc Mai ◽  
Ngo Ha Phuong ◽  
Vu Khanh Huyen Tran
Keyword(s):  
Financial Literacy ◽  
Commercial Banks ◽  
Banking Sector ◽  
Secondary Data ◽  
Legal Framework ◽  
Economic Sectors ◽  
Technological Revolution ◽  
Survey Results ◽  
Cyber Crimes

The technological revolution 4.0 brings great opportunities, but also cybercrimes to economic sectors, especially to banks. Using secondary data and survey results of 305 bank clients, the main findings of this paper are: (i) there are several types of cybercrimes in the banking sector; (ii) Vietnam is one of the top countries worldwide having hackers and being attacked by hackers, especially the banking sector. Three most common attacks are skimming, hacking and phishing. Number of cybercrime attacks in Vietnam are increasing rapidly over years; (iii) Vietnamese customers are very vulnerable to cybercrime in banking, as more than 58% seem to hear about cybercrimes, and how banks provide services to let them know about their transactions. However, more than 50% do not have any deep knowledge or any measures for preventing cybercrime; (iii) Customers believe in banks, but do not think that banks can deal with cybercrime issues well. They still feel traditional transactions are more secure than e-transactions; (iv) the reasons for high cybercrimes come from commercial banks (low management and human capacity), supporting environment (inadequate), legal framework (not yet strong and strict enough on cybercrimes), and clients (low level of financial literacy). Therefore, several solutions should be carried out, from all stakeholders, for improving the cybersecurity in Vietnamese banks. 

Science and Physical Culture – A Glimpse into the Future

2019 ◽  
Vol 6 (1) ◽  
pp. 5-14
Author(s):  
Nenad Živanović ◽  
Petar Pavlović ◽  
Veroljub Stanković ◽  
Zoran Milošević ◽  
Nebojša Ranđelović ◽  
...  
Keyword(s):  
Physical Exercise ◽  
Social Relations ◽  
Technological Development ◽  
Living Conditions ◽  
Physical Culture ◽  
Social Changes ◽  
Technological Revolution ◽  
Look Back ◽  
Marketing Activities ◽  
Nourishing Food

Summary The end of the 20th and the first decade of the 21st century are characterized by a technological development which could be described as having revolutionary speed. If we were to look back on the revolutionary events during the 17th and 18th century, in the domain of great scientific changes, changes in industry, agriculture, economy, the organization of social relations (democracy and socialism), we could say that we are witnesses to this sixth technological revolution. All these civilizational leaps forward have conditioned, quite expectedly, big changes in our profession. This has been reflected in the goals which have been imposed by social changes initiated by numerous revolutionary changes. Even though man and his need for physical exercise, as the nourishing food necessary for his being, have remained the same, the circumstances which have imposed different living conditions have required changes in our profession. Naturally, this was reflected in our science as well (which we refer to by different names today). The time we live in, caught up in this new sixth technological revolution, requires a different approach to man and his personality. Now, the question is not only how to “drag” him out of a sedentary culture, but also how to fight the increasingly present physical and intellectual inactivity. Through perfectly guided marketing activities which have been made possible by the implementation of new technological aids, man has been drawn into the hedonistic waters of his own inactivity. And unfortunately, he cannot free himself from this skillfully set trap. That is why physical culture and science must be included in finding a means of helping man find his way out of this hedonistic labyrinth and return to his roots.

Two Representations of the Moscow Art Theater Audience

2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina
Keyword(s):  
Online Community ◽  
Modern Art ◽  
Virtual Space ◽  
Demographic Parameters ◽  
Cultural Consumption ◽  
Cultural Activity ◽  
Behavioral Differences ◽  
Technological Revolution ◽  
Definition Of

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.

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