Describe the fraud scheme committed by Rita Crundwell, including how she concealed the fraud.
How did Rita Crundwell steal over $37,000 each day from a town with an annual budget of around $6 million?
Discuss the application of the fraud triangle and other fraud theories we have covered as they apply to this case study.
How could this fraud have been prevented? In your discussion, be sure to explain the controls that were missing at City Hall.
How could such embezzlement go undetected in annual audits by two independent accounting firms and in annual audit reviews by state regulators? How was this fraud continued for so many years? What red flags did the auditors miss?
How did residents not become suspicious of Crundwell’s extravagant wealth and frivolous spending?
How was the fraud finally detected? Explain the legal side of the case
access collections by creating specific experiences for human and nonhuman actors. Arguably this museum space goes further than existing within a single spatial and temporal moment. IWMN does this insofar as, like an object, the physical museum structure and what it symbolises, combined with its geographical context; speaks to histories and millennia of conflicts. The Imperial War Museum North’s spaces not only utter past and current experiences of war, but the removed ‘war shapes lives’ narrative leaps into the future by framing war as a perpetuating, cyclical and affective transcending body. This space can be considered holistically, in that it is always reacting to and presenting manifestations of war, which is an entity that transcends space and time, in not belonging to one particular moment. Therefore this fluid quality of the museum space responding to its collections can be contextualised by posthumanist philosopher Morton, who would consider war as a hyperobject. How a hyperobject can be applied to the Imperial War Museum North’s spaces, can be understood from a hyperobject’s characteristics: They are viscous, which means that they “stick” to beings that are involved with them. They are nonlocal; in other words, any “local manifestation” of a hyperobject is not directly the hyperobject. They involve profoundly different temporalities than the human-scale ones we are used to. […] Hyperobjects occupy a high-dimensional phase space that results in their being invisible to humans for stretches of time. And they exhibit their effects interobjectively; that is, they can be detected in a space that consists of interrelationships between aesthetic properties of objects. The hyperobject is not a function of our knowledge: it’s hyper relative to worms, lemons, and ultraviolet rays, as well as humans. Consequently, it is arguable that museum spaces reflect a ‘local manifestation’ of a hyperobject (in this case war). The above characteristics also can provide an understanding of who museums are for. For instance this example demonstrates that war as a hyperobject is relative to various human and nonhuman actors. War speaks to and is a result of not just humans and lived experiences, but is also shaped by (and not limited to) machines, animals, and sounds. These human and nonhuman entities intra-act within the context of war, but also within the museum space, because the Imperial War Museum North can be asserted to be a ‘local manifestation’ of war as a hyperobject. Further evidence can be drawn between fluid and temporally unfixed notions of the museu>GET ANSWER