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In response to the growing significance of diversity advertising, this study aims to investigate its impact on audience connectedness. This is an emerging metric crucial for gauging diversity advertising success. The study explores two paths via self-identification and belief congruence to understand how diversity advertisements resonate with individuals.

A quantitative study using partial least squares with survey data from 505 respondents was conducted.

Self-identification and belief congruence mediate the relationship between perceived diversity and audience connectedness. Belief congruence exhibits a stronger influence. Further, brand engagement reduces the relationship between belief congruence and connectedness. However, it strengthens the relationship between self-identity and connectedness.

Future research should address why belief congruence holds more significance than self-identification. Additionally, research must explore the societal effects of diversity advertising, including strategies to engage those who feel disconnected.

The study underscores the positive social effects of diversity advertising for both marginalized and nonmarginalized audiences. It urges marketers to pursue audience connectedness. Strategies for achieving this include reflecting their target audience’s beliefs, perhaps highlighting real and lived experiences. Marketers should also consider self-identification through visual cues and customized messaging.

The study applies self-referencing theory to unravel the relationship between diversity advertising and audience connectedness. It reinforces the role of self-identification and expands the knowledge by demonstrating how connectedness can emerge through belief congruence. Additionally, the authors explore the subtle influence of brand engagement, a critical brand-related factor that shapes individuals’ responses to diversity advertising.

Live streaming has become an extremely popular form of online service and allows live audiences to give virtual gifts or money to their favorite streamers. This study aims to investigate the impact of the audience's multidimensional social presence on their attitudes toward live streamers and intentions to give money or gifts to streamers, based on the interactive marketing perspective. This study considers live audiences' gift-giving intentions by integrating the theory of multidimensional social presence, which includes awareness, cognitive social presence and affective social interaction, and the theory of reasoned action (TRA).

This study invited audiences who had watched live streaming from several popular live-streaming platforms to respond to a web questionnaire. The unit of analysis was at the individual level. This study applied the purposive sampling technique for data collection. A sample of 258 eligible responses to the online survey was analyzed using SPSS software and the causal relationships between the measurement variables of this research model were verified through structural equation modeling.

The results indicate that the audiences' awareness of participating in live streaming enhanced their cognitive and affective social presence, which positively affected their attitudes toward live streamers. These attitudes had a further significant effect on their gift-giving intentions. Cognitive social presence and affective social presence were found to play significant mediating roles in the relationship between awareness and attitudes toward live streamers.

This study examines audiences' intention to give gifts to their favorite live streamers, based on the interactive marketing perspective. The interactive relationship between live streamers and online audiences is developed by audience members through the process of inner psychological transformation, which is measured through the multidimensional construct of social presence. This occurs through a mutual influence relationship in which awareness simultaneously influences cognitive social presence and affective social presence, and cognitive social presence impacts affective social presence.

The study contributes three noteworthy findings to the theory development through the integrated perspective of the TRA and the theory of social presence. (1) Exploring the influence of belief factors on internal psychological responses and intention in live streaming to expand an innovative application of the TRA. (2) Adopting the multidimensional social presence can help researchers more clearly describe various live-streaming situations and extend the research scope of the social presence theory to live-streaming interactive marketing strategies. (3) From the perspective of live-streamer marketing, this study broadens the research fields of electronic commerce and interactive marketing.

This study provides four practical implications for platform managers and live streamers. (1) To induce favorable attitudes toward live streamers, live streamers initiate various interactive activities sequentially to establish a social presence with the audience. (2) Live streamers should devote themselves to forming a joyful atmosphere for their followers, as this will trigger audiences' affective social presence to generate positive attitudes and increase followers' intentions. (3) To attract and retain young followers, live streamers must devise interesting content and provide fresh services. (4) Platform managers must create useful widgets to assist live streamers in managing their channels and followers.

Building friendly real-time interaction between the live streamer and the audience is an important task in live streaming and further influences the income of the live streamer and the platform. The study provides an effective approach to building friendly real-time interaction for the live streamer and manager of live-streaming electronic commerce through the interactive marketing perspective. The approach can help the live streamer manage nice communication with their audience and obtain virtual money and gift-giving from the audience.

Though scholarship has documented Black opera leaders' contributions to the art form in the United States (André, 2018; Caplan, 2017; Cuyler, 2021; Southern, 1997; Turner, 2015), they have received scant attention in rubrics that theorize a definition of Black opera (André, 2018; Cheatham, 1997; Schmidt & Schroeder, 1999). However, as their recent advocacy for racial justice (Cuyler, 2022) through their Letter to the Opera Field in 2020 revealed (Cuyler, 2023), Black opera leaders play a powerful and unique role in shaping audiences' appreciation, engagement with, and understanding of Black opera (André, 2018; Cuyler, 2023; Floyd & Cuyler, 2023). In addition to their positionality as observers of and participants in opera companies' decision-making processes, their advocacy for racial justice can compel an opera company to program Black opera, or not (Cuyler, 2021, 2022, 2023). Therefore, in this chapter, I explore the research question, what is the role of Black opera leaders in Black opera? Lastly, I propose a theory of the dynamic process that includes artistic programming and casting, hiring, community engagement, and audience development which enables the development of an audience for Black opera when Black opera leaders view their leadership of these areas of work through the lens of racial justice.

In our current context, constant adaptation to emerging trends is crucial. There has been much discussion about digital transformation affecting all sectors. The art and event sector is no different and has been directly affected by digitalization, but what influence does this movement have on the management of these events? At the event management level, digital transformation entails organizational adjustments to roles, personal competencies, management techniques and technologies, and, more importantly, leadership philosophies to develop digital inclusion initiatives to attain broader participation in the arts.

Digital transformation's integration into events takes various forms, especially in response to challenges like the pandemic. While it creates opportunities for engagement, it also poses challenges, potentially isolating community members without digital access. The digitalization of an event must be considered at all levels to connect to the participants. Evidence in this chapter is displayed through a hybrid curated and Fringe arts festival: North Australian Festival of Arts, a leading industry example exhibiting new digital transformation models in the Australian arts. We will explore key factors underlying how digital transformation must enhance the experience and access by creating an environment that is familiar to attendees but has enough originality to make the event special and digitally inclusive. This chapter concludes by suggesting key constructs of digital transformation models for event and live performances to embrace digital inclusiveness in the arts.

The article aims to investigate how washing practices focused on appeasing sceptics of diversity work in for-profit organizations play out in corporate online communication of diversity and inclusion efforts, and how these enable communication to a wide audience that includes social equity advocates.

Online corporate communication data of diversity and inclusion themes were compiled from the websites of eight Swedish-based multinational corporations. The data included content from the companies’ official websites and annual reports and sustainability reports as well as diversity and inclusion-themed blog posts. A thematic analysis was conducted on the website content.

The study showcases how tensions between conflicting external demands are navigated by keeping the communication open to several interpretations and thereby achieving multivocality. In the studied corporate texts on diversity and inclusion, this is achieved by alternating between elements catering to a business case audience and those that appeal to a social justice audience, with some procedures managing to appease both audiences at the same time.

The article complements previously described forms of washing by introducing an additional type of washing – business case washing – an articulation of the business case rhetoric that characterizes the diversity management discourse. While much has been written about washing to satisfy advocates of social change and equity, washing to appease shareholders and boardroom members, who are focused on profit and economic growth, has received less attention. The article suggests that online corporate communication on diversity and inclusion, by appeasing diverse audiences, can be seen as aspirational talk.

This study aims to apply the predictive processing theory to examine the influence of artificial intelligence (AI)-driven robotic performers on audience emotions and the audience’s resulting electronic word-of-mouth (eWOM) behaviors during tourism service encounters.

Using a quantitative research methodology, survey responses from 339 regular customers of performing arts in tourism destinations were analyzed. The respondents were recruited through Prolific, a professional data collection platform. SPSS 23.0 was used for the preliminary analysis, from which a research model to achieve the aim was proposed. SmartPLS 3 was used for partial least squares structural equation modeling to test the model.

Interactive and novel robotic performances significantly encouraged the consumers to share their experiences online, thereby enhancing eWOM. However, melodic resonance had no significant impact on eWOM intentions. The consumers’ emotional responses fully mediated the relationship of the novelty and interactivity of the performances to the consumers’ eWOM intentions but did not mediate the relationship of the musical elements to their eWOM intentions.

This study enriches the understanding of how AI-driven performances impact consumers’ emotional engagement and sharing behaviors. It extends the application of the predictive processing theory to the domain of consumer behavior, offering valuable insights for enhancing audience engagement in performances through technological innovation.

本研究旨在运用预测处理理论, 考察人工智能（AI）驱动的机器人表演对观众情感及其在旅游服务接触中的电子口碑（eWOM）行为的影响。。

采用定量研究方法, 分析了339名经常观看旅游景点表演艺术的常客的调查问卷。受访者通过专业数据收集平台Prolific招募。初步分析使用SPSS 23.0进行, 从中提出了实现研究目标的研究模型。使用SmartPLS 3进行偏最小二乘结构方程模型测试该模型。

互动性和新颖性的机器人表演显著鼓励消费者在线分享他们的体验, 从而增强电子口碑。然而, 旋律共鸣对电子口碑意图没有显著影响。消费者的情感反应完全中介了表演的新颖性和互动性与消费者电子口碑意图之间的关系, 但没有中介音乐元素与电子口碑意图之间的关系。

本研究丰富了对AI驱动表演如何影响消费者情感参与和分享行为的理解。将预测处理理论的应用扩展到消费者行为领域, 为通过技术创新增强观众参与度提供了宝贵的见解。

This paper aims to examine whether firms meeting or just beating an earnings benchmark engage in tone management in earnings conference calls to complement earnings management in the UK context. It also investigates whether the audience tone in beating or just meeting earnings fails to predict future performance.

This study was performed using a sample of non-financial UK firms listed in the FTSE 350 index over the period 2010–2015.

The findings show that firms that exercise more earnings management to meet or just beat earnings are positively associated with the abnormal tone during earnings conference calls. The outcomes also reveal that the audience’s tone of firms meeting or just beating an earnings benchmark fails to predict future performance. This confirms the effectiveness of the tone management in managing the perception of audience.

This study highlights the need for increased accountability by firms on earnings conference call. It also supports academics and practitioners in understanding the management discretion used in reporting and communication during the earnings conference call. Overall, the results of this study are beneficial for regulators, policymakers and professionals, regarding confirming the need for the earnings conference calls to be regulated.

To the best of the authors’ knowledge, this is the first study that examines the association between earnings management and tone management in the UK earnings conference calls. It adds to the existing literature by examining the self-serving behaviour of managerial tone during earnings conference calls within a sitting in which meeting or just beating a benchmark is used. Unlike several studies that explain the behaviour of tone as a signalling strategy, this study reveals that the tendency of impression management behaviour can explain the tone management.

This study aims to conceptualize, rethink and systematize methods used for measurement and evaluation (M&E) corporate communication.

The reflection is based on 462 key English-language books and papers devoted to M&E in the fields of corporate communication and public relations from the 1970th to 2023. Keywords in the titles and abstracts found the necessary materials. A critical analysis of the central concepts, models and methods described in the literature was conducted. As a result, a new model that unifies and structures the M&E toolkit is proposed for discussion.

Despite the significant contribution to developing a wide range of M&E models, they are still not perfect and universal. In addition, this system of approaches is continuously self-evolving and changing under the influence of digital innovations, so it requires steady rethinking and updating. On the other hand, most previous studies focused on communication management processes, losing focus on communication aspects. This led to the need for an alternative view based on proven theories to fill this gap. The proposed model combines quantitative and qualitative M&E methods for the five main components of corporate communication (communicator, audience, content, channels and result), covering a wide range of tools, from statistical and sociological research to big data analysis and neuro research.

This work contributes to developing the M&E theory of corporate communication, systematizing existing methods and opening new research perspectives. From a practical point of view, companies can use the presented approach for a more accurate and objective internal evaluation of the main components of corporate communication.

Established in 1906, the Melbourne Symphony Orchestra (MSO) is a cornerstone of Victoria, Australia. Through the shared language of music, it creates meaningful experiences for its audiences, delivered to the highest possible standard. Considered one of Australia's preeminent cultural ambassadors, the MSO performs in Australia and internationally while attracting guest artists from around the world. Annually the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international and regional tours, recordings, and education programs. In 2021, the MSO launched its digital platform MSO.LIVE engaging with an audience in 58 countries. The pandemic brought many challenges to the Orchestra but also some extraordinary opportunities. Pre-pandemic the MSO board, management, staff, and musicians worked to transform the Orchestra. The many lockdowns created the perfect occasion to redefine the vision. It became an opportunity to transform. Equity and diversity, in a world of classic music where traditionally white men dominate, were identified as the way forward. MSO aspires to lead the way for equality across its Board, staff, and musicians, and throughout its artistic programming. The MSO was the first professional Australian orchestra to join the Keychange movement in early 2020. The MSO is committed to promoting a culture that celebrates and supports the diversity of its people and community. Diversity in its people, its music, and its audience is a specific goal and a plan has been developed to achieve by 2024.

This paper investigates how two characteristics of language, abstractness vs concreteness and narrativity, influence user engagement in communication exercises on innovation targeted to the general audience. The proposed conceptual model suggests that innovation fits well with more abstract language because of the association of innovation with imagination and distal construal. Moreover, communication of innovation may benefit from greater adherence to the narrativity arc, that is, early staging, increasing plot progression and climax optimal point. These effects are moderated by content variety and emotional tone, respectively.

Based on a Latent Dirichlet allocation (LDA) application on a sample of 3225 TED Talks transcripts, the authors identify 287 TED Talks on innovation, and then applied econometric analyses to test the hypotheses on the effects of abstractness vs concreteness and narrativity on engagement, and on the moderation effects of content variety and emotional tone.

The authors found that abstractness (vs concreteness) and narrativity have positive effects on engagement. These two effects are stronger with higher content variety and more positive emotional tone, respectively.

This paper extends the literature on communication of innovation, linguistics and text analysis by evaluating the roles of abstractness vs concreteness and narrativity in shaping appreciation of innovation.

This paper reports conceptual and empirical analyses on innovation dissemination through a popular medium – TED Talks – and applies modern text analysis algorithms to test hypotheses on the effects of two pivotal dimensions of language on user engagement.