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This paper aims to explore consumer perception of “brand voice” authenticity, brand authenticity and brand attitude when the source of text is disclosed as either artificial intelligence (AI)-generated or human-written.

A 3 × 3 experimental design using Adidas marketing texts disclosed as either “AI” or “human”, or not disclosed was applied to data gathered online from 624 English-speaking students.

Text disclosed as AI-generated is not perceived as less authentic than that disclosed as human-written. No negative effect on brand voice authenticity and brand attitude results if an AI-source is disclosed.

Findings offer brand managers the potential for cost and time savings but emphasise the strong effect of AI technology on perceived brand authenticity and brand attitude.

Results show that brands can afford to be transparent in disclosing the use of AI to support brand voice as communicated in product description or specification or in chatbot text.

The reuse of timber building parts, when designing new buildings, has become a topic of increasing discussion as a proposed circular solution in support of sustainable development goals. Designers face the difficulty of identifying and applying different design strategies for reuse due to multiple definitions, which are used interchangeably. The purpose of this study is to propose a taxonomy to define the relationships between various concepts and practices that comprise the relevant strategies for reuse, notably design for disassembly (DfD) and design for adaptability (DfA).

Literature reviews were conducted based on research publications over the previous 12 years and located through the Web of Science and Scopus.

A taxonomy for the design process grounded on two strategies for reuse is presented: DfD and DfA. Based on previous work, the taxonomy aims to build a vocabulary of definitions in DfD and DfA to support other researchers and practitioners working in the field.

The research is limited to the design phase of timber-based buildings. It does not take into account the other phases of the construction process, neither other kind of construction methods.

The application of the taxonomy can facilitate communication between different actors and provide a way for building product manufacturers to demonstrate their reuse credentials, enabling them to produce and promote compliant products and thereby support design for reuse strategies.

This paper could contribute to a closer collaboration of all stakeholders involved in the building process since the very early phases of the conceptual design.

This paper contributes a comprehensive taxonomy to support the deployment of circular reuse strategies and assist designers and other stakeholders from the earliest of phases in the building’s life cycle. The proposed definition framework provided by the taxonomy resolves the longstanding lack of a supporting vocabulary for reuse and can be used as a reference for researchers and practitioners working with the DfD and DfA.

For companies that intend to respond to the modern conscious consumers' needs, a great competitive advantage is played on the ability to incorporate sustainability messages in marketing communications. The aim of this paper is to address this important priority in the web context, building a semantic algorithm that allows content managers to evaluate the quality of sustainability web contents for search engines, considering the current semantic web development.

Following the Design Science (DS) methodological approach, the study develops the algorithm as an artefact capable of solving a practical problem and improving the operation of content managerial process.

The algorithm considers multiple factors of evaluation, grouped in three parameters: completeness, clarity and consistency. An applicability test of the algorithm was conducted on a sample of web pages of the Google blog on sustainability to highlight the correspondence between the established evaluation factors and those actually used by Google.

Studying content marketing for sustainability communication constitutes a new field of research that offers exciting opportunities. Writing sustainability contents in an effective way is a fundamental step to trigger stakeholder engagement mechanisms online. It could be a positive social engineering technique in the hands of marketers to make web users able to pursue sustainable development in their choices.

This is the first study that creates a theoretical connection between digital content marketing and sustainability communication focussing, especially, on the aspects of search engine optimization (SEO). The algorithm of “Sustainability-contents SEO” is the first operational software tool, with a regulatory nature, that is able to analyse the web contents, detecting the terms of the sustainability language and measuring the compliance to SEO requirements.

Adopting an exploratory approach, this paper aims to focus on the potential negative consequences that online firestorms (OFs) might have on consumer–brand relationships. Specifically, the authors focus on the individual level through taking a close look at the content that users generate during these attacks.

The authors conducted content analysis to study four recent brand-related OFs that occurred on Twitter.

The results show that brands are at the core of the users’ conversations, although other actors, such as competing firms, can also be affected. Negative comments greatly exceed positive ones. Actions against the brand, both passive (avoidance) and active (vengeance), emerged during the OFs.

The exploratory nature of the study could cast doubt on the generalizability of the results. Moreover, the number of OF analyzed is limited, although they represent an interesting variety of brand misconducts.

Nowadays, brands are publicly scrutinized through social networks, as the networks enable users to speak out about brands’ perceived mistakes and wrongdoings. This paper confirms that managers should monitor, understand and try to respond to OFs to minimize their impact.

Online firestorms are a recent phenomenon that has gained attention finally, as they can reach hundreds of users in real-time and can involve a huge amount of comments posted online against a brand. These attacks could severely damage the brand, even when there is no strong evidence of the posted content being true. This paper adds to the scarce literature on the topic and analyzes the negative effects for brands.

Este trabajo exploratorio identifica posibles consecuencias negativas que los ataques colaborativos online contra las marcas podrían tener en las relaciones marca-consumidor. Para ello se adopta la perspectiva del participante en el ataque colaborativo mediante un análisis pormenorizado del contenido que los usuarios generan durante el tiempo que dura el ataque contra la marca.

Se ha llevado a cabo un análisis del contenido generado durante cuatro ataques colaborativos recientes que protagonizaron distintas marcas en Twitter.

Del análisis de contenido se desprende que las marcas son las protagonistas de las conversaciones de los usuarios aunque otros actores tales como marcas competidoras también han sido mencionadas. Los comentarios negativos predominan sobre los positivos. También se identifican acciones contra la marca, tanto pasivas (evitar comprarla) como activas (venganza).

El carácter exploratorio del estudio impide la generalización de sus resultados. El número de ataques colaborativos analizados son limitados aunque representan una interesante variedad de errores y malas conductas por parte de las marcas.

Actualmente las marcas son objeto de escrutinio público en las redes sociales en tanto que facilitan la interacción entre usuarios y el comportamiento informativo de cualquier tipo. Este trabajo confirma que los responsables de marca deben controlar, comprender y tratar de responder a estos ataques colaborativos contra las marcas para minimizar su impacto.

Los ataques colaborativos contra las marcas son un fenómeno que está recibiendo una enorme atención últimamente en la medida en la que miles de usuarios participan en ellos en tiempo real generando una enorme cantidad de comentarios online contra una marca. Estos ataques pueden dañarla seriamente, incluso ante la ausencia de evidencias claras de que el contenido que se comparte sea cierto. Este trabajo contribuye a la escasa literatura existente sobre los ataques colaborativos online contra las marcas y analiza sus posibles efectos negativos.

Artículo de investigación

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.