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To understand the phenomena of people revealing regrettable information on the Internet, we examine who people think they’re addressing, and what they say, in the process of interacting with those not physically or temporally co-present.

We conduct qualitative analyses of interviews with student bloggers and observations of five years’ worth of their blog posts, drawing on linguists’ concepts of indexical ground and deictics. Based on analyses of how bloggers reference their shared indexical ground and how they use deictics, we expose bloggers’ evolving awareness of their audiences, and the relationship between this awareness and their disclosures.

Over time, writers and their regular audience, or “chorus,” reciprocally reveal personal information. However, since not all audience members reveal themselves in this venue, writers’ disclosures are available to those observers they are not aware of. Thus, their overdisclosure is tied to what we call the “n-adic” organization of online interaction. Specifically, and as can be seen in their linguistic cues, n-adic utterances are directed toward a non-unified audience whose invisibility makes the discloser unable to find out the exact number of participants or the time they enter or exit the interaction.

Attention to linguistic cues, such as deictics, is a compelling way to identify the shifting reference groups of ethnographic subjects interacting with physically or temporally distant others.

We describe the social organization of interaction with undetectable others. n-adic interactions likely also happen in other on- and offline venues in which participants are obscured but can contribute anonymously.

The aim of this paper is to demonstrate how an imaginative sourcing policy can be used to provide a competitive advantage for clothing manufacturers based in high‐cost countries. The paper shows how Chorus Line Corporation implemented their sourcing mix, through a combination of production in different regions, to maintain and develop their competitive position in the womenswear market in the USA. The company's basic data and decisions are outlined as an example of how one privately owned company views the sourcing and production decision. In this way the paper will help firms to develop their own global production strategies with balanced sources to meet their business and market strategies.

This paper depicts barbershop singing as a masculine social form, and compares and contrasts the original masculine form with the ways the form is feminized. Two organizations, Sweet Adelines International (SAI) and The Barbershop Harmony Society (BHS) perform and promote barbershop singing. We document the devices used to feminize the form (naming, song selection, choreography, fashion, and organizational style), and argue that an interaction between form and content takes place in the women’s organization that genders the form in spite of its original masculine meanings. Theoretically significant is the description of how feminizing a masculine form reinforces the conservative ethos of, and hence senses of membership in, the barbershop form. Demonstrating that forms can accommodate even culturally distinctive content has implications for understanding the interaction between form and content.

This chapter proposes a new mixture model which allows for heterogeneity in sensitivities and decision rules across decision makers and attributes.

A new mixture model is put forward in which the different latent classes make use of different decision rules, where the use of generalised random regret minimisation kernel allows for within class heterogeneity in the decision rules applied across attributes.

Our theoretical developments are supported by the findings of an empirical application using data from a typical stated choice survey.

Existing work has looked at heterogeneity in decision rules and sensitivities across respondents. Other work has focused on the possibility that different decision rules apply to different attributes. This chapter puts forward a model that combines these two directions of research and does so in a way that lets the optimal specification be driven by the data rather than being imposed by the analyst.

This paper aims to examine the economic rationale for the COVID-19 wage subsidy and grants related to assets and the accounting for these wealth transfers under NZ IAS 20 Accounting for Government Grants and Disclosure of Government Assistance. The principal contribution is presenting an economics–accounting nexus for government assistance to firms during a pandemic and for the nation’s economic development.

This is a descriptive study that draws on the economic theory of regulation to understand the rationale for wealth transfers, then examining the accounting for the wealth transfers by analyzing the financial statements of NZX 50 companies that received the wage subsidy and SkyCity and Chorus that received substantial grants to develop and operate the New Zealand International Convention Centre and building a large part of New Zealand’s Ultra-Fast Broadband fiber optic network, respectively.

First, the 10 NZX 50 companies that received the government’s wage subsidy were justified to receive it from the legal, ethical and moral perspectives. However, some non-NZX 50 companies, while legally entitled to the wage subsidy, took advantage of the wealth transfer when they were profitable and paid dividends. This latter group of companies was not seen as behaving ethically and morally. Second, the government granted millions of dollars to SkyCity and Chorus for building critical infrastructures that are economically beneficial for the nation and that are unlikely to attract private investment, and these companies accounted for the grants related to assets in accordance with NZ IAS 20.

The financial statement impacts of the wage subsidy are based on a subset of NZX 50 companies with available information at the time of writing. However, they do not compromise the external validity of the findings because the wage subsidy applies to all businesses. Similarly, the manner in which SkyCity and Chorus accounted for the grants related to assets would apply equally to any entity that is a recipient of such a grant.

This paper presents an economic understanding for the existence of government grants and how the accounting mirrors the economic rationale for the “grants related to income” and “grants related to assets.” This paper demonstrates the importance of the economics–accounting nexus.

This chapter reviews models of decision-making and choice under conditions of certainty. It allows readers to position the contribution of the other chapters in this book in the historical development of the topic area.

Bounded rationality is defined in terms of a strategy to simplify the decision-making process. Based on this definition, different models are reviewed. These models have assumed that individuals simplify the decision-making process by considering a subset of attributes, and/or a subset of choice alternatives and/or by disregarding small differences between attribute differences.

A body of empirical evidence has accumulated showing that under some circumstances the principle of bounded rationality better explains observed choices than the principle of utility maximization. Differences in predictive performance with utility-maximizing models are however small.

The chapter provides a detailed account of the different models, based on the principle of bounded rationality, that have been suggested over the years in travel behaviour analysis. The potential relevance of these models is articulated, model specifications are discussed and a selection of empirical evidence is presented. Aspects of an agenda of future research are identified.

This chapter explores the role that birdwatching plays in The Archers. It demonstrates some significant similarities between the way that birdwatching is portrayed in present-day Ambridge, and the way it was presented in both fictional and non-fictional literature of the 1940s. These similarities suggest that birdwatching in Ambridge is an activity that tends to perpetuate traditional class and gender divisions. Particularly in terms of gender, this is a surprising discovery, given the many strong female characters in the show, and suggests that cultural assumptions about gender and birdwatching run deep in UK society today. The chapter warns that a failure to recognise these assumptions not only hampers the progress of women who aspire to be taken seriously as ornithologists, but also risks reinforcing dualistic thinking about humans and nature at a time when the environmental crisis makes it more important than ever to recognise the ecological interconnectedness of human and nonhuman worlds. However, the recent development of Kirsty Miller’s storyline, in which she is rediscovering her earlier love of the natural world, not only offers hope of a shift away from this traditional bias but also opens a space for a more nuanced examination of the importance of birds in human–nature relations.

THE British Motor Corporation has taken an important step in setting up a new centre to give a thorough training in modern management and techniques to many of its own people. Of course, Haseley Manor, the Corporation's staff college for almost ten years, has done much to weld together the constituent companies which make up the parent body and it created a climate of good management during a period of rapid growth.

This poem was written as a protest after I had been told that my staff team complained too much. I wanted to reflect the positive qualities of complaining.

Complainsong is written in ballad form – in quatrains of loose iambic tetrameter and iambic trimeter, with a refrain or chorus. It has the narrative quality of a ballad, but with unusual direction. As it developed, I realised I had in my mind Pastor Martin Niemoller's Second World War poem which begins “First they came for the Jews.”

The rather jolly ballad rhythm sets up expectations of a humorous poem, which is undermined by the very serious “message” of the ending. The nonsensical images of doormats blowing whistles and sheep rocking boats in the chorus, take familiar phrases to create tongue in cheek humour that heightens the contrast with the final stanza.

This poem uses an unexpected form to come to a “twist in the tale” ending that, hopefully, is strengthened by the surprise. The title is a play on the “plainsong” of monks and complaining.