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Individuals can improve their task performance by using information and communications technology (ICT). However, individuals who use ICT may also suffer from negative outcomes, such as burnout and anxiety, which lead to poorer performance and well-being. While researchers have studied the positive outcomes of ICT use in the aggregate, the same has not been done for negative outcomes.

This study uses a meta-analysis of 52 studies to examine the relationship between ICT use and negative outcomes, and the influence of job autonomy on ICT use and the negative outcomes of ICT use. Job autonomy is relevant because a higher level of job autonomy allows individuals to decide how, how often and when they will use ICT that is causing negative outcomes for their work.

The results of the meta-analysis revealed that ICT use increased negative job outcomes and that, unexpectedly, autonomy exacerbated this effect.

The results of this study point to the prevalence of negative outcomes from ICT use among individuals. Researchers should study how users may potentially restrict the value that organizations may be able to obtain from the implementation of new systems, especially whether individual-level negative outcomes could coalesce into a collective resistance. There also needs to be further research into the motivating and inhibiting roles of autonomy in enhancing ICT use, while mitigating its negative impacts simultaneously.

The study provides an aggregate analysis of the negative impacts of ICT use among individuals and the role of autonomy in the relationship.

This paper aims to present historical examples of collaborations between brand strategists and artists; provide an extensive, structured overview of existing published research on such collaborations and their effects; present seven papers comprising this special issue; and discuss ideas for further research into brand–art collaboration.

This is an editorial based mainly on an extensive and broad literature review.

First, this editorial underpins the relevance of brand–art collaboration in the past and present by reference to real examples. Second, it structures the diverse literature into four key aspects of the topic: inspiration, insights, identity and image. Third, it provides a glimpse of the seven papers selected for this special issue. Fourth and finally, it identifies a total of 16 avenues for further research, on four levels (artist, brand owner, consumer and cooperation process).

This editorial and the entire special issue together represent the first anthology on the topic of the interface between brand management and arts. The collection and classification of the existing literature, the formulation of ideas for future research and the content of the seven papers are collectively excellent starting springboards for new and fresh brand research projects.

Industry-wide crises involving consumer products place consumers at risk. Consumers rely on institutions that constrain corporate practice and control product quality to reduce risk. As institutions vary by country, country-of-origin (COO) acts as a salient cue for consumers to identify institutional quality and thus evaluate risk when making purchase decisions. However, in the era of globalisation, identification of institutional quality becomes complex as global value chains involve different countries such as brand origin (BO) and country-of-manufacture (COM). Therefore, this research investigates how BO and COM individually and jointly affect consumers' institutional perceptions and subsequent purchase decision-making in the presence of systemic risk.

This research includes three studies (n = 764) employing surveys and choice modelling experiments with samples from China and the USA.

The results show that BO and COM relate to different institutional perceptions. BO evokes perceptions of legitimacy and the regulatory environment, while COM evokes perceptions of the normative and the regulatory environment. The combination of BO and COM determines how institutional quality is communicated and further affects consumers' legitimacy perceptions, preferences and willingness to pay a price premium.

This research contributes to understanding the effect of BO and COM in the context of complex value chains from an institutional perspective. It also provides implications for leveraging complex COO cues with BO and COM information to improve consumers' institutional perceptions.

The purpose of this article is to examine the similarities between creative business leadership and successful artists and to illustrate how the label “outside artist” is a romantic myth.

Making use of four cases in classical music history, this study analyzes how a quartet of musical artists negotiated their space inside highly organized and changing environments.

Many qualities exhibited by musical artists are similar to those required of successful organizational managers. One of the reasons that insider artistry is a complex phenomenon is that socio-organizational conditions are not fixed, they change. Therefore, each new generation of artists has to invent new strategies to get the job done.

Understanding the nature of these similar qualities will help clarify the issue of making art work inside organizations and dispel erroneous assumptions about the role of artists in these organizations.

This article will contribute to the practical as well as the philosophical conversation about the place of artists inside successful organizations in society.

Employing the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.

Secondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.

First, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.

Focusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.