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The purpose of this conceptual paper is to suggest that the growing sociocultural theorisation of risk calls for a more robust research focus on the role that information and in particular, information literacy, plays in mediating hazards and danger.

Starting by tracing how information has been conceptualised in relation to risk through technoscientific, cognitive and sociocultural lenses, the paper then focuses on emerging sociocultural understandings of risk to present a research agenda for a renewed sociocultural exploration of how risk is shaped through the enactment of information literacy.

The paper identifies and examines how information literacy shapes four key aspects of risk, including risk perception, risk management, risk-taking and “at-risk” populations. These four aspects are further connected through broader themes of learning, identity, work and power, which form the basis of the sociocultural risk research agenda.

This paper is the first study bringing together the many understandings related to how risk is informed and establishes risk as a key area of interest within information literacy research.

How do radical technological fields become naturalized and taken for granted? This is a fundamental question given both the positive and negative hype surrounding the emergence of many new technologies. In this chapter, we study the emergence of the US nanotechnology field, focusing on uncovering the mechanisms by which leaders of the National Nanotechnology Initiative managed hype and its concomitant legitimacy challenges which threatened the commercial viability of nanotechnology. Drawing on the cultural entrepreneurship literature at the interface of strategy and organization theory, we argue that the construction of a naturalizing frame – a frame that focuses attention and practice on mundane, “rationalized” activity – is key to legitimating a novel and uncertain technological field. Leveraging the insights from our case study, we further develop a staged process model of how a naturalizing frame may be constructed, thereby paving the way for a decrease in hype and the institutionalization of new technologies.

Personal museums provide the conceptual catalyst for liking as a research approach and inclusivity around “idiosyncratic” knowledges within information research. An adapted research paper format echoes the approach of personal museums: as a commentary on the limits of institutional shaping for the field.

Personal museums are conceptualized as spaces of knowing in-formation, ontological openings that are literally and figuratively entered into, that make a difference to human and material ways of knowing. Karen Barad's agential realism and Sianne Ngai's vernacular aesthetic categories provide the theoretical lenses through which the researcher's 2018 visit to one personal museum is revisited.

An ethnographic account of the author's visit to the Communist Consumer Museum (CCM) in Timişoara, Romania shows how its improvisational, friendly and intimate atmosphere exposes it as a space of entanglements in a quantum sense, emphasizing the inseparability of human and material realms and how knowledges are always in-formation. Such entanglements create atmospheres generative of different ways of thinking about information and knowledge.

Human expressions of liking reveal material agencies as ways of knowing and information beyond the realm of human experience and meaning. A vernacular aesthetics of liking is presented as a way to resist the marginalizing tendencies of knowledges classified as unconventional, idiosyncratic or eccentric. This approach is one way of resisting the assumptions of channel thinking that often shape how information is studied.

Research for the case study was conducted using a combination of semi-structured interviews and secondary data sources.

This case traces the international expansion of Sadowsky Guitars’ bass guitar product line. Roger Sadowsky is one of the most respected instrument makers in the world and gained early acclaim for his outstanding repair and restoration work on guitars and basses. Some of his early clients included Prince, Will Lee (The Tonight Show), Tom Hamilton of Aerosmith, Jason Newsted of Metallica, Eddie Van Halen and Marcus Miller. Roger’s reputation and the demand for his instruments led to some customers having to wait for more than a year to obtain the chance to purchase a Sadowsky instrument, while others were unable to do so due to financial constraints. In 2003, Roger made the decision to form Sadowsky Japan to begin the contract manufacturing of more affordable Sadowsky instruments in Tokyo, Japan. As the company grew in size, Roger realized he was becoming more focused on running a business than building instruments. Furthermore, his Japanese partners were only interested in serving the Japanese market. This required him to handle the sales and distribution in the remaining parts of the world. In December of 2019, he announced a new, exclusive licensing agreement and distribution partnership between Sadowsky Guitars and Warwick GmbH & Co Music Equipment KG. The new agreement allowed Roger to continue running the Sadowsky NYC Custom Shop while Warwick would take over building and distributing the Metro instruments and a less-expensive, Chinese-built version of the MetroExpress instruments.

This case is appropriate for undergraduate and graduate-level courses related to marketing and consumer behavior. The case walks students through a real-life scenario when the founder of a well-known musical brand sought to expand internationally as a way to meet growing market demand. Students are asked to consider the advantages and disadvantages of the five key international market entry strategies: exporting, licensing, contract manufacturing, joint ventures and investment (equity/acquisition).

The case works well in the classroom, even if people are unfamiliar with the musical instrument retail industry. Participants are most likely aware of some of the artists and musicians mentioned in the case. Some may also be or know musicians. The instructor should be able to quickly engage participants in a lively discussion about Roger Sadowsky’s vision for his instruments and the opportunities and challenges of expanding product offerings and increasing market share.

Teaching notes are available for educators only.