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This paper explores how actors engage in the situated learning of resource integration (RI) within value cocreation practices (VCPs). VCPs are collectively shared and organized routine activities that actors perform to cocreate value.

This paper draws on a qualitative study of how successful music actors engage in VCPs and learn RI. Interviews and observations were used to collect data that were analyzed by drawing on the Gioia methodology.

The findings illuminate the types of VCPs actors engage in to learn RI, the ways in which actors learn RI by engaging in VCPs, and how social contexts condition actors' learning of RI.

This paper offers a framework for understanding actors' situated learning of RI by engaging in VCPs. It illuminates the VCPs that actors engage in to learn RI, how actors advance from peripheral to core participation through their learning, the ways in which actors learn RI by engaging in VCPs, and how social contexts condition actors' situated learning of RI. Implications for the scarce prior research on how actors learn RI are presented.

To contribute to innovative solutions and sustainable growth, managers and policymakers need to offer actors opportunities to learn and make space for actors with competencies that may be important and needed in future VCPs.

In focusing on how actors learn RI by engaging in VCPs, this study draws on theories of communities of practices and situated learning, as well as practice theoretical service research.

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.

The purpose of this paper is to examine peer-to-peer sharing platform business models, their sources of competitive advantage, and the roles, motivations and behaviors of key actors in their ecosystems.

This paper uses a conceptual approach that is rooted in the service, tourism and hospitality, and strategy literature.

First, this paper defines key types of platform business models in the sharing economy anddescribes their characteristics. In particular, the authors propose the differentiation between sharing platforms of capacity-constrained vs capacity-unconstrained assets and advance five core properties of the former. Second, the authors contrast platform business models with their pipeline business model counterparts to understand the fundamental differences between them. One important conclusion is that platforms cater to vastly more heterogeneous assets and consumer needs and, therefore, require liquidity and analytics for high-quality matching. Third, the authors examine the competitive position of platforms and conclude that their widely taken “winner takes it all” assumption is not valid. Primary network effects are less important once a critical level of liquidity has been reached and may even turn negative if increased listings raise friction in the form of search costs. Once a critical level of liquidity has been reached, a platform’s competitive position depends on stakeholder trust and service provider and user loyalty. Fourth, the authors integrate and synthesize the literature on key platform stakeholders of platform businesses (i.e. users, service providers, and regulators) and their roles and motivations. Finally, directions for further research are advanced.

This paper helps platform owners, service providers and users understand better the implications of sharing platform business models and how to position themselves in such ecosystems.

This paper integrates the extant literature on sharing platforms, takes a novel approach in delineating their key properties and dimensions, and provides insights into the evolving and dynamic forms of sharing platforms including converging business models.

The purpose of this paper is to elaborate the picture of situational relevance by examining how modes of music information are viewed as situationally relevant at different stages of information-seeking processes among music students.

Empirical data of the present longitudinal study were collected in two phases by utilizing questionnaire and interview methods. Informants comprised of 14 university-level music students representing the fields of music performance, music education and music theory and composition. Modes of music information were approached through the information typology presented by Rousi, Savolainen and Vakkari.

The findings indicate that not only the modes of music information were seen as situationally relevant for different reasons by the three participating music student groups when at the beginning of their tasks, but also that the perceived situational relevance of the information modes underwent changes as their tasks progressed to focus formulation and post-focus stages.

Due to the small number of participants, further research is needed to verify the results concerning the differences in information-seeking processes between diverse music student groups.

The paper showcases that approaching music information through frameworks that classify information sources at diverse levels of abstraction enables an accurate description of information-seeking processes and illuminates context-sensitive development of situational relevance of music information of diverse modes.

Some consumers are engaged in online curation, a type of user-generated content, in ways that can be impactful for brands. An example of online curation includes organizing themed collections of product images on Pinterest. The purpose of this paper is to present a framework of online consumer curation, introducing this topic to the marketing literature.

Through the analysis of the business and academic literature, as well as a careful study of many examples of online consumer curation, the authors present a framework for understanding online consumer curation.

The actions taken by online consumer curators are similar to those of museum or art gallery curators: acquiring, selecting, organizing and displaying content for an audience. The motivations for consumers to engage in online curation include building/displaying their identities and making social connections with their online audience. One outcome possible for the audience that views the curation is gaining access to carefully selected and recommended content.

As online consumer curation is a new area of research, the authors suggest several marketing- and brand-relevant propositions that can be addressed in future research.

As consumers are frequently using product images and brand symbols in their online curation, it is important for marketing academics and practitioners to understand their actions.

The aim of the paper is to present a thorough introduction to the idea of online consumer curation by outlining relevant examples, providing a framework for understanding this activity and its implications for brand management, and listing ideas for future research.

Algunos consumidores se dedican a la “curación” en línea, un tipo de contenido generado por el usuario (UGC), de manera que pueden ser impactantes para las marcas. Un ejemplo de “curación” en línea incluye la organización de colecciones temáticas de imágenes de productos en Pinterest. El propósito de esta investigación es presentar un marco sobre la “curación” del consumidor en línea, introduciendo este tema en la literatura de marketing.

A través de nuestro análisis de la literatura académica y empresarial, así como del estudio cuidadoso de muchos ejemplos de “curación” de los consumidores en línea, presentamos un marco para comprender la “curación” de los consumidores en línea.

Las acciones realizadas por los “curadores” son similares a las de sus homólogos en museos o galerías de arte: adquirir, seleccionar, organizar y mostrar contenido para una audiencia. Las motivaciones para que los consumidores participen en la “curación” en línea incluyen construir/mostrar sus identidades y establecer conexiones sociales con su audiencia en línea. Un resultado posible para la audiencia que ve la “curación” es obtener acceso a contenido cuidadosamente seleccionado y recomendado.

Como la “curación” en línea es una nueva área de investigación, sugerimos varias propuestas relevantes de marketing y marca que pueden abordarse en futuras investigaciones.

Como los consumidores utilizan con frecuencia imágenes de productos y símbolos de marca en su “curación” en línea, es importante que los académicos y profesionales de marketing comprendan sus acciones.

La investigación presenta una introducción exhaustiva a la idea de la “curación” del consumidor en línea describiendo ejemplos relevantes, proporcionando un marco para comprender esta actividad y sus implicaciones para la gestión de la marca, y enumerando ideas para futuras investigaciones.

“Curación” del consumidor en línea, Comportamiento del consumidor en línea, Contenido generado por el usuario, Gestión de marca

Peer support is increasingly being introduced into mainstream mental health services internationally. The distinctiveness of peer support, compared to other mental health support, has been linked to values underpinning peer support. Evidence suggests that there are challenges to maintaining those values in the context of highly standardised organisational environments. The purpose of this paper is to describe a “principles-based” approach to developing and evaluating a new peer worker role in mental health services.

A set of peer support values was generated through systematic review of research about one-to-one peer support, and a second set produced by a UK National Expert Panel of people sharing, leading or researching peer support from a lived experience perspective. Value sets were integrated by the research team – including researchers working from a lived experience perspective – to produce a principles framework for developing and evaluating new peer worker roles.

Five principles referred in detail to: relationships based on shared lived experience; reciprocity and mutuality; validating experiential knowledge; leadership, choice and control; discovering strengths and making connections. Supporting the diversity of lived experience that people bring to peer support applied across principles.

The principles framework underpinned development of a handbook for a new peer worker role, and informed a fidelity index designed to measure the extent to which peer support values are maintained in practice. Given the diversity of peer support, the authors caution against prescriptive frameworks that might “codify” peer support and note that lived experience should be central to shaping and leading evaluation of peer support.

This paper adds to the literature on peer support in mental health by describing a systematic approach to understanding how principles and values underpin peer worker roles in the context of mental health services. This paper informs an innovative, principles-based approach to developing a handbook and fidelity index for a randomised controlled trial. Lived experiences of mental distress brought to the research by members of the research team and the expert advisors shaped the way this research was undertaken.

This paper examines children's development of digital literacy, resilience and citizenship in the online environment, addressing active engagement and participation via cartoon videos. Previous research has emphasised the positive role of cartoons in different educational contexts, as important agents of attracting children's attention and interest with opportunities to engage in contextual and collaborative learning.

The work describes the design and an initial pilot study of the animated cartoon video series, with a group of 30 children in an S1 class, at a secondary school in Scotland as part of workshop addressing digital resilience themes. Children worked individually and in teams in a series of interactive activities, which were evaluated by means of a short questionnaire survey.

The majority of the children enjoyed the cartoon videos which addressed a story of cyberbullying and, in teams, they chose different copying strategies. Children's verbalisations included expressions of positive feelings when connecting online, linked to socialising, creative and playful activities and they expressed a preference towards speaking to their parents and friends rather than their teachers when dealing with online challenges.

Children not only enjoyed watching the cartoon story but had an interest to learn more about how other children deal with the pressures and challenges of the online world, how to manage their own digital footprint and, particularly, how easy it is to spread personal information online.

Cartoon animations present an opportunity to act as a basis for encouraging children to exchange ideas and engage in dialogue in class and at home by means of creating a point of reference which creates an environment, where pressure is taken away from the “self”. The cartoon character can be the focal point for discussion on issues that may be difficult to address directly and on a personal level because of insecurity or fear.

Both teachers and parents have a responsibility to offer support and advice to children and ensure their online safety and resilience. Engaging with children in open further dialogue via fun and interactive cartoon-based activities may help to further explore and understand their perspectives.

The work addresses everyday life issues encountered online and aims to offer educators and parents an engaging and fun series of activities, harnessing the advantages of cartoon video animation as a didactical resource that can utilised as a supplementary learning tool inside the classroom and at home.

Understanding customers is critical for service researchers and practitioners. Today, customers are increasingly active online, and valuable information about their opinions, experiences and behaviors can be retrieved from a variety of online platforms. Online customer information creates new opportunities to design personalized and high-quality service. This paper aims to review how netnography as a method can help service researchers and practitioners to better use such data.

A systematic review and analysis were conducted on 321 netnography studies published in marketing journals between 1997 and 2017.

The systematic review reveals that netnography has been applied in a variety of ways across different marketing fields and topics. Based on the analysis of existing netnography literature, empirical, theoretical and methodological recommendations for future netnographic service research are presented.

This paper shows how netnography can offer service researchers unprecedented opportunities to access naturalistic online data about customers and, hence, why it is an important method for future service research.

Netnographic research can help service firms with, for example, service innovation, advertising and environmental scanning. This paper provides guidelines for service managers who want to use netnography as a market research tool.

Netnography has seen limited use in service research despite many promising applications in this field. This paper is the first to encourage and support service researchers in their use of the method and aims to stimulate interesting future netnographic service research.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.