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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.