The majority of trust research has focused on the benefits trust can have for individual actors, institutions, and organizations. This “optimistic bias” is particularly evident in work focused on institutional trust, where concepts such as procedural justice, shared values, and moral responsibility have gained prominence. But trust in institutions may not be exclusively good. We reveal implications for the “dark side” of institutional trust by reviewing relevant theories and empirical research that can contribute to a more holistic understanding. We frame our discussion by suggesting there may be a “Goldilocks principle” of institutional trust, where trust that is too low (typically the focus) or too high (not usually considered by trust researchers) may be problematic. The chapter focuses on the issue of too-high trust and processes through which such too-high trust might emerge. Specifically, excessive trust might result from external, internal, and intersecting external-internal processes. External processes refer to the actions institutions take that affect public trust, while internal processes refer to intrapersonal factors affecting a trustor’s level of trust. We describe how the beneficial psychological and behavioral outcomes of trust can be mitigated or circumvented through these processes and highlight the implications of a “darkest” side of trust when they intersect. We draw upon research on organizations and legal, governmental, and political systems to demonstrate the dark side of trust in different contexts. The conclusion outlines directions for future research and encourages researchers to consider the ethical nuances of studying how to increase institutional trust.
The ASU School of Dance presents Emerging Artists - Resite I, November 6, with works by a dance MFA candidate, performed at the Icehouse.
The ASU School of Dance presents Emerging Artists II, February 14-17, with works by dance BA and MFA students Cassie Roberts, Katie McCaskill, Lydia Sakolsky-Basquill, Kelly Doherty, and Kristin Tovson, performed at the Dance Studio Theatre.
The ASU School of Dance presents Emerging Artists I, October 8-10, with works by dance MFA candidates Randi L. Frost, Emily Spranger, and Omilade Davis, performed at the Dance Lab, FAC 122.
The ASU School of Dance presents Emerging Artists II, November 5-7, with works by dance MFA candidates Rebecca A. Ferrell, Rebecca Blair Hillerby, and Crystal Bedford, performed at the Margaret Gisolo Dance Studio.
The ASU School of Dance presents Emerging Artists I, October 24-26, with works by dance MFA candidates Sara Malan-McDonald and Holly Woodridge, performed at the Dance Studio Theatre, PEBE 132.
The ASU School of Dance presents New Dance Works 3, January 24-27, with works by dance MFA candidates C-c Braun, Janie D. Ross, and Julia Vessey, performed at the Dance Studio Theatre.
The ASU School of Dance presents New Dance Works 1, October 11 - 14, with works by dance MFA candidates Christina Harrison, Nicole Manus, and Emily Wright, performed at the Dance Studio Theatre.
The ASU School of Dance presents Emerging Artists II, November 14-16, with works by Samantha Basting and Kristin Tovson, performed at Dance Studio Theatre, PEBE 132.
The ASU School of Dance presents New Danceworks IV, February 28-March 2, with works by dance MFA candidates Lisa Thorngren and Jenna R. Kosowski, performed at the Dance Studio Theatre.