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.
This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included.
Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected.
My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.