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This study aims to provide an in‐depth understanding of the innovation system and the learning processes involved in a very specific cultural field: the production of early music.

A single case study of the generic value chain in the music production industry describes and analyses the process and the actors involved in editing a new early music collection resulting from the collaboration between a record company and a public research organization.

There is a need for new knowledge in the various stages of performance and publication of a new recording. The early music sector is a knowledge‐intensive, science‐driven sector that can be characterized as a system because the interactions among actors substantially influence final products.

The single case study represents a specific sector within the music industry. However, its conclusions can be applied to other fields in the cultural heritage sector.

The literature on innovation in the cultural field primarily focuses on the relationship between art and information and communication technology (ICT). This paper is novel in analysing a case where scientific knowledge is key to new product development, and suggesting that we need to take account of the interactions among cultural heritage entities, universities and other knowledge production organizations. It concludes that these organizations should be involved institutionally in other aspects of the innovation process.

The purpose of this research is to deepen understanding of the materiality in organizational identity (OI) by describing how physical objects support, instantiate and communicate OI over time.

The research design uses an in-depth case study of Codorníu wineries taking a symbolic interactionism methodological lens. The study examines a set of physical objects preserved from the company's foundation in 1551 to the present day and their associated identity meanings.

This study uncovered how the company used multiple objects to symbolically represent its identity. Some of these objects were primal artifacts used to legitimize organizational identity since the firm's foundation; others were interpreted as identity markers that worked to instantiate identity and to provide it with greater persistence, while others were created ad hoc to communicate organizational identity to external audiences. Some physical objects were used to differentiate the organization and its products from competitors, while others were used to maintain a temporary and spatial link with the organization's founding origins.

This study describes practical implications on the use of identity materiality to build legitimacy, employee identification, differentiation from competitors and reputation.

The analysis of the meanings associated with material objects shows that identity tangibility has not hindered organizational adaptation and change. Some identity objects gained relevance, while others were reinterpreted or abandoned according to their symbolic value in order to embody organizational identity at a given time. Four trajectories were identified that describe the evolution of physical objects in representing an organization's identity over time.

During these past years, contemporary urban entertainment economy has been increasingly driven by social and spatial inequality and segmentation of consumer markets. This dominant mode of production has involved a displacement of older modes of working-class nightlife. However, social resistances mainly played by suburban young working classes are being especially (re)produced during their nighttime leisure activities. In the case of Barcelona (Catalonia), youth policies carried out by local administration during these past three decades have intended to reinforce social sanitation through the re-catalanization of its suburbs and by marginalizing social and cultural practices of the young suburban working classes. Focusing on the Catalan capital, this chapter explores how a suburban otherness is mainly built up through the (re)production of highly politicized suburban nightscapes, which are largely related to the claiming of a Spanished ‘suburban’ identity, clashing with the Catalan official one. This chapter ends up opening a debate about the relationship of the re-bordering of postcrisis urban inequalities, the collapse of social cohesion in suburbs, and the emergence of new topographies of urban and suburban power in Barcelona.