Gino Cattani is currently associate professor of strategy and organizations at the Stern School of Business, New York University. He received an MA in management science and applied economics from the Wharton School at the University of Pennsylvania in 2001 and a PhD in management from Wharton in August 2004. His research focuses primarily on firm heterogeneity, technological change, and micro-determinants of industry dynamics, and recently on the social-structural determinants creativity. His research has been published in the Administrative Science Quarterly, Industrial and Corporate Change, and Organization Science. He has been an active member of the Academy since 1999. He is a member of the editorial board of Strategic Management Journal, and Strategic Organization.
Building on sociological research that examines the allocation of rewards in peer evaluations, we argue that the recognition of cultural producers’ work varies with their…
Building on sociological research that examines the allocation of rewards in peer evaluations, we argue that the recognition of cultural producers’ work varies with their status and social distance from the audience members who evaluate them. We study the influence of these two mechanisms within the context of the Norwegian advertising industry. Specifically, we looked at how cultural producers’ status and social distance from jury members affect their chances of being honored in “The Silver Tag” – one of the main digital advertising award contests in Norway – during the period 2003–2010. While our findings provide support for status-based rewards allocation, the positive effects of status may be more circumscribed than previously thought. When accounting for the existence of previous connections between audience members and cultural producers, we find that cultural producers are more or less likely to receive an accolade depending on their degree of separation from the audience members. By exposing network-based determinants of consecrating decisions, and suggesting that the positive effects of status may be more circumscribed than previously thought, our findings shed important light on the social foundations of evaluation and, more broadly, the mechanisms of reward allocation in cultural fields.
The last several years have witnessed a growing scholarly interest in project-based organizations. This interest mirrors the diffusion of this organizational form across a…
The last several years have witnessed a growing scholarly interest in project-based organizations. This interest mirrors the diffusion of this organizational form across a wide range of industries, well beyond those where organizations traditionally have been organized by projects. To date, however, research on project-based organizations has not yet offered a systematic investigation of the interactions between project-based organizing and strategic management research. An examination of the existing literature indicates that some of the answers to key strategy questions remain incomplete, at times contradictory, and at best ambiguous. This volume moves the discussion to the next level by offering a comprehensive yet integrated view of cutting-edge research on project-based organizing to shed light on some of these ambiguities and clarify the relationship between project-based organizing and strategic management. To accomplish this, the volume includes the contributions of several leading scholars who have been active researchers on this subject. The chapters develop and extend key strategic aspects of project-based organizing, raise many new important questions, and identify fruitful areas for future research.
Purpose – Over the last 15 years, a growing literature on project-based organizing (PBO) has emerged, drawing on various theoretical streams based on distinctive and sometimes conflicting assumptions. Organization-centric approaches tend to highlight projects as portfolios that provide assets to meet strategic goals, but leave un-assessed the processes by which projects evolve, are chosen and governed. Field-centric studies of PBO tend to highlight how relations among and across actors (individuals or organizations) evolve over time, but also neglect how projects meet actors’ strategic needs. We introduce a “projects as events” perspective in an effort to integrate insights from these distinct conceptualizations.
Design/methods – We review previous studies on PBO and elaborate on the theorization of a “projects as events” perspective, suggesting various reasons why it might help advance research on PBO, for example, by allowing researchers to address how projects interact across multiple levels of analysis.
Findings – By drawing on examples from the creative industries, we illustrate various instances in which projects are events: sequences of activities that unfold gradually or suddenly, and trigger distinctive networks across multiple levels of analysis.
Originality/value – A projects as events perspective facilitates the use and the combination of quantitative and qualitative methods, such as event sequencing with narrative analysis, or historical events with network analysis. By doing so, scholars may more easily cross levels of analysis by examining the various networks engaged in a project to unfold and provide a fuller understanding of PBO.