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Firm identities are central and enduring aspects of organizations. However, when firms develop unique identities, they also face an obvious paradox: strategic decisions that are inconsistent with those identities are likely to generate internal and external resistance. Indeed, decisions that entail identity-violating changes may have destabilizing consequences. Furthermore, firms typically face the demand of multiple audiences (or stakeholders) and, therefore, must conform to them in order to be seen as legitimate and have access to symbolic and material resources. Recognizing the influence of multiple audiences in identity construction opens the door to another paradox: what expectations should a firm heed while making those binding commitments that ultimately define its “identity”? These two paradoxes are at the heart of extant research on organizational identity, and addressing them requires a genuine engagement in conversations between disciplines, particularly among scholars working at the intersection between organization theory and strategy.

The essay studies the introduction and use of audio-visual media in contemporary Swedish courtroom praxis and how this affects social interaction and the constitution of judicial space. The background to the study is the increasing use of video technology in law courts during the last decennium, and in particular the reformed trial code regulating court proceedings introduced in Sweden in 2008. The reform is called A Modern Trial (En modernare rättegång, Proposition 2004/05:131). An important innovation is that testimonies in lower level court proceedings now are video recorded and, in case of an appeal trial, then are screened in the appellate court. The study of social interaction and the constitution of judicial space in the essay is based in part on an ethnographic study of the Stockholm appellate court (Svea hovrätt) conducted in the fall 2010; in part on a study of the preparatory works to the legal reform; and in part on research on how media technology affects social interaction and the constitution of space and place.

The controversy about performance ethnography and other new modes of sociological reporting in the US tends to be highly partisan and often uninformed. Toscano, one of a handful of symbolic interactionists in Italy, places new modes of reporting, which he calls “artistic performances,” in the proper historical and contextual perspective. He points out that the boundaries between art and everyday life and art and science are changing and can no longer be viewed as dichotomous and it is time to redefine the fluid relation between these different realms.Toscano identifies C. Wright Mills as the first sociologist to stress the relationship between the arts and sociology to the point of referring to his work as a “sociological poem.” Not coincidentally Norman Denzin and other supporters of new mode of sociological reporting invoke a return to C. Wright Mills, not only for his poetics of expression but for his quest and passion to help the downtrodden.Toscano analyzes the artistic productions of Goffman, Denzin, and others, focusing on the production of new sociologies that are no longer mere “texts” but become “performances.” He realizes that performance can only partially communicate the emotional struggle of those we study. Yet with its pathos and its passion performance can begin to melt the crystal palace of modernistic meta-theoretical sociology. Andrea Fontana; University of Nevada, Las Vegas