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The paper aims to provide an overview of the vocabulary for materiality which is used by practice‐based approaches to organizational knowing.

The overview is theoretically generated and is based on the anthology Knowing in Organizations: A Practice‐based Approach edited by Nicolini, Gherardi and Yanow. The overview is built by cross‐reading the analyses in this book. The intellectual traditions which are scrutinized all agree that action is materially embedded – objects and artifacts are central to both knowing and learning. But what is their understanding of materiality? The paper explores which concepts are used, how the interaction between social and material realities is presented, and the role materiality is perceived to have in relation to action.

Findings are that, within the practice‐based approach, common terms for materiality are “artifact” and “object”. The interaction between social and material realities is grasped as several processes: object‐oriented activity, symbolization, embodiment, performance, alignment and mediation. Material artifacts both stabilize and destabilize organizational action. They may ensure coordination, communication, and control, but they may also create disturbance and conflict.

The paper lists a range of options for conceptualizing how organizational action may be materially mediated. It points out that material entities may both stabilize and destabilize organizational action. It contributes to the further understanding of the tangible, artifactual and object‐related side of organizational knowing.

Processes of novelty generation and adoption have received much more attention than novelty evaluation. This paper explores the internal processes enacted by organizations to recognize and assess novel ideas for further implementation by focusing on the role that artifacts play in identifying the creative potential of an idea versus another one. Our empirical study focuses on the evaluation of novelty in the form of new experiences and builds on the analysis of two highly creative organizations, elBulli restaurant, led by chef Ferran Adrià, and the Italian Drama Academy Nico Pepe. We find that organizations implement three distinct processes to evaluate the novelty of ideas: analyzing, structuring, and formalizing. In these processes, artifacts play a key role in making novel ideas tangible by anticipating audiences’ reactions, integrating the novelty generated into an organizational corpus of knowledge, and consolidating novel ideas for future applications. Our results show that these processes take place iteratively in all phases of the idea’s journey, increasingly leading to the collective identification and assessment of novelty.

The purpose of this paper is to assess the role of artifacts in the knowledge management field in the past 18 years (1997-2015) and to identify directions for future research.

The authors conducted a systematic literature review of 101 articles published in seven journals retrieved from EBSCO and Google Scholar online research databases. The framework for analysis included 13 codes, i.e. author(s), title, year of publication, typology, theoretical lens, categorizations, methods for empirical work, relevancy, level of analysis, keywords, findings, research themes and future research directions. Codes were analyzed using qualitative and quantitative methods.

The findings lacked cumulativeness and consistency in the current knowledge management debate. Empirical works outnumbered conceptual contributions by two to one, and the majority of papers focused at the organizational level of analysis. Knowledge management systems, knowledge sharing and digital archives were the major research themes connected to artifacts, together with other closely aligned concepts such as learning and online learning, knowledge transfer and knowledge creation.

This study has temporal and contextual limitations related to covered time span (18 years) and journals’ subscription restrictions.

This paper is a first attempt to systematically review the role of artifacts in knowledge management research and therefore it represents a primary reference in the knowledge management field. It provides directions to future theoretical and empirical studies and suggestions to managerial practices.

The purpose of this paper is to examine factors that inhibit and facilitate the contribution of continuous improvement activities to advance performance in “lean” factories.

From the perspective of the routine dynamics theory, this paper considers the possibility of changes in the standard operating procedures (SOPs) made in the course of continuous improvement activities being ignored by employees. This paper builds a hypothesis predicting that firms where employees ignore changes in the SOP cannot achieve the intended improvement effect of these changes. This hypothesis is confirmed with comparative case studies of Toyota and Matsuo.

At Toyota there is an incentive to perform operations according to the SOP, while at Matsuo this incentive is not present. This difference means that process improvement activities at Toyota generate changes in manufacturing operations, while at Matsuo, although the SOP has been changed, workers continue to perform operations according to the old SOP and fail to advance performance. This paper argues that the presence/absence of an incentive to perform operations according to the SOP is dependent on whether the responsibility of the performance lies with the SOPs or employees. Additionally, this paper finds that the SOP not only limits employees’ creativities but also supports creative activities for the development of continuous improvement as an organizational activity.

The generalization of our findings requires statistical support for which an extensive subsequent sampling survey including non-Japanese firms is necessary.

This study makes a new suggestion regarding the theory of routine dynamics and the fields of operations management: adequate management of consistency between the three aspects (material, ostensive and performative) of organizational routines is important for lean manufacturing.

The author distinguishes between state, process, and object perspectives on institutions and institutionalization. While all-purpose process approaches dominate the literature, the author argues that these are analytically insufficient without theorizing the nature of “institutional objects.” Building on recently developed analytic disaggregations of the culture concept in cultural sociology, the author argues that doings, sayings, codes, and artifacts exhaust the broad classes of potential objects subject to institutionalization processes. The proposed approach provides a coherent ontology for future empirical work, features robust microfoundations, places institutional routines and practices in a material context, and acknowledges the importance of semiotic codes and vocabularies in organizational fields.

The aim of this paper is to investigate the symbolic meaning attributed by women in academia to workplace artifacts.

The research approach is that of auto-ethnography, whereby the authors, as researchers and participants, explore symbolic meaning from artifacts in their working environment.

Three themes emerged on the symbolic meaning from artifacts for women in academia. The theme of “affect” revealed women as uncomfortable in their surroundings; “representation”, renders women invisible within the institution; and women felt themselves to be under “surveillance”.

The investigation is limited to one university, which limits generalizability. The implication is to replicate this auto-ethnographical study in other institutions of higher education.

This paper implies that architectural, institutional and personal artifacts play an important role in defining women’s workplace identity.

Women in academia identify themselves as “outsiders” in the workplace because of the symbolic meaning they attribute to artifacts.

This study on women in academia is original as it is the first auto-ethnographical study on artifacts in an international institution of higher education.

Cultural heritage archiving is experiencing an increase in digitalisations of artefacts in the last 15 years. The reason behind this trend is a demand for providing information about the artefact in a more accessible way to the audience, for example, through online delivery or virtual reality. Other reasons might be to simplify and automate the management of artefacts. Having a ‘digital copy’ of artefacts, allows one to search an archive and plan its storage and dissemination in a comprehensive manner. With the increased digitalisation comes an increased use of artificial intelligence [AI] applications. AI can be very beneficial in classifying artefacts automatically through machine learning [ML] and natural language processing [NLP]. For example, an algorithm can identify the source and age of artefacts based on an image and can do this much faster for a large collection of photos than a human. Although AI provides many benefits, it also presents challenges: Sophisticated AI techniques require certain insights on how they work, need specialists to customise a solution, and require an existing large dataset to train an algorithm. Another challenge is that typical AI techniques are regarded as black boxes, which means they decide, but it is not obvious why a decision has been made. This chapter describes a project in collaboration with the South Australian Museum [SAM] on the application of AI to extract material lists from a description of artefacts. A large dataset to train an algorithm did not exist, and hence, a customised approach was required. The outcome of the project was the application of NLP in combination with easy-to-customise rules that can be applied by non-IT specialists. The resulting prototype achieved the extraction of materials from a large list of artefacts within seconds and a flexible solution that can be applied on other collections in the future.

The purpose of this paper is to investigate the phenomenon of the digital do-it-yourself (DiDIY) in the medical domain. In particular, the main contribution of the paper is the analysis and discussion of a questionnaire-based user study focused on 3D printing (3DP) technology, which was conducted among clinicians of one of the most important research hospital group in Lombardy, Italy.

A general reflection on the notion of knowledge artifacts (KAs) and on the use of 3DP in medicine is followed by the research questions and by a more detailed analysis of the specialist literature on the usage of 3DP technology for diagnostic, training and surgical planning activities for clinicians and patients. The questionnaire-based user study design is then emerging from the conceptual framework for DiDIY in healthcare. To help focus on the main actors and assets composing the 3DP innovation roles in healthcare, the authors model: the DiDIY-er as the main initiator of the practice innovation; the available technology allowing the envisioning of new practices; the specific activities gaining benefits from the innovative techniques introduced; and the knowledge community continuously supporting and evolving knowledge practices.

The authors discuss the results of the user study in the light of the four main components of our DiDIY framework and on the notion of KA. There are differences between high expertise, or senior, medical doctors (MDs) and relatively lower expertise MDs, or younger MDs, regarding the willing to acquire 3DP competences; those who have seen other colleagues using 3DP are significantly more in favor of 3DP adoption in medical practices, and those who wish to acquire 3DP competence and do-by-themselves are significantly more interested in the making of custom-made patient-specific tools, such as cutting guides and templates; there are many recurrent themes regarding how 3DP usage and application may improve medical practice. In each of the free-text questions, there were comments regarding the impact of 3DP on medical knowledge practices, such as surgical rehearsal, surgery, pathology comprehension, patient-physician communication and teaching.

The 3DP adoption in healthcare is seen favorably and advocated by most of the respondents. In this domain, 3DP objects can be considered KAs legitimately. They can support knowledgeable practices, promote knowledge sharing and circulation in the healthcare community, as well as contribute to their improvement by the introduction of a new DiDIY mindset in the everyday work of MDs.

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.

This paper aims to present a novel pedagogical model that aims at bridging creativity with computational thinking (CT) and new media literacy skills at low-technology, information-rich learning environments. As creativity, problem solving and collaboration are among the targeted skills in twenty-first century, this model promotes the acquisition of these skills towards a holistic development of students in primary and secondary school settings. In this direction, teaching students to think like a computer scientist, an economist, a physicist or an artist can be achieved through CT practices, as well as media arts practices. The interface between these practices is imagination, a fundamental concept in the model. Imaginative teaching methods, computer science unplugged approach and low-technology prototyping method are used to develop creativity, CT, collaboration and new media literacy skills in students. Furthermore, cognitive, emotional, physical and social abilities are fostered. Principles and guidelines for the implementation of the model in classrooms are provided by following the design thinking process as a methodological tool, and a real example implemented in a primary school classroom is described. The added value of this paper is that it proposes a pedagogical model that can serve as a pool of pedagogical approaches implemented in various disciplines and grades, as CT curriculum frameworks for K-6 are still in their infancy. Further research is needed to define the point at which unplugged approach should be replaced or even combined with plugged-in approach and how this proposed model can be enriched.

This paper presents a pedagogical model that aims at bridging creativity with CT, collaboration and new media literacy skills.

The proposed model follows a pedagogy-driven approach rather a technology-driven one as the authors suggest its implementation in low-tech, information-rich learning environments without computers. The added value of this paper is that it proposes a novel pedagogical model that can serve as a pool of pedagogical approaches and as a framework implemented in various disciplines and grades. A CT curriculum framework for K-6 is an area of research that is still in its infancy (Angeli et al., 2016), so this model is intended to provide a holistic perspective over this area by focusing how to approach the convergence among CT, collaboration and creativity skills in practice rather than what to teach. Based on literature, the authors explained how multiple moments impact on CT, creativity and collaboration development and presented the linkages among them. Successful implementation of CT requires not only computer science and mathematics but also imaginative capacities involving innovation and curiosity (The College Board, 2012). It is necessary to understand the CT implications for teaching and learning beyond the traditional applications on computer science and mathematics (Kotsopoulos et al., 2017) and start paying more attention to CT implications on social sciences and non-cognitive skills. Though the presented example (case study) seems to exploit the proposed multiple moments model at optimal level, empirical evidence is needed to show its practical applicability in a variety of contexts and not only in primary school settings. Future studies can extend, enrich or even alter some of its elements through experimental applications on how all these macro/micromoments work in practice in terms of easiness in implementation, flexibility, social orientation and skills improvement.

The added value of this paper is that it joins learning theories, pedagogical methods and necessary skills acquisition in an integrated manner by proposing a pedagogical model that can orient activities and educational scenarios by giving principles and guidelines for teaching practice.