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This paper enhances our understanding of how national culture impacts manufacturing performance (assembly speed, consistency between teams, etc.) during a production process move. The authors also investigate the efficacy of co-location as a strategy to enhance knowledge transfer from one organization to another.

To study the impact of national culture on production process moves, the authors develop and employ a team-based behavioral experiment within and between an individualist society (the United States) and a collectivist one (China). The authors also examine the impact of co-location on knowledge transfer effectiveness within and between these two unique cultures.

Interestingly, co-location has little impact on the performance of US recipient teams. Without co-location, Chinese recipient team performance lags significantly behind the US teams. However, firms can overcome these knowledge transfer challenges by co-locating source and recipient team members. These results suggest that firms should assess the national cultural context when considering co-location to manage their production move. There are contexts where co-location may be incredibly useful to facilitate an effective knowledge transfer (e.g. collectivist cultures like China) and contexts where this approach may not be as valuable (e.g. individualistic cultures such as the United States).

This research contributes to the academic literature in several ways. First, while past research demonstrates that national culture can be an essential barrier to information and knowledge sharing, this paper extends these findings showing that co-location may effectively overcome this barrier. After the authors offer and test the merits of co-location, they also establish the boundary conditions of this approach by showing that the effect of co-location on knowledge transfer is contingent on the cultural context. This contribution enhances our understanding of the relationship between national culture and knowledge sharing and has implications for managers developing approaches to transfer knowledge between cultures. Second, the authors develop and execute a novel cross-country experimental design. While cross-country experiments have been done before (e.g. Ozer et al. 2014, Kuwabara et al. 2007, etc.), it is still rare to see such experiments due to them being “technically difficult and costly” (Ozer et al. 2014, p. 2437). This research not only offer insights into how teams of people from individualist and collectivist societies send, receive and comprehend production knowledge. It also documents how these teams convert this knowledge into production results.

The purpose of this paper is to address the question of cultural production, consumption and intermediation in the context of digital music.

This research adopts an interpretivist, ethnoconsumerist epistemology along with a netnographic research design combined with hermeneutic analysis. Interpreting both the text view and field view of an ethnoconsumerist approach, the netnographic research design includes participant observation across multiple social media platforms as well as virtual interviews and analysis of media material. The context of application is a digital music subculture known as Vaporwave. Vaporwave participants deliberately distort fundamental aspects of modern and postmodern culture in a digital, musical, artistic and storied manner.

Hermeneutic analysis has identified a critical and nostalgic narrative of consumerism and hyper-reality, evident as symbolic parallels, intertextual relationships, existential themes and cultural codes. As a techno savvy community embracing lo-fi production, self-releasing promotion and anonymity from within a complexity of aliases and myriad collaborations, the vaporous existentialism of Vaporwave participants skirts copyright liability in the process. Accordingly, Vaporwave is documented as blurring reality and fantasy, material and symbolic, production and consumption. Essentially, Vaporwave participants are shown to be digital natives turned digital rebels and heretical consumers, better described as cultural curators.

This research demonstrates a more complex notion of cultural production, consumption and intermediation, argued to be more accurately described as cultural curation.

As digital heretics, Vaporwave participants challenge traditional notions of modernity, such as copyright law, and postmodern notions such as working consumers and consuming producers.

Vaporwave participants present a case of digital natives turned digital rebels and consumer heretics, who are actively curating culture.

This interpretive ethnoconusmerist study combining netnography and hermeneutic analysis of an online underground music subculture known as Vaporwave shows digital music artists as cultural curators.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

The purpose of this paper to examine the impact of shop floor (SF) culture (organizational culture (OC) perceived by workers) and SF subcultures assessed by the competing values framework (CVF) on the perceived use of lean production (LP) practices.

The authors analyse questionnaires completed by workers at the single case company undergoing a commonplace lean transformation. The survey items cover both LP items and CVF statements. The propositions are analysed applying cluster analysis and regression.

At the case company, the multidimensionality of SF culture only partially exists, and the perceived use of LP practices shows little connection to OC. The considerable differences between SF culture and SF subcultures on the one hand and among SF subcultures on the other hand indicate the existence of a special multidimensional SF culture. Altogether, SF culture’s impact on LP is weak.

Managers should rethink the usual lean implementation pathways and understand how values pervade SF culture and how culture types impact the perceived use of LP practices at the SF. Managers could face a trade-off: smoother lean transition by engaging in SF subculture-specific transitions and reinforcing it or by developing a homogenous lean SF culture.

To the best of the authors’ knowledge, this is the first empirical attempt to understand the impact of SF culture on the perceived use of LP practices by adopting a validated OC measurement tool. Furthermore, the study provides insight into workers’ subcultures.

The purpose of this paper is to offer a theoretical framework for applying Web 2.0 technologies and design principles to the development of participatory cultures within libraries. A participatory culture is one that focusses on facilitating interaction and the creation of content by users rather than the consumption of content created or compiled by experts.

This study is a literature-based theoretical analysis that explores the role of libraries as agents of cultural hegemony and techniques for developing socially responsible library praxis. It combines insights from a variety of discourses including Western Marxist theories of hegemony, critical theories of library and information science, professional literature regarding “Library 2.0” service models, and media studies theories of participatory culture.

Libraries do not just organize knowledge; they construct it. Furthermore, these constructions tend to reinforce dominant discourses while marginalizing others. By adopting participatory technologies and design principles, libraries can support greater diversity of expression and create spaces for marginalized discourses.

This paper offers suggestions for applying principles of participatory culture to the design of library services such as collection development, cataloging and classification, reference, instruction, and institutional repositories.

This paper provides a conceptual framework for understanding and evaluating the significance of Web 2.0 for library and information science by applying theoretical perspectives from other disciplines.

Fans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.

Research based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.

Results have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.

CCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.

The purpose of this paper is to investigate how in Britain, France and Italy the idea of the living animal is being detached from the action of eating meat. It is an ongoing historical process, which has recently been fuelled by the new issue of cultured meat.

Starting from Goody's developmentalist stages (Production, Distribution, Preparation and Consumption), first this work analyses historically how these stages have undergone the process of the disappearance of the animal origins of meat (animal origins of meat are parts like the head and legs that remind us that once meat was an animal). Second, this paper applies cultured meat to Goody's stage of Production, linking the new product to the historical, above described, process.

The analysis shows that, in the past, Goody's stages of Consumption, Distribution and Preparation witnessed the disappearance of the animal origins of meat, while Production was not affected by the phenomenon. Today, with testing on cultured meat, even the stage of Production has gone through this process. Now, all of Goody's stages are involved in the process. Usually considered a shocking novelty, cultured meat is instead a stage of a historical process.

No one has previously analysed the disappearance of the animal origins of meat relating it to Goody's stages, and a current issue like cultured meat has never been considered a further step of this process.

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

Culture is increasingly recognized as a key component of local development, but this attention is largely focused on large cities. This paper aims to focus on the ways in which the innovative, participatory action-research (PAR) methods of IdeaLabs and community intervention workshops are used by two projects with solidarity economy enterprise (SEE) participants to activate place-based cultural resources for local development in small communities.

An in-depth reflexive analysis undertaken by researchers involved in the two projects, taking a feminist ethics of care perspective, demonstrates the ways in which these two PAR methods promote local development with the goal of fighting against the economic, social and cultural degradation of small cities and rural areas.

The PAR methods used by the two projects examined stimulate place-based local development initiatives through collaboration and knowledge co-production among participants and researchers. The projects go beyond an instrumental view of the use of culture and the arts for local development to innovate and demonstrate new methodologies for more participatory approaches.

This paper addresses a gap in social economy literature, presenting methods that can be used in PAR projects to catalyse the use of culture as a local development tool by local SEEs.

The “first generation” (Lammers, 1978, p. 486) of comparative analysis of organizations in sociology (e.g., Blau, 1965; Stinchcombe, 1959) focused on the “nuts and bolts” of organizational structure as the key criterion with which to derive organizational typologies (Perrow, 1967; Pugh, Hickson, & Hinings, 1969). This initial cohort of analysts saw the intrinsic features – or “organizational attributes” (Blau, 1965, p. 326) – constitutive of the “technical core” of the organization, such as features related to the organization of the production process (Perrow, 1967) or the structure of allocation of discretion and authority (e.g., Etzioni, 1961), as the royal road to the development of a cogent approach to comparative analysis of organizations.