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External inputs are critical for organisational creativity. In order to bridge different thought worlds and cross-organisational barriers, managers must initiate and motivate boundary spanning processes. The purpose of this paper is to explore how boundary spanners manage creativity projects across organisational boundaries.

The authors link to previous literature and present findings from a comparative case study of managerial practices for managing creativity projects. Data were collected through interviews, secondary materials, site visits and observation.

Three meta-practices used by managers to manage boundary-spanning creative projects are presented: defining the creative space, making space for creativity and acting in the creative space. These practices are detailed in seven case studies of creative projects.

The analysis focuses on boundary spanning as a management process rather than a capability for organisations to self-organise. It extends the “boundary spanning as practice” literature by focusing on boundary spanning as a managerial practice and brings the problems related to resource mobilisation across both organisational and departmental boundaries to the fore.

Understanding the managerial dilemma faced by creativity managers is a first step to finding solutions. The discussed practices may inspire managers both in resolving creativity management problems and through self-reflection.

The authors contribute to research on boundary spanning practices by linking to creativity research, and bridge to research on management and governance in distributed and less-defined organisations.

This study explores the yet understudied productive aspects of uncertainty in the organization of creative collaboration and scrutinizes the practices that allow participants to fruitfully use it as a resource for the creation of novelty. In contrast to former conceptualizations of uncertainty as a quantity to be reduced through organizing, we apply a qualitative heuristic where uncertainty may shift different dimensions regarding participation (who?), procedure (how?) and content (what?). Based on eight creativity biographies in two creative fields, music production and pharmaceutical development, encompassing 36 semi-structured qualitative interviews, we identify embracing, ignoring, and fixing uncertainty as three distinct, yet interrelated practices to engage with uncertainty and thereby enable the emergence of valuable novelty in interaction. We further discover that the participants shift these practices between the different dimensions of uncertainty during the process of creative collaboration. Moreover, we argue that these shifts are necessary to maintain creativity in collaborative processes. Thereupon, we contribute insights to the so far enigmatic notion of organizing for collaborative creativity.

Uncertainty about Intellectual Property Regulations (IPR) is prevalent in today’s knowledge-based and creative industries. While prior literature indicates that regulatory uncertainty affects creative processes, studies that systematically analyze the effects of IPR on the experiencing of involved actors in creative processes across fields are rare. We ask how core professional actor groups including creators, legal professionals and managers involved in creative processes experience regulatory uncertainty in the fields of music and pharma. By studying practices of engaging with, circumventing and avoiding regulatory uncertainty about IPR, we show how creative processes in both the music and pharma fields are entrenched with emotional-cognitive experiences such as anxiety, indifference and hope that vary by professional group. Our findings point toward managers and legal professionals observing, exposing and cultivating emotions by ascribing experiences to other actor groups. We conclude that comparing regulation-related emotions of involved actors across fields helps to develop a deeper understanding of the dynamics of creative processes.

The combination of mobile devices and innovative tools offers new possibilities for the development of a community of practice for design makers. Mobile learning has become an essential method that design makers should adopt. The main content of this study is to explore the characteristics of learning behaviors and learning needs of creative design makers' group in forming a community of practice in the era of mobile learning.

This study conducted questionnaire research on the potentially associated or directly associated population of design makers. The process of the study also combined observational and interview studies to compensate for the lack of questionnaire research.

Based on the support of mobile learning technology, design makers share and co-create to achieve individual development and evolution of learning organizations, and produce creative value. Design-maker communities of practice form common communities in the framework of informal organizations to support continuous individual learning. Convergent interests or concerns in making things, real-world contexts based on makerspaces and hands-on practice based on real projects are the basis for forming design-maker communities of practice. A variety of open-source hardware, software and platforms that can support mobile learning are important for the development of design-maker communities of practice. The design-maker community of practice needs group factors, activity development, physical and technical resources, spatial support and institutional norms to enhance learning behaviors and satisfy learning needs.

The discovery and construction of these associated factors can help creative design practitioners form a lasting and virtuous organizational development. This study facilitates the formation of a social network for learning and knowledge sharing among design-maker communities of practice. It enhances the innovation ability and enthusiasm of design makers according to the population characteristics and learning needs of design makers. This study also facilitates the generation of a positive adaptive maker culture and maker spirit within design maker organizations.

The extent to which accounting reports and disclosures provide shareholders and other interested parties with reliable information to permit informed investment decisions and true valuation of firms, has remained in doubts. The presumed bane for the failure of these reports to live up to expectation has been creative accounting. Most studies view this practice as unethical and should be stopped; others admit that although it contributes to enterprise failures, loss of investments and economic crisis, it as a necessary and legitimate practice. This paper aims to evaluate the extent to which this creativity has contributed to the failures of enterprises, identifies motivations for this practices and the challenges to true and fair reporting and transparent disclosures.

The study adopts the survey method. Questionnaire were administered to 80 accountants in banks and other enterprises with parents companies outside Nigeria and secondary data collected on failed enterprises in the world. The data collected were descriptively analysed.

The findings were different from findings of previous studies. It was discovered that accounting creativity is euphemism and contributes 90% to the unfair reporting of firms operations. The creativity in those practices is motivated by greed and intended to deceive the public, potential investors and shareholders and increases the rate of enterprise failures at a decreasing rate. However, the study revealed that the many regulations without adequate checks, punishments and rewards complement creative accounting in providing the foundation for make-believe, cosmetic and unfair reporting.

The use of questionnaire and the subjective nature of the responses are the limitations of this study.

Improved reporting and valuation of firms are the practical implications.

Reduction in failures may result in loss of employment and other social implications.

The research is original and born out of the desire to improve accounting reports and shareholders value.

The purpose of this paper is to broaden the conversation about the link between identity and employability by investigating how identity can function as a type of career capital. Drawing on Bourdieu’s (1990) theory of practice and Côté’s (2016) identity capital model, the authors introduce the concept of identity capitalization and elaborate on the career practices people engage in to convert identity into career capital based on studies of careers in the creative industries.

The conceptual development is based on an examination of studies of careers in the creative industries. The authors move beyond a single idiosyncratic occupational setting and offer insights about how individuals acquire, accumulate and deploy identity capital in response to varying occupational demands and institutional norms.

The authors identify three patterns of work – display work, authenticity work and personation work – that creative professionals use to harness identity as career capital to enhance their employability. The authors find that both the demand for authenticity and the existence of social inequalities in the creative industries present challenges for the acquisition, accumulation and deployment of identity capital.

The ability to harness one’s identity for career capital has become increasingly important for career actors in the face of a challenging labor market. This paper provides a conceptual understanding of the process of identity capitalization and presents concrete career practices in real-world settings. It also offers practical advice for individuals wishing to capitalize on their identity to maximize career opportunities.