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This paper investigates the relationship between a permanent organization and a series of temporary organizations. It draws on an in-depth study of the process through which a Danish film production company, seeking to balance innovation and persistence in a troubled industry, struggles to realize a novel children's film and its sequels. The study reveals tensions at different levels as well as boundary work and boundary roles that address them, bringing in shadows of past and future projects. The study extends the understanding of the dialectic between temporary and permanent organizing by emphasizing how ongoing work at different boundaries affects the permanent and temporary organizing's connectedness and outcomes. It also challenges the overly bracketed view of temporary organizations, suggesting a temporality perspective on temporariness.

This volume brings together empirical and conceptual papers that investigate the challenges of organizing creativity in the innovation journey in and across different empirical contexts. The articles in this volume extend our understanding of the contextualized social dynamics of organizing creativity in four directions. The first direction sheds light on the temporal dynamics of organizing creativity in artistic fields. The second direction compares creative processes in arts and science, thereby examining tensions and uncertainties in the creative process unfolding in two distinctive contexts of creativity. The third direction investigates identity struggles of creative agents in organizations with clashing roles, professional norms, and ambiguities in creativity assessment. The fourth and final direction unravels the communicative journey of ideas from pitching to feedback, revealing how ideas are challenged, enriched, and acquire meaning in communicative interaction. Contributing to a situated view of creative processes in innovation, Organizing Creativity in the Innovation Journey goes beyond questions of idea generation to account for the dynamics of idea development, judgement, and dissemination - processes which are at the heart of organizing for innovation.

This study examines innovators' efforts to conceptualize and communicate their novel work through categorization. Specifically, we view category formation as a controversial process of meaning making, which we theorize through the concept of "politics of meaning" and operationalize through a social semiotics approach. By analyzing the labeling controversies underlying a new culinary style publicized as "molecular gastronomy", we find that innovators' efforts at categorization unfold along four consecutive stages: experimenting with a new style, communicating the new style, contesting the dominant label, and legitimating the category meaning. Our study suggests that a new category's dominant label can substantially deviate from the innovators' intended denotations, yet nonetheless bring that category forward by triggering public negotiations around its meaning, which lead to categorical deepening and legitimation. By putting forward a "politics of meaning" view on categorizing innovation, this work advances our understanding of the connection between labeling and category formation in the context of innovation.

Contemporary organizations increasingly rely on images, logos, videos, building materials, graphic and product design, and a range of other material and visual artifacts to compete, communicate, form identity and organize their activities. This Special Issue focuses on materiality and visuality in the course of objectifying and reacting to novel ideas, and, more broadly, contributes to organizational theory by articulating the emergent contours of a material and visual turn in the study of organizations. In this Introduction, we provide an overview of research on materiality and visuality. Drawing on the articles in the special issue, we further explore the affordances and limits of the material and visual dimensions of organizing in relation to novelty. We conclude by pointing out theoretical avenues for advancing multimodal research, and discuss some of the ethical, pragmatic and identity-related challenges that a material and visual turn could pose for organizational research.

Creative industries are among the fastest-growing and most important sectors of European and North American economies. Their growth depends on continuous innovation, which is important in many industries and also challenging to manage because of inherent tensions. Creative industries, similar to many industries, depend not only on novelty to attract consumers, but also on familiarity to aid comprehension and stabilize demand for cultural products. Agents in the creative industries play with these tensions, generating novelty that shifts industries' labels and boundaries. This tension and agency makes them a valuable setting for advancing theoretical ideas on who drives innovation, from mavericks that challenge conventions to mainstreams that build upon them. We trace this history and then turn to the five papers in the special issue, which examine in depth how mavericks, misfits, mainstreams and amphibians in various creative domains, from artistic perfumery to choreography, engage with innovation and address tensions. These processes of innovation point to future research that explores and exploits the role of materiality in meaning making, the role of capitals in translation processes and the dynamics of value and evaluation.

Most category studies have focused on established categories with discrete boundaries. These studies not only beg the question of how a de novo category arises, but also upon what institutional material actors draw to create a de novo category. We examine the formation and theorization of the de novo category "modern architecture" between 1870 and 1975. Our study shows that the process of new category formation was driven by groups of architects with distinct clientele associated with institutional logics of commerce, state, religion, and family. These architects enacted different artifact codes for a building based on institutional logics associated with their specific mix of clients. "Modern architects" fought over what logics and artifact codes should guide "modern architecture." Modern functional architects espoused a logic of commerce enacted through a restricted artifact code of new materials in a building, whereas modern organic architects advocated transforming the profession's logic enacted through a flexible artifact code of mixing new and traditional materials in buildings. The conflict became a source of creative tension for modern architects that followed, who integrated aspects of both logics and materials in buildings, expanding the category boundary. Plural logics and category expansion resulted in multiple conflicting exemplars within "modern architecture" and enabled its adaptation to changing social forces and architectural interpretations for over 70 years.