There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs. / <p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik &amp; Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>

Cette thèse étudie la période de transition associée à l'externalisation d'une activité d'une organisation vers une autre et a pour objectif de décrire la manière dont un dispositif de contrôle hybride entre marché et hiérarchie émerge au cours de cette période. Pour ce faire, nous nous sommes appuyé sur une étude in situ de quinze mois d'un projet mondial d'externalisation de l'activité IT d'un client auprès de trois centres de services mutualisés d'un prestataire. La description du terrain s'articule autour de deux voies de passage conceptuelles ancrées dans l'Actor Network Theory. La première propose de partir de la Théorie des Coûts de Transaction pour aller vers une " économie des coûts de traduction ". La seconde avance le concept d'accumulation de petits points de contrôle fondée sur l'étude d'un " contrôle en train de se faire " (Vosselman & Van der Meer-Kooistra, 2006). La description de la phase de transition émet l'idée que les coûts de traduction et l'accumulation de petits points de contrôle forment un " registre en double " permettant de tracer le mouvement de co-construction de la prestation de services et du dispositif de contrôle associé. Au cours de cette période, les faits locaux furent circonscrits par l'équipe projet pour les ramener au sein du centre de services mutualisés. Ce travail permit d'amorcer un cycle d'accumulation des connaissances. Ce mouvement rendit progressivement le projet et la prestation de services plus réels, mais au prix d'un éloignement irrémédiable avec ce qui avait été spécifié dans le contrat. Dorénavant, le coût pour agir à distance était réduit et le centre de services mutualisés pouvait a priori être considéré comme un dispositif " économe ". Cependant, le processus d'externalisation conduisit à une transformation profonde de l'activité externalisée et de l'identité des différents groupes d'acteurs associés. La comparaison entre les deux situations, avant et après l'externalisation, était rendue complexe du fait de l'existence des coûts de traduction inhérents au passage du contrat au dispositif sociotechnique nécessaire à la réalisation de la prestation de services.

&ldquo / Information-Based Economy&rdquo / , which is today&rsquo / s economy that is a proof and indicator of development level for the countries now on, comes on the scene with its new organizing model on the infrastructure of its own, which is called &ldquo / Information Society&rdquo / . The phenomenon of administration introduces to &ldquo / e-Government&rdquo / for reinforcing the roots of &ldquo / Information-Based Economy&rdquo / now. The objective of this study is to research the transformation of state, authoritarian and dominant power, that &ldquo / Information-Based Economy&rdquo / gives direction in the environment of &ldquo / Information Society&rdquo / and to determine the locus and focus of &ldquo / e-government&rdquo / as a new organizing model especially in the dilemma between administration and management, and in the dilemma between politics and administration by using the theories of public administration, keeping the variance of culture in mind. In addition, to have a systematic knowledge of the relation between &ldquo / Information-Based Economy&rdquo / , &ldquo / Information Society&rdquo / and &ldquo / e-Government&rdquo / as a whole composes of the theme of this thesis. For this purpose, questionnaire has been conducted in the Ministry of National Education, which is responsible for forming the society of the future, to understand whether there is a systematic knowledge on the relation between &ldquo / Information-Based Economy&rdquo / , &ldquo / Information Society&rdquo / and &ldquo / e-Government&rdquo / as a whole. Moreover, it has been aimed to discover what the mental formulations of participants are. Questionnaire results reveal that there is no systematic knowledge on the relation between &ldquo / Information-Based Economy&rdquo / , Information Society&rdquo / and &ldquo / e-Government&rdquo / as a whole in the Ministry of National Education, and that the participants are apt to perceive &ldquo / e-Government&rdquo / within the context in which they are in terms of professions, status and backgrounds. Questionnaire results also show that the responses given by the participants concerning &ldquo / e-Government&rdquo / are more or less the same due to the hierarchical organization of knowledge and official knowledge in particular.

La mise en œuvre du processus de Bologne en 1999 fait entrer la France de plain-pied dans le mouvement global de régulation de l’enseignement supérieur par l’évaluation. Pour évaluer les formations supérieures non universitaires de gestion qui jouissaient jusqu’alors d’une relative autonomie, la puissance publique crée une Commission spécifique, la Commission d’Evaluation des Formations et Diplômes de Gestion (CEFDG) notamment chargée de formuler des avis au Ministre de l’Enseignement Supérieur (MSR) relatifs à l’octroi du grade de Master fraîchement créé. Installée par décret en avril 2001, la CEFDG réussit malgré des contraintes initiales importantes à normaliser les formations non-universitaires de gestion et à s’établir comme un organisme national majeur de régulation. Après avoir détaillé la démarche de recherche, le propos s’attache dans un premier temps à mettre à jour les spécificités de la Commission vis-à-vis d’autres organismes d’évaluation et à identifier les conditions qui lui permettent de réaliser légitimement, efficacement et pérennement l’évaluation des formations. Dans un deuxième temps, la recherche déploie une analyse pragmatique des pratiques rhétoriques qui favorisent le développement des dispositifs procéduraux et instrumentaux d’évaluation ainsi que la génération d’une valorisation des formations acceptable par l’ensemble des acteurs. En vue de formuler des recommandations, le troisième volet prend en compte une des caractéristiques majeures du dispositif régulatoire de la Commission que la recherche met en lumière : la possibilité d’existence simultanée de deux régimes de normalisation des formations supérieures non-universitaires de gestion, l’un sécuritaire, l’autre disciplinaire. / This research looks into the regulation of the French Higher Education in Managementsystem by focusing on a major body: the “Committee for evaluation of managementprograms” known as the “Commission d'Evaluation des Formations et Diplômes deGestion” (CEFDG). The CEFDG advises the Minister for higher education on theawarding of quality recognition to non-public higher education institutions. Drawingupon the Actor-Network Theory, ethnomethodology and Foucaldism, the researchintends to identify the specificities of the CEFDG by comparing it with other significantbodies: the AACSB (U.S.), the QAA (U.K.), the EQUIS system (transnational) and the“Commission des Titres d’Ingénieur” (French regulator in charge of engineers’programmes). Based on in-situ participant observation, archives and statistical data,an analysis of the rhetorical practices within CEFDG was carried out to identify keyfactors enabling conditions of success. Results show that two "normalization regimes"coexist and contribute to a better understanding of the French higher educationregulation and its operating conditions.

Cette recherche pose une question simple : Qui fait quoi dans le journal ? Nous y répondons partiellement en nous focalisant sur un domaine spécifique du continuum de fabrication de l’information : le prépresse. Il s’agit du moment où l’information fournie par les journalistes rédacteurs est matérialisée, dessinée par les journalistes secrétaires de rédaction (SR) dans les pages du quotidien. Cet espace nous permet de mettre en avant un collectif singulier dans le journal. Car jusqu’à la fin des années 1990 et la numérisation totale de la chaine de fabrication des quotidiens, les SR ne sont pas seuls responsables du prépresse, ils coopèrent quotidiennement avec des ouvriers : les typographes. Ainsi, SR et typographes « font » le journal ensemble. Or, nous considérons que ces gens sont à ce qu’ils font de manière distincte, et par conséquent nous nous attachons à décrire qui fait quoi comment. C’est-à-dire que nous observons ce qui est à faire – le journal – en étant attentif à la manière dont journalistes et ouvriers se lient ou non pour y parvenir. Cette étude de qui fait quoi comment dans le journal se décline en trois temps. Nous tentons tout d’abord de comprendre De quoi est fait le monde des typographes (1) : Quels sont leurs appuis pour composer leur goût pour être à ce qu’ils font ? Dans quoi peuvent-ils puiser pour être typographes comme ils l’entendent ? Nous nous demandons ensuite, de la même manière, De quoi est fait le monde des SR (2) ? Quel est l’équipement des SR pour composer leur monde ? Dans quels scripts peuvent-ils puiser pour être SR au mieux des possibles ? Ce parallèle entre ces journalistes particuliers et ces ouvriers pas comme les autres nous amène à élaborer le troisième volet de ce travail : SR et typographes composent-ils un monde commun (3) ? Il s’agit de déterminer si les frottements continus de ces deux manières d’être au monde partagent certains attachements. Nous présentons quelques exemples qui suggèrent qu’un monde commun a pu exister à certaines époques et de manière non linéaire, entre SR et typographes. À partir de notre terrain, nous débusquons des parcelles de ce monde commun grâce à un médiateur spécifique : la maquette du journal.Finalement, en décrivant qui fait quoi comment dans le journal via ce qui se passe à l’interface de sa matérialité, nous découvrons un objet collectif travaillé par un grand nombre de gens et de choses. Chaque jour, le journal est suffisamment flexible pour que s’y expriment différentes présences au monde, et suffisamment solide pour (con)tenir l’expression de son énonciation collective. / To the simple question Who does what in a newspaper? this study – partially – answers by focusing on a particular aspect of the continuum of information production: the prepress – where the information provided by journalists is laid out and designed by sub-editors. This approach enables us to shed light on a unique collective of the newspaper. Indeed, until the end of the 90’s and the generalization of digitalization in the production lines of daily newspapers, sub-editors share their responsibilities and collaborate on a daily basis with a particular type of blue-collar workers: the typographers. In our opinion, sub-editors and typographers make the newspaper together, and in their own respective ways. How? What is there to do to make a newspaper, and how do – or don’t – journalists and blue-collars bind themselves to achieve their common goal?Our analysis of Who does what and how in a newspaper is divided into three parts. In a first part we describe The world of typographers (1). What supports do they lean on to work with their taste? What resources do they draw on to display their skills? In a similar way, in a second part we analyze The world of sub-editors (2). What is it made out of? What scripts do sub-editors turn to to perform at their best? A third part is dedicated to establishing parallels between these two distinctive worlds, wondering Do sub-editors and typographers form a common world (3)? Do these two ever-connected worlds share common bonds? The examples we present suggest that common worlds have existed at certain times and in non-linear ways. Our fieldwork provides us with fragments of this common world within a specific mediator: the layout.The description of who does what and how in a newspaper via what takes place at the crossroads of its material form enables us to reveal a collective object elaborated by a number of different people and things. Every day, newspapers are flexible enough to allow different perceptions to express themselves, and rigid enough to carry a collective formulation.

As Information Security (IS) standards do not always effectively cater for Social Engineering (SE) attacks, the expected results of an Information Security Management System (ISMS), based on such standards, can be seriously undermined by uncontrolled SE vulnerabilities. ISO/IEC 17799:2005 is the subject of the current analysis as it is the type of standard not restricted to technical controls, while encompassing proposals from other standards and generally-accepted sets of recommendations in the field. Following an analysis of key characteristics of SE and based on the study of Psychological and Social aspects of SE and IS, a detailed examination of ISO/IEC 17799:2005 is presented and an assessment of the efficiency of its controls with respect to SE is provided. Furthermore, enhancements to existing controls and inclusion of new controls aimed at strengthening the defense against Social Engineering are suggested. Measurement and quantification issues of IS with respect to SE are also dealt with. A novel way of assessing the level of Information Assurance in a system is proposed and sets the basis for future work on this subject. / Information Systems / M. Sc. (Information Systems)

No description available.

Den här studien har sin utgångspunkt i ett posthumanistiskt perspektiv – ett perspektiv som försöker få syn på materialiteten och dess roll i pedagogiska praktiker. Syftet med studien var att undersöka hur whiteboardtavlan används i förskolan och vilka relationer den tycks producera. Som insamlingsmetod användes deltagande videoobservation, som analysmetod - Aktör-nätverksteori (ANT). Observationerna gjordes på en storbarnsavdelning på en kommunal förskola i nordvästra Stockholm. Utifrån Aktör-nätverksteorin kunde tavlan förstås som en materiell-diskursiv aktör som ihop med andra aktörer ingår i olika nätverk i ett ständigt flöde av kopplingar och översättningar. Men den kan också förstås som en ”effektskapare” bortom de effekterna som den var tänkt att bidra med – och där många överraskande effekter träder fram i den fria leken. Om whiteboardtavlan på samlingen begränsar barnens möjligheter att agera fritt och bidrar till att en maktrelation förskolläraren-barn skapas och upprätthålls, så är det helt andra roller som gäller i den fria leken: tavlan skapar möjligheter till lärande och kreativitet, inbjuder till lek och samarbete och blir en mötesplats för olika barnkonstellationer. Den framgångsrika relationen barn-tavlan skulle dock inte varit möjlig utan andra aktörer i nätverk: pennor, suddborsteen, pennfacket och barnens fingrar/händer. Även kamrat- och mediakulturer i form av Angry Birds träder fram i den fria leken och kan ses som en diskursiv aktör som får allt mer inflytande i förskolans praktiker. Tavlan agens i den fria leken kan förstås som en viktig ”effekt” som inte är särskilt uppmärksammad av pedagogerna. Med whiteboardtavlan som aktör i rummet blir både barn och pedagoger något annorlunda.

Submitted by Marcelo Fornazin (fornazin@gmail.com) on 2015-06-01T04:17:33Z No. of bitstreams: 1 Tese Marcelo Fornazin v6.7.pdf: 1947262 bytes, checksum: 1728309026e097eb7fa686774dc57ed3 (MD5) / Approved for entry into archive by ÁUREA CORRÊA DA FONSECA CORRÊA DA FONSECA (aurea.fonseca@fgv.br) on 2015-06-02T15:43:51Z (GMT) No. of bitstreams: 1 Tese Marcelo Fornazin v6.7.pdf: 1947262 bytes, checksum: 1728309026e097eb7fa686774dc57ed3 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-06-03T18:34:27Z (GMT) No. of bitstreams: 1 Tese Marcelo Fornazin v6.7.pdf: 1947262 bytes, checksum: 1728309026e097eb7fa686774dc57ed3 (MD5) / Made available in DSpace on 2015-06-03T18:34:41Z (GMT). No. of bitstreams: 1 Tese Marcelo Fornazin v6.7.pdf: 1947262 bytes, checksum: 1728309026e097eb7fa686774dc57ed3 (MD5) Previous issue date: 2015-05-07 / Information and Communication Technologies (ICT) have been used in many areas and common activities, but although there are initiatives undertaken by government and private institutions, health informatics are still an open challenge in Brazil. Today’s scenario raises questions about difficulties related to informatics usage in health and healthcare practices, as well as, the effects of these difficulties on Brazilian society. Aiming to discuss the aforementioned questions, this thesis presents four papers about health informatics in Brazil. The first paper reviews literature about ICT in health. Therefore, based on two theoretical perspectives – (a) European studies about Health Information Systems (HIS) in Developing Countries and (b) studies on Information and Informatics in Health, in the Sanitary Reform Movement –, the paper proposes an integrated model linking analytical dimensions and contextual factors in order to understand HIS in Brazil. The second paper presents theoretical and methodological concepts from Actor-Network Theory (ANT), a research approach to investigate controversies associated with scientific discoveries and technological innovations, based on the network of actors related to such actions. The ANT theoretical approach has supported IS research since 1990 and inspired the analysis conducted in the third and fourth papers presented in this thesis. The final two papers have been written based on the case analysis from the deployment of an HIS in a public hospital in Brazil, conducted during 2010 and 2012. In order to analyze the case, the actors involved in the controversies that emerged during the deployment of the HIS were followed. The third paper focuses on the activities of system analysts and users involved in the HIS deployment. The changes observed over the course of the system deployment reveal that success has not been achieved by the strict and technical execution of the planned tasks. Rather, the success has been constructed collectively through negotiation among actors and the introduction of ‘devices of interessement’ during the project. The fourth paper, based on the Information Infrastructures concept, discusses how the CATMAT system has been merged with the E-Hosp. The analysis reveals how the installed base of CATMAT has been a relevant condition leading to is selection during the E-Hosp deployment. Moreover, it describes negotiations and heterogeneous operations that occurred during the integration of CATMAT into E-Hosp. Thus, this thesis argues that HIS deployment is an effort of collective construction, involving system analysts, health professionals, politicians and technical artifacts. In addition, it makes clear how HIS inscribes definitions and agreements, influencing actors’ preferences in health and healthcare. / As tecnologias da informação e comunicação (TIC) estão presentes nas mais diversas áreas e atividades cotidianas, mas, em que pesem as ações de governos e instituições privadas, a informatização da saúde ainda é um desafio em aberto no Brasil. A situação atual leva a um questionamento sobre as dificuldades associadas à informatização das práticas em saúde, assim como, quais efeitos tais dificuldades têm causado à sociedade Brasileira. Com objetivo de discutir as questões acima citadas, esta tese apresenta quatro artigos sobre processo de informação da saúde no Brasil. O primeiro artigo revisa a literatura sobre TIC em saúde e baseado em duas perspectivas teóricas – estudos Europeus acerca dos Sistemas de Informação em Saúde (SIS) nos Países em Desenvolvimento e estudos sobre Informação e Informática em Saúde, no âmbito do Movimento da Reforma Sanitária –, formula um modelo integrado que combina dimensões de análise e fatores contextuais para a compreensão dos SIS no Brasil. Já o segundo artigo apresenta os conceitos e teóricos e metodológicos da Teoria Ator-Rede (ANT), uma abordagem para o estudo de controvérsias associadas às descobertas científicas e inovações tecnológicas, por meio das redes de atores envolvidos em tais ações. Tal abordagem tem embasado estudos de SI desde 1990 e inspirou as análises dois artigos empíricos desta tese. Os dois últimos artigos foram redigidos a partir da análise da implantação de um SIS em um hospital público no Brasil ocorrida entre os anos de 2010 e 2012. Para a análise do caso, seguiram-se os atores envolvidos nas controvérsias que surgiram durante a implantação do SIS. O terceiro artigo se debruçou sobre as atividades dos analistas de sistema e usuários envolvidos na implantação do SIS. As mudanças observadas durante a implantação do sistema revelam que o sucesso do SIS não foi alcançado pela estrita e técnica execução das atividades incialmente planejadas. Pelo contrário, o sucesso foi construído coletivamente, por meio da negociação entre os atores e de dispositivos de interessamento introduzidos durante o projeto. O quarto artigo, baseado no conceito das Infraestruturas de Informação, discutiu como o sistema CATMAT foi incorporado ao E-Hosp. A análise revelou como a base instalada do CATMAT foi uma condição relevante para a sua escolha durante a implantação do E-Hosp. Além disso, descrevem-se negociações e operações heterogêneas que aconteceram durante a incorporação do CATMAT no sistema E-Hosp. Assim, esta tese argumenta que a implantação de um SIS é um empreendimento de construção coletiva, envolvendo analistas de sistema, profissionais de saúde, políticos e artefatos técnicos. Ademais, evidenciou-se como os SIS inscrevem definições e acordos, influenciando as preferências dos atores na área de saúde.

Submitted by Márcia de Freitas Duarte (marcia.freitas.duarte@gmail.com) on 2015-06-09T09:18:35Z No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Approved for entry into archive by Pamela Beltran Tonsa (pamela.tonsa@fgv.br) on 2015-06-09T13:02:54Z (GMT) No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Made available in DSpace on 2015-06-09T13:41:03Z (GMT). No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) Previous issue date: 2015-05-11 / This thesis aims to understand the practices and actions of organising necessary for production /organization of a musical theatre show in São Paulo, in order to explore how materially heterogeneous relations and articulations sustain it and allow their presentations. The focus on practice and organising is aligned to the concern of Organizational Studies (OS) about how 'organizations happen' and in the understanding of the everyday organizational processes and practices, referring to the comprehension of organizations as a process (organizing) in constant state of (re)constitution. The literature in creative industries presents a lack related to the organization of creative goods or services, considering it focuses its attention more in the consumption of these products than in their organization or production. The notion of creativity is also pointed as just a human attribute, a talent or ability without emphasizing some creative or cultural goods or services only can happen or are produced considering the relations and actions between human and non-human elements. In organizational literature, theatre is studied as metaphor or as a sort of intervention/tool in processes of organizational changes or learning and not as a particular form of organization. Musical theatre, a creative industry, seems to be a consolidated activity in Brazil, mainly by the increase of large musical montages from Broadway shows and its increasing professionalization, particularly in the last decade and especially in São Paulo, SP. Its production differs from other theatrical genres by the number of professionals, the amount of investments and presence of technology highlighted in its sound, light and set design and stage management department, making it a fertile field for the exploration about how these actors get together and form the visible show (seen on the stage by the audience) and the invisible one (hidden behind the scenes). About this aspect, Actor-Network Theory (ANT), here used as theoretical and methodological framework , is an approach which provides an analytical repertoire for understanding the organization as the effect of a network of heterogeneous elements, with a stability temporarily achieved. This is a qualitative research and to achieve the aim of exploring the organization of a musical I carried out a fieldwork inspired in ethnographic principles along ten months in one company whose show was being presented in São Paulo between 2013 and 2014. From what was observed in the field, I described the associations and articulations between human and non-human actors, which are permeated by efforts to generate a stabilized order, even if precarious, which is here understood the musical itself (macro-actor or network-of-actors) and its more than three hundred performances during the season, resulting from actions in continuous (re)constitution. Negotiations concerning copyright acquisitions, particular aspects of the Portuguese language, the Brazilian audience, the bodies and voices of the Brazilian cast, the structural constraints of the theater, the production of documents, marking the rehearsing room, the articulation of the show via sound and image systems, the acquisition of specific equipment and the ‘calling system’ which allows to 'call the show' during the presentation are some of the themes I explored. In conclusion, with this research, I attempted to link the growing interest of OS field in relation to organising and some of the possibilities offered by ANT on the understanding of the multiplicity and heterogeneity inherent to organizational practices, in order to enrich the discussion of the organization and production of creative goods and services highlighting how the organization 'musical theatre show' is multiple and materially heterogeneous, and not only an idea related to human agency or creativity as production input, as emphasize the most descriptions related to creative industries. / Esta tese tem por objetivo compreender as práticas e ações de organizar necessárias à produção/organização de um espetáculo de teatro musical em São Paulo, a fim de explorar como as relações e articulações materialmente heterogêneas o sustentam e permitem suas apresentações. O foco nas práticas está alinhado à preocupação dos Estudos Organizacionais (EO) acerca de como ‘as organizações acontecem’, e na compreensão dos processos e práticas de organizar do cotidiano organizacional, remetendo ao entendimento das organizações como processos (organising) em constante estado de (re)constituição. O campo das indústrias criativas apresenta ainda lacunas pouco exploradas, referentes aos bens e serviços criativos. Seu foco de estudos está mais voltado para o consumo de tais bens e poucas pesquisas dedicam-se à sua produção e/ou organização. A própria noção de criatividade é entendida apenas como um atributo humano, talento ou habilidade, sem se enfatizar que alguns bens e serviços criativos e culturais apenas são possíveis a partir das relações e ações entre humanos e não-humanos. Na literatura organizacional, o teatro é amplamente estudado como uma metáfora ou como uma ferramenta de intervenção em processos de mudança ou aprendizado, sendo ainda raros estudos dedicados a explorar um espetáculo teatral como forma particular de organização. O teatro musical, inserido nas indústrias criativas, parece se consolidar no Brasil, principalmente pelo aumento de montagens de grandes musicais oriundos da Broadway, NYC, EUA, e sua crescente profissionalização, sobretudo na última década e, especialmente, na cidade de São Paulo, SP. Sua produção difere de outros gêneros teatrais pelo número de profissionais, investimentos e presença da tecnologia evidenciada em seus projetos de som, luz, cenografia e gestão de palco, tornando-o um campo fértil para a exploração sobre como atores se reúnem e formam o espetáculo visível (visto pelo público no palco) e o invisível (oculto nos bastidores). Sobre tal aspecto, a Teoria Ator-Rede (TAR), aqui utilizada como referencial teórico-metodológico, fornece um repertório analítico para a compreensão da organização como efeito de uma rede heterogênea de elementos, com uma estabilidade temporariamente alcançada. Para concretizar meu objetivo de explorar a organização de um musical, realizei uma pesquisa qualitativa, com inspiração etnográfica, na qual permaneci em campo durante dez meses junto a uma companhia cujo espetáculo esteve em cartaz em São Paulo entre os anos de 2013 e 2014. Descrevo, assim, como ocorreram as associações a articulações entre atores humanos e não-humanos, permeadas por esforços no sentido de gerar uma estabilização, um ordenamento, mesmo que precário, o qual é aqui entendido o musical (macro-ator ou rede-de-atores) em si e suas mais de trezentas apresentações durante a temporada, resultantes de ações em contínua (re)constituição. Negociações referentes a aquisições de direitos autorais, aspectos particulares da língua portuguesa, do público brasileiro, dos corpos e vozes do elenco brasileiro, as restrições estruturais do teatro, a produção de documentos, a marcação na sala de ensaios, a união do espetáculo via sistemas de som e imagem, a aquisição de equipamentos específicos e o sistema que permite ‘chamar o show’ durante a apresentação são alguns dos temas que exploro. Com esta pesquisa, busquei assimilar o crescente interesse dos EO em relação organising e algumas das possibilidades oferecidas pela TAR quanto à multiplicidade e heterogeneidade inerentes às práticas organizativas, com o intuito de enriquecer a discussão acerca da organização e produção de bens e serviços criativos, destacando como a organização ‘espetáculo de teatro musical’ é múltipla e materialmente heterogênea, e não apenas uma ideia exclusiva à ação humana ou criatividade como insumo de produção, tal como apregoa a maior parte das descrições referentes às indústrias criativas.