Carbon is a metric at the centre of contemporary debates. It is invoked to explain responses to climate change and justify political decisions over the economy and environment. Its ubiquity might suggest that the definition of carbon is broadly agreed upon, but along with greenhouse gas (GHG) measurements, articulating carbon as a commodity has incorporated debates over sustainable development (SD). The use of market-based mechanisms to manage carbon quantities results in articulations of the concept that reinforce consumption as a means to achieve public policy aims, but these are also contested. This research examines the concept of carbon to explore what might be taken-for-granted or overlooked when carbon is invoked. The research takes an ethnographic approach to carbon by examining offsetting – paying for reductions in GHG emissions at one location to make up for a continuation or increase of emissions at another. The novelty, complexity and lack of trust in carbon offsetting have resulted in numerous voluntary standards to improve consumer confidence in this commodity. The standard organisations’ position in codifying, measuring and accrediting carbon makes them valuable sites at which to describe the materialities of the concept. I use data collected from the administrative offices of two voluntary carbon offset standards in 2010-11 to explore what is included and excluded within carbon as it was enacted at these sites. Carbon is described in this research as an assemblage and a multiplicity – it is articulated in varying ways by actors within offset markets. Through the work of standards organisations, the “orthodoxies” of offsetting are identified as taken-for-granted features of carbon. In contrast, the position of SD is identified as variable across different articulations of carbon. Using a post-Actor Network Theory approach innovatively combined with Suchman’s typology of legitimacy, this diversity in carbon is not normatively evaluated; instead the focus is on how assemblages of carbon differentiate the legitimacy of SD as a feature of offsetting. Some take SD for granted as an inherent aspect of offsetting, for others it is a desirable feature, but not necessary. Alternatively it could be offered as an add-on possibility without suggesting SD implied better offsetting, and for others offsetting was best enacted without assembling SD concerns. Exploring carbon as an assemblage demonstrates the continuous and flexible constructions of carbon as a commodity and concept. When examined in detail, the marketing strategies and technical rules of different standards produce varying articulations of carbon. Furthermore, this research explores how the work of voluntary carbon offset standards excludes the scrutiny of sites of consumption of offsets. This exclusion, as with the integration of SD, is notable for the differences in how it is articulated by standard staff – challenged by some, taken-for-granted by others but with diverse rationales for each position. These features are informative in relation to the roles ascribed to voluntary standards across other commodities as well as in relation to carbon. Attending to the multiplicity that exists in the daily practices of offset markets suggests possibilities for those looking to stabilise or reform the concept of carbon as well as understanding the activities of voluntary standards.

This thesis is a case study which looks at the creation of two theatre productions. Using the literature of Actor-Network Theory as a methodological provocation, it analyses the processes by which networks of actors created these theatre pieces with particular attention to where agency was observed. Through data gathered through observing material interactions, the thesis develops the concept of the (play)text: an object that is an expression of the ideas of the text, but is not the text itself – rather, a bricolage of ‘translations' of a piece of written and rehearsed work bound together by time and combined action. Conceiving of the eventual product – the (play)text in performance – as an example of the ANT concept of an agencement, a network of different people and objects working together to maintain a stable construction, but one which perpetually refines and redefines each of its component parts – this thesis proposes that the (play)text is an example of a dynamic and fractional artistic object, stabilised only briefly in the moments of its performance. Examining the theatre production process in this way contributes to ANT literature by providing specific examples of an artistic object created materially and agentively; it also highlights the limitations of the ways in which theatre has been used as a metaphor within Organisation Studies. Finally, it contributes to work on process change in showing an object which is, though it appears constantly improvisational and changing in its form, stabilised by material interactions.

Alors que les outils de gestion envahissent les organisations, nous en savons encore très peu sur la manière dont ils agissent sur les habitudes de penser, sur les façons de faire et sur les comportements.Cette thèse s'intéresse au rôle des progiciels CRM dans la construction des représentations et des pratiques de la relation client. Ces progiciels sont étudiés à deux niveaux: celui de l'espace professionnel des Directeurs commerciaux et celui d'une organisation. Tout d'abord, à partir de l'analyse, entre 1990 et 2009, d'une revue professionnelle destinée aux Directeurs commerciaux, nous montrons l'institutionnalisation des progiciels CRM et que cette institutionnalisation s'est accompagnée d'un déplacement des représentations relatives à ce qui est considéré comme une "bonne" gestion de la relation client. Parallèlement, nous avons mené une étude de cas en profondeur sur dix ans, rendant compte de la mise en oeuvre et de l'utilisation d'un progiciel CRM particulier. Nous montrons que la mise en oeuvre d'un progiciel CRM requiert un processus de traduction continu. Puis, nous mettons en évidence plusieurs transformations des pratiques dont certaines n'étaient pas attendues. Les transformations touchent la connaissance client et son partage, ainsi que les modes de contrôle à l'oeuvre dans l'organisation. Au-delà des transformations des pratiques en matière de contrôle hiérarchique, le progiciel CRM a notamment favorisé la mise en place de deux nouveaux modes de contrôle: un contrôle latéral (entre pairs) et un contrôle transversal (entre fonctions). Notre recherche s'inscrit dans la lignée des travaux qui considèrent que les outils de gestion, et plus globalement les artefacts, méritent qu'on leur accorde une attention plus grande. Nous illustrons plus largement dans ce travail l'intérêt d'aborder les processus organisationnels en prenant au sérieux les objets techniques indissociables de l'action. En les prenant comme points d'entrée, il est possible de documenter des phénomènes jusqu'alors peu explorés / Though management tools are more and more present in organizations, little is known on how they act on mindsets, on habits and on behaviours.This dissertation focuses on the role of CRM software packages in the construction of customer relationship representations and practices. These software packages were studied at two different levels: the sales director community and an organization. First of all, a professional journal analysis between 1990 and 2009 was conducted. The results show that CRM software packages were institutionalized and that this institutionalization comes with a shift in the representations of what is considered as "good" customer relationship management. Then, a ten year in-depth case study of the implementation and the use of a CRM software package was conducted.The results show that the implementation of a CRM software package requires a continuous translation process. They also highlight some changes in practices, of which some are unintended. The changes are related to customer knowledge, its sharing and the modes of control inside the firm. Beyond changes in hierarchical control, the CRM software package leads to the implementation of two new modes of control: a lateral control(between peers) and a transversal control (between functions). This research is in line with the literature that considers that more attention has to be paid to management tools, and more generally to artefacts. We illustrate more broadly in this dissertation the interest of addressing organizational processes by taking seriously the technical objects indissociable from action. Taking them as a starting point for research could be a mean to inform currently underexplored phenomena