This paper suggests that knowledge is shared in organizations through the transformation of occupational communities' situated understandings of their work. In this paper, I link the misunderstandings between engineers, technicians, and assemblers on a production floor to their work contexts, and demonstrate how members of these communities overcome such problems by cocreating common ground that transforms their understanding of the product and the production process. In particular, I find that the communities' knowledge-sharing difficulties are rooted in differences in their language, the locus of their practice, and their conceptualization of the product. When communication problems arise, if members of these communities provide solutions which invoke the differences in the work contexts and create common ground between the communities, they can transform the understandings of others and generate a richer understanding of the product and the problems they face.

babechky@ucdavis.edu} T his paper introduces a model of collective creativity that explains how the locus of creative problem solving shifts, at times, from the individual to the interactions of a collective. The model is grounded in observations, interviews, informal conversations, and archival data gathered in intensive field studies of work in professional service firms. The evidence suggests that although some creative solutions can be seen as the products of individual insight, others should be regarded as the products of a momentary collective process. Such collective creativity reflects a qualitative shift in the nature of the creative process, as the comprehension of a problematic situation and the generation of creative solutions draw from-and reframe-the past experiences of participants in ways that lead to new and valuable insights. This research investigates the origins of such moments, and builds a model of collective creativity that identifies the precipitating roles played by four types of social interaction: help seeking, help giving, reflective reframing, and reinforcing. Implications of this research include shifting the emphasis in research and management of creativity from identifying and managing creative individuals to understanding the social context and developing interactive approaches to creativity, and from a focus on relatively constant contextual variables to the alignment of fluctuating variables and their precipitation of momentary phenomena.

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T emporary organizations are known to provide flexibility for industries that rely on them, but we know little about their implications for how work is accomplished and coordinated. In this paper, I propose that common portrayals of temporary organizations as ephemeral and unstable are inaccurate: Temporary organizations are in fact organized around structured role systems whose nuances are negotiated in situ. This paper analyzes one type of temporary organization, film projects, exploring the way in which roles both organize immediate work and maintain continuity across different projects. On each film set, role expectations are communicated through practices of enthusiastic thanking, polite admonishing, and role-oriented joking, which enable crew members to learn and negotiate role structures. Two important structural characteristics of film projects provide the organizational context within which coordination takes place: interorganizational career progression and projects as temporary total institutions. By showing how these structural elements and role enactments support one another, this work generates a more complete understanding of the conditions that affect coordination, including role duration, expectations of future interaction, and visibility of work.