Knowing is a situated activity. Adopting a practice-based approach, this article describes a workplace characterized by technologically dense practices as a setting in which human actors and technological objects work together. The case of remote cardiological consultation is paradigmatic of how information and communication technologies (ICT) enter workplaces and reshape them as systems of fragmented knowledge: that is, learning settings in which people, symbols, and technologies work jointly to construct and reconstruct understanding of social and organizational action. Working at a distance, therefore, requires the acquisition of skills relative to the mobilization of fragmented knowledge, and the latter's alignment into a fully-fledged work practice. Knowing-in-practice is accomplished by discursive practices: Framing and postscripting, as practices that generate a space of signification for the subsequent action; footing, as the dialectic that enables people to align themselves within a predetermined frame and disrupt its coordinates; and delegation to the nonhuman, as the ability of humans to delegate the performance of clinical practice to nonhuman systems, which come to be regarded as active subjects within the remote consultation

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This article shows how to account for the sociomaterial dimension of distributed creativity in the arts. By following the genesis of a new theatre production, we examined the sociomaterial practices involved to unpack the sociomaterial dimension of distributed creativity. To account for this, we draw on concepts from laboratory studies to explain creative and design work. In so doing, we considered the significance of distributed creative practices that are constituted by intermediaries which we argue, help to outline, refine and develop the creative idea. This article is especially attentive to the professional practices in the rehearsal room; what we called the ‘ creative laboratory’, the locus where material artifact and their potentialities unfold in the process of creating a work of art ‘yet to arrive’. Extracts from ethnographic observations are used to illustrate the creative process from the germination of ideas to the collectively arrived at final production. In this respect, the rehearsal room is where initiatives are trialled and tested, and specific aspects of a scene (re)created, to feed into the composition of the emergent theatrical work.

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