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This paper aims to report “positively deviant” experiences of three public sector networks seeking to enhance organizational and system level capacities. It is the authors' thesis that the knowledge base concerning the true benefits and pitfalls of networks can be captured and interpreted only through intense, ongoing learning effort embedded in practice on the ground, combined with sustained in‐depth observation and collaborative research.

The paper describes through case examples why and how different kinds of networks within different jurisdictional contexts and different organizational cultures are being used to enhance the climate for change towards better health care and improved health. The authors describe the contexts, structures, processes and impacts of three “positively deviant” networks.

The network form can provide opportunity for nurturing changes and innovations within large organizational and complex system environments. This opportunity to create additional and different pathways for improved decision making and service provision comes with challenges that should be recognized.

The authors' experiences indicate that, for networks, a key component of success relates to pulling and pushing at the edges of multiple connections and boundaries in “positively deviant” ways. This pushing and pulling is intrinsically evidence of organizational and intraorganizational learning – in the examples presented – for the improvement of health care and health.

Other networks can learn from the reported experiences and add their own cases to the empirical understanding of how networks can make a difference; this in turn can help the conceptual and theoretical understanding of them.

The purpose of this paper is to produce a critical history of MP3 technology in an effort to show how its stature as the digital music format of choice had nothing to do with music or associated industries and that its configuration as a product to be bought and sold was unintended.

The approach is reminiscent of Michel Foucault's critical histories, which sought to problematise our current understanding of existing cultural arrangements by unearthing the conditions that made the production of knowledge and their accompanying artefacts possible.

The paper documents how MP3s emerged by outlining the conditions that made its production viable, showing how before MP3s were profiled as commodities to be bought and sold online, the composite of technologies making up the standard MPEG1‐Layer III were objects of knowledge within the fields of electrical engineering and psychoacoustics, and later a process of compression used mainly by audio broadcasting professionals. The paper concludes by examining MPEG1‐Layer III's reconstitution as MP3: its formal configuration and valuation, first as a license for the broadcasting industry to compress sound and then as a “free‐ware” application distributed online.

The paper problematises the taken for granted status of commodities, in this case, MP3s, as digital music to be bought and sold, by revealing how they emerged. At a more parochial level, it produces a competing history of MP3 technology which until now has not been told.