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Closing the loop at the end of products' useful life is earning increased attention from industry and academia. The recent or upcoming enactment of regulations regarding the management of end‐of‐life products is forcing manufacturers to consider strategies to increase the residual value of the products they make. Facilitating the residual value extraction process for end‐of‐life products is a challenging issue deserving investigation. This paper proposes to investigate this issue.

This paper analyzes empirical evidence from a sample of 205 environmentally responsive SMEs operating in the fabricated metal products and electric/electronic products industries. A coherent research model is developed which classifies the closed‐loop supply chain (CLSC) activities along two dimensions, the forward and reverse supply chains.

This first proposed taxonomy has been shown to be relevant for both sectors. The results also demonstrate that firms' abilities to implement CLSC environmental initiatives vary in their intensity and in their locus along the product value chain. Furthermore, benefits derived from these initiatives seem to vary according to the strategy favored by the firms.

This research is valuable for those firms interested in implementing CLSC strategies in a synergistic manner with their forward supply chain.

This paper explores the spatial and material context of a creative production project. Taking the music recording project as an empirical setting, it explores the creation of a pop song and reveals the highly situated character of its management and organization. Making a creative product such as a pop song is a complex endeavor, requiring a large number of decisions involving highly subjective and often contested and contestable judgments. The purpose of this paper is to understand how this is achieved.

The study is based on observation of musicians and a music producer during the creation of a pop song in a mid-sized recording studio. Interviews were also conducted with the participant musicians and 24 music producers based in the UK. The resulting qualitative data were analyzed using a socio-material perspective to trace the spatial relationships and explore the material organization of the project.

Producing musical product is achieved through establishing spatial and material relations in order to regulate tasks and roles and manage the challenge of making decisions within temporarily assembled teams engaged in tasks characterized by high levels of uncertainty.

This paper tackles a neglected aspect of creative management, the physical context in which it is carried out. Other sites within the creative industries such as design and film studios, theatre and other performance spaces can usefully be analyzed using the approach and perspective of this research.