Expertise symposium – abstract booklet now available

The abstract booklet for the Politics of Expertise in Media and Cultural Research is now available to download here.

The symposium is taking place on Wednesday 30th November, 1pm-6.15pm, P233 at Birmingham City University Parkside Building. Register to attend on Eventbrite.

 

Registration open: the politics of expertise in media and cultural research

Free registration is now open for the symposium The politics of expertise in media and cultural research taking place at Birmingham City University on November 30 2016Register here.

Due to the unprecedented number and quality of submissions the symposium will now begin at 1pm and end at 6pm. All interested in expertise are welcome!

hello expert

Work/Play conference, 6 July 2016

This was originally posted at BCMCR.org, co-written with Dr Annette Naudin.

On Wednesday 6 July we attended the ‘Work/Play’ conference at Futureworks in Manchester, where we presented our joint paper Entangled Expertise: women’s use of social media in entrepreneurial work, which is currently in the process of publication.

Our presentation was part of an interesting panel about communicative labour, and we found some useful crossovers with Poppy Wilde and Francien Brockhausen from Coventry University who presented about emotional digital labour. They are both PhD students looking at different platforms: Poppy is examining an online gaming community, Francien is looking at bridal forums. Both have found that emotional and affective labour is a significant factor in the online activity of both, in the form of ‘connecting’, ‘sharing’ and ‘becoming’. They highlight how the labours of connecting, sharing and becoming require significant amounts of investment, in terms of time, effort, and emotional investment. Both online spaces call for participants to build knowledge and skill in order to participate effectively.

labourpres

The significant crossover with our work was the acknowledgement of particularly feminine forms of online relating; the preference to form bonds and connections rather than merely promoting one’s business, or collecting bridal photos for personal inspiration. The relational labour (Baym, 2015) of social media use is a crucial dimension often missed in literature about digital labour, and the evidence from us and our colleagues at Coventry University suggest there are particularly feminine dimensions of this which require further investigation. What Poppy and Francien also did was highlight the importance of considering emotional labour in online communication, and their auto-ethnographic accounts were illuminating in this respect. What followed was a thought provoking panel discussion where the similarities between our work really emerged.

For our paper we looked at the Twitter activities of a sample of female cultural entrepreneurs, examining how they present their expertise on the platform and what this can tell us about professional female identities within neoliberal economies. In addition to expertise, Angela McRobbie’s ideas of the perfect/imperfect (2015) also formed a part of our conceptual framework. McRobbie argues that the notion of ‘perfection’ has ‘entered into the common currency of contemporary femininity’ (p.4). This is encapsulated in the ‘can do girl’ (Harris, 2004) who is in charge of her affairs and bears the individual burden if anything goes wrong in her career. We wondered about the online dimensions of this, and investigating it through an expertise ‘lens’ assisted our analysis.

We analysed the samples of posts using Candace Jones’ (2002) signalling expertise framework, a framework used by Jones to describe the importance of expertise in creative careers, and to identify the ways in which it is signalled. Our analysis is a departure from other work about online self-presentation, such as self-branding (Hearn, 2008; Marwick, 2013) which are more individualistic in nature. An expertise-based analysis of social media activity revealed alternative forms of online identity negotiation. We found that the female cultural entrepreneurs in our sample performed their expertise in three ways in particular, which we call ‘let’s do this!’, ‘imperfection’ and ‘not Tweeting’. Briefly, ‘let’s do this’ describes the go-getting, ‘can do’ attitude exhibited by some of the participants. Imperfection describes the way in which certain achievements or events were tempered by an admission of vulnerability – for example, one person said she felt shy being at a conference.  Not Tweeting is about the female entrepreneurs who choose not to Tweet, or only to retweet others. What they are not doing can be just as significant, where refraining from Tweeting is also part of a controlled, self-conscious performance of expertise. What does ‘not tweeting’ suggest about women’s professional identity? What does the blurring of personal and professional identities on social media platforms reveal about women’s sense of themselves as experts in their field? Methodologically, what are the challenges in using data collected via public platforms such as Twitter? Our panel recognised some of the difficulties in being immersed in online communities, the significance of reflexivity on behalf of the researcher and of reviewing the ethical dimensions to our research.

CFP: The Politics of Expertise in Media and Cultural Research

I’m running an informal symposium on expertise as part of the research seminar programme at the Birmingham Centre for Media and Cultural Research, taking place on Wednesday 30 November 2016. Submissions are welcome from researchers and PhD students in all areas of media, cultural and arts research.

I feel this is particularly timely given the anti-expert rhetoric during the Brexit campaign. Financial experts warning about the potential consequences of Brexit were ignored by more than half of British EU referendum voters, and the state of the country’s economy since suggests that the predictions of the experts are pretty much on track. The anti-intellectualism of the Brexit campaign has raised real concerns by some commentators as to the voting public’s willingness to believe propaganda and lies in lieu of expert comment. This has been brilliantly unpacked by Kath Viner in the context of social media and the ‘filter bubble’, distorting our access to information.

In light of these debates, just how important is expertise?

Call for papers

Download the PDF version of the call for papers

In cultural research, any mentions of experts or expertise usually refer to art critics (Bourdieu, 1996), art collectors (Braden, 2015), cultural intermediaries (Prince, 2010) or consultants (Prince, 2014). In media and cultural research as a whole, including the works cited, the idea of the expert and expertise itself is not explored in great depth. Yet, being known as an expert is crucial to ensure regular work in a precarious and competitive cultural labour market. What does expertise mean to cultural and media workers? In what ways, and where, do cultural and media workers perform expertise? How can we, as cultural researchers, explore and conceptualise expertise?

The Birmingham Centre for Media and Cultural Research (BCMCR) hosts this informal symposium aimed at putting expertise firmly on the research agenda. We encourage submissions from all areas of media and cultural research, and invite participants to discuss how the idea of expertise pertains to their research.

Topics may include (but are not limited to):

  • Expertise in cultural policy making
  • Questions of expertise, professionalism and amateurism
  • Expertise and new media
  • Expertise and gender
  • Expertise and race
  • Expertise and class
  • Expertise in cultural institutions
  • The performance of expertise
  • Interrogating technological expertise
  • Expertise and celebrity
  • Experts in the media
  • Art and aesthetic expertise
  • Theorising expertise
  • Experts in media history

We are looking for informal thinking/discussion pieces no more than 15 minutes long, and visual aids are not essential. Please send a short abstract of no more than 200 words and a short biography to karen.patel@bcu.ac.uk by Friday 30 September 2016.

Female artists and performing expertise

So far this year I’ve been carrying out interviews, analysing social media posts and now I’m trying to fashion what a discussion chapter might look like. The first area I have been concentrating on is one I initially knew the least about, which is gender. I started thinking out loud about this on a previous post in February and since then I’ve written about 7000 words of a possible chapter, but now I need to work out how best to order this chapter and my arguments.

At the moment, my key argument for this chapter is:

Female artists perform expertise on social media in a particularly social, mutually beneficial way, and this provides them with positive opportunities for networking, collaboration and getting their work out to a larger audience in an art world which still systematically favours men.

This is what I am attempting to emphasise throughout the chapter. In that, I have sections which outline a history of women in art, a history of feminism online (i.e. cyberfeminist movements and technofeminism) which both include literature about entrenched inequalities in the arts and technology, and both include literature which demonstrates examples of women collaborating and working together to get their art seen and their voices heard, respectively. I then go into discussion about collaboration and mutual aid (de Peuter and Cohen, 2015) then women, cultural production and place (based on some interview material I have about female artists working at home and the role of social media there).

While writing this chapter it has become apparent that the ideas of mutual aid and technofeminism are potentially useful for me conceptually, and I’ll unpack them here.

Technofeminism

The term ‘technofeminism’ was made popular in Judy Wajcman’s book of the same name (2004).  She uses it to describe the contemporary relationship between technology and gender. Drawing on STS (Science and Technology Studies) thinking, which has influenced me a lot so far in relation to expertise and social media methods, Wajcman describes the technofeminist relationship between gender and technology as one of ‘mutual shaping’ where the concept of gender is understood as a “performance or social achievement, shaped in interaction” (Wajcman, 2007:293). Gender power relations can be enabled or inhibited by technology and its affordances, and gender co-creates and co-evolves with technology. The idea of technology as gendered derives from the cyberfeminist work of Donna Haraway (1985) and Sadie Plant (1997), both of whom were optimistic about the emanicpatory possibilities of technology and the internet for women. Technofeminism advances this by appreciating the seamless integration of technology with everyday life, rather than the binaries of ‘offline’ and ‘online’, ‘technology’ and ‘human’ (Paasonen, 2011).

In relation to my own research, technofeminism is a useful concept because the female artists involved in my research use social media platforms in different ways to suit themselves and their practice. They make use of the affordances of these platforms, such as Twitter hashtags, Pinterest groups, Facebook groups and Instagram feeds to connect with other artists, network and collaborate. While platform structures may shape that to some extent, they do not completely determine how they use them. In turn, such features are routinely amended and updated by social media companies to encourage more user interaction (albeit for money making purposes). Social media platforms do not completely shape what people do on there, and they ‘make do’ (to use a term by de Certeau, 1984) with the platforms they prefer and the people they connect with on there.

What is important about technofeminism is that it treats technology as “a seamless web or network combining artefacts, people, organisations, cultural meanings and knowledge” (Wajcman, 2009:7) which is typical of STS thinking. It does not draw distinctions between ‘offline’ and ‘online’ and appreciates the integration of technology into everyday life. Frizzo-Barker and Chow-White (2012) use technofeminism as a part of their conceptual framework in their research on women’s (particularly mothers’) use of smartphone apps. They also draw on ideas of gendered networked individualism (particularly Fortunati, 2009) to show how “both gender and smartphones are viewed as part of the texture that constitutes the network society, rather than as separate from society” (2012:582). Networked individualism (Castells, 2011; Rainie and Wellman, 2012) is concerned with the macro-level of social connections and their rapid speed, emphasising that the internet facilitates more social connections, but these connections may not all be strong. They are more likely to be ‘weak ties’ (Granovetter, 1973) that are accessed and called upon when needed. People are essentially ‘switchboards’ among their many connections. Leopoldina Fortunati (2009) argues that gender differences in networked individualism need to be analysed by taking into account what technologies facilitate for women in particular. What Frizzo-Barker and Chow-White demonstrate is that technofeminism on its own is not sufficient to conceptualise the ‘socialness’ of smartphone apps; the connections between people, and the same applies to my research. What technofeminism doesn’t account for are the relationships and connections between people which are mediated through technology. For what I’ve found in my research, networked individualism is too individualistic a concept to describe the examples of mutual support and collaboration that I found in my participants’ performances of expertise, particularly among the female artists. For this purpose, mutual aid is more suitable.

Mutual aid

This term is used by de Peuter and Cohen (2015) to conceptualise the collective activities of cultural workers responding to poor labour conditions. In the absence of workers’ collectives and formal equal opportunities policies, the authors describe how groups of cultural workers mobilise to make change happen in precarious working conditions:

“Mutual aid establishes the social bonds necessary to contest labour precarity and affirms the self-organization necessary for alternative economies. The stakes, then, are not limited to cultural labour: on the contrary, the greatest significance of mutual aid among cultural workers is the formation of sensibilities that favour solidarity generally, including solidarity with segments of the working class outside the relatively privileged quarters of the creative industries.”

(de Peuter and Cohen, 2015:309)

I find this is a useful way to conceptualise the online activities of the female artists in my research, who seem to work in a collective, collaborative way to get their art noticed in an incredibly competitive (and still male dominated) art world and on fast-paced, information-overloaded social media platforms. In my social media analysis using a signalling expertise framework adapted from Candace Jones (2002), I found that the female artists in my sample were much more inclined to post and re-post the work of other artists (usually female), even though they were essentially in competition with each other. When I asked one of my participants about this, she commented:

“I always thought that because you’re competing for the same work people would be really precious about things, but I’ve had people that are really qualified for the same things and they tell me ‘oh have you applied for this yet?’ It’s a very…as far as I can tell…it’s really inclusive, people are really helpful, people are really supportive of each other.”

Other participants often used the ‘quote’ function on Twitter to share the work of other artists and add a positive comment. While there would be some motivations for reciprocity there (posting someone’s work in the hope they will post yours in return) there is some altruism in these performances of expertise, and in my chapter I’m aiming to situate this within the backdrop of long standing gender inequalities in the art world (which I’ve started talking about in a previous post) and the use of technology (in this case, social media) by female artists to get their work seen.

Tied in with all of this are some observations on female artists, cultural production and place.

Female artists, cultural production and place

My thinking around place was prompted by Susan Luckman’s book Craft and the Creative Economy (2015), in which she describes the activities of home-based craft entrepreneurs, or ‘Etsypreneurs’. Luckman argues that craft selling sites such as Etsy and social media platforms “play a determining role in normalising the home office […] the networked home is fast becoming a normalised middle class paid work location” (p.87). For many of the female artists I have spoken to, the home is also their office, and for some, the demands and rhythms of creating art are sometimes at odds with taking care of children and other domestic responsibilities. One of the artists, Jamila, said that while she prefers to work from home, having a very young daughter inhibits her ability to ‘get into the zone’ of creating at home, and so she needs to look for a studio to work in, whilst trying to find suitable childcare arrangements. Similar stories to this are found in Alison Bain’s account of female artists’ identity and the role of studios. She claims that “a woman artist is never completely insulated in her studio when it is part of her home, for she is repeatedly interrupted by the many and varied demands of domesticity” (Bain, 2004:186). Bain argues that studios are a vital way for some female artists to affirm their identity as artists; and the issues with self-identification were also described by Jamila.

However, working from home does work for some of the artists I interviewed. One has been so successful in her pet portrait business, her husband has been able to give up work to take care of their young family. Another is a writer and also runs an Etsy craft business with her daughter, who is in her early 20s. Others have told me how their children have helped them to learn how to use social media. So while the accounts of Bain and Luckman do provide important perspectives about the pressures for female artists who work from home, there are also positives with involving the family in this work. But what does that mean for notions of the amateur and expert? Can someone effectively perform expertise on social media if they have learned about it from their children? How important is being able to effectively perform expertise, against being an expert maker or artist? How much can we tell just from an analysis of online activity?

Home working does have ‘amateur’ connotations (Luckman, 2015) particularly for women, for whom the home has traditionally been a site of seemingly unskilled domestic labour (Gregg, 2008), but the internet and social media platforms offer ways for female artists to perform their expertise. Luckman, and other authors such as Duffy (2015) and Duffy and Hund (2015) draw attention to how social media and sites such as Etsy encourage the portrayal of an idealised cultural worker, whether that be the makers in their idyllic suburban homes in Etsy’s featured blogs as highlighted by Luckman, or the ‘glam life’ of the fashion bloggers described by Duffy. Both authors argue that these performances mask the labour which goes into them, particularly aesthetic labour. This is where interviewing participants was important for my research, so that my analysis of performances of expertise would be supported by a consideration of the role of social media in artistic labour – or what I’m calling ‘social media labour’ for now. An exploration of social media labour will be the focus of my next chapter.

 

References

Bain, A. (2004). Female artistic identity in place: the studio. Social & Cultural Geography, 5(2), 171–193.

Castells, M. (2011). The rise of the network society: The information age: Economy, society, and culture (Vol. 1). John Wiley & Sons.

De Certeau, M (1984). The Practice of Everyday life.

Duffy, B. E. (2015). The romance of work: Gender and aspirational labour in the digital culture industries. International Journal of Cultural Studies, 1–17.

Duffy, B. E., & Hund, E. (2015). “Having it All” on Social Media: Entrepreneurial Femininity and Self-Branding Among Fashion Bloggers. Social Media + Society, 1(2).

de Peuter, G., & Cohen, N. S. (2015). Emerging Labour Politics in Creative Industries. The Routledge Companion to the Cultural Industries.

Fortunati, L. (2009). Gender and the cell phone in G. Goggin & L. Hjorth, eds. Mobile Technologies: From Telecommunications to Media, Routledge, New York, pp. 23–36.

Frizzo-Barker, J., & Chow-White, P. A. (2012). “There’s an App for That” Mediating mobile moms and connected careerists through smartphones and networked individualism. Feminist Media Studies, 12(4), 580–589.

Granovetter, M. S. (1973). The strength of weak ties. American journal of sociology, 1360-1380.

Gregg, M. (2008). The Normalisation of Flexible Female Labour in the Information Economy. Feminist Media Studies, 8(3), 285–299.

Haraway, D. J. (1985). A manifesto for cyborgs: Science, technology, and socialist feminism in the 1980s (pp. 173-204). Centre for Social Research and Education.

Jones, C. (2002). Signaling expertise: How signals shape careers in creative industries. Career Creativity: Explorations in the Remaking of Work, (May
1998), 209–228.

Luckman, S. (2015). Craft and the Creative Economy. London: Palgrave Macmillan.

Paasonen, S. (2011). Revisiting cyberfeminism. Communications, 36(3), 335–352.

Plant, S (1997). Zeroes and Ones: Digital Women and the New Technoculture, Doubleday, New York

Rainie, L., & Wellman, B. (2012). Networked: The new social operating system. Mit Press.

Wajcman, J. (2004). Technofeminism. Polity Press, Cambridge.

Wajcman, J. (2007). From women and technology to gendered technoscience. Information, Communication & Society, 10(3), 287–298.

Wajcman, J. (2009). Feminist theories of technology. Cambridge Journal of Economics, 34(1), 143–152.

 

Cultural Industries and New Media Reading Group

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The original meeting for this has been postponed, a new date will be announced soon.

I would like to invite interested PhD students and colleagues at Birmingham City University and beyond to a reading group I run.

The Cultural Industries and New Media Reading Group, part of the Birmingham Centre for Media and Cultural Research at Birmingham City University, explores and discusses new books about cultural work, cultural industries and new and social media. Every three months we meet to discuss chapters of a chosen text.

The book we are discussing is Ulrich Brockling’s The Entrepreneurial Self, more details below:

“Ulrich Bröckling claims that the imperative to act like an entrepreneur has turned ubiquitous. In Western society there is a drive to orient your thinking and behaviour on the objective of market success which dictates the private and professional spheres. Life is now ruled by competition for power, money, fitness, and youth. The self is driven to constantly improve, change and adapt to a society only capable of producing winners and losers.

The Entrepreneurial Self explores the series of juxtapositions within the self, created by this call for entrepreneurship. Whereas it can expose unknown potential, it also leads to over-challenging. It may strengthen self-confidence but it also exacerbates the feeling of powerlessness. It may set free creativity but it also generates unbounded anger. Competition is driven by the promise that only the capable will reap success, but no amount of effort can remove the risk of failure. The individual has no choice but to balance out the contradiction between the hope of rising and the fear of decline.”

If you would like to take part, please pick a chapter (or chapters) that you would like to read and discuss, and let me know so I can send the relevant chapter(s) to you. You can see the full table of contents here.

If you would like to join this reading group, please email me karen.patel@bcu.ac.uk with the chapter name(s) you would like to review.

The Most Famous Artist

Thanks to my colleague Annette Naudin for tweeting this video, which raises a lot of questions for me about art, expertise and social media.

This is a short documentary-style video by Buzzfeed which focuses on an artist on Instagram called ‘The Most Famous Artist’, whose real name is Matty. Buzzfeed follow him going to flea markets to buy paintings to modify, chart the rise and fall of his internet startup career, and include interviews with an art collector who purchased one of his paintings, and a fine art curator, who argues that even though Matty’s work seems ‘easy’ a lot of work goes into it, and it can still be considered good art. What is ‘good art’ anyway? On themostfamousartist Instagram, one person commented on the above video with this:

There was a part in this video that I absolutely loved. “People think: ‘I could’ve done that’, and the message is: “good, go do it” with my being a young artist and following a bunch of artists and art accounts here on Instagram, I see a lot of work. And I find myself looking at these works thinking “wow I wish I came up with that” or “wow I totally could’ve done that” and the subjects of these works aren’t complicated at all. So I find your artist POV very interesting and intriguing. I think that is something I, as an artist, strive to do as well: create “easy” non complicated art that just anyone could come up with or understand or recognize. That’s what I love about art, it doesn’t have to be complicated at all. Keep doing what you’re doing”

Though Matty’s art may appear to be ‘easy’ there is a some financial investment in sourcing the initial paintings, the thought which goes into what would look good for the medium, and the work that goes into creating the art. The end product is generally well received, judging by the sales, comments and growing number of online followers.

What I found particularly interesting from this video was when Matty describes his process, the most important thing for him is that he knows “it will photograph well and spread online”. When he wants to exhibit in a gallery, he uses his thousands of Instagram followers as a way of getting his foot in the door, which a few of my own participants have some difficulty with. This is an example of how social media can be integral to the art process, from being the inspiration for art (as this artist often does) to being used as a vehicle for self-promotion and performance of expertise.

What is the expertise of this person and how is it performed? He never says he is a ‘great’ artist. He actually claims in the opening seconds of this video that he “doesn’t actually know how to make any art”. His emphasis is on the ‘famous’, and his Instagram name of ‘themostfamousartist‘ encapsulates what his art is all about-fame. He creates art about hot button, popular topics on social media which he then displays on social media. I’ve been working with the idea that expertise is a process developed from relations and associations with others, and that’s exactly what this person is doing. He is building a large online following which he is using to get into art galleries and he is associating himself with large brands and public figures. All of this is evident just by looking at his Instagram profile. That is where I found the below image, by @drewtoonz:

instagram artist_edited

Instagram: @drewtoonz 

Instagram itself is a central platform for some artists and art; I’ve seen several examples recently of Instagram art and photography being exhibited, including a photography exhibition at the Ikon gallery in Birmingham. There are the spoof selfies considered to be ‘Instagram Masterpieces‘ and the New York artist selling other people’s Instagram photos for thousands. Whenever these stories come up I always think about expertise and the art world, and what this means in the ‘social media age’. Can anyone call themselves an artist on Instagram and make a living out of it and if so, how far can they go? How important is the ‘publicness’ of platforms? Does it matter how much time or effort goes into a piece of art if it gets thousands of likes? Does a number of likes on a picture make it ‘good art’?

Gender and expertise

Lately I have noticed a particular theme in my social media analysis of artists, most notably among my female participants. A lot of my thinking around this also coincides with a paper I recently co-wrote with my colleague Annette Naudin on female cultural entrepreneurs. Before that I hadn’t read much around gender even though it is incredibly important when thinking about cultural work, especially as some of my participants are women situated in a ‘working from home’ context where blurring between personal and professional life, while an accepted part of being an artist, could be exacerbated with the use of social media for work and personal purposes. Some work has been carried out on female artists working from home and it has focused on how they manage the family and the more traditional domestic responsibilities which most women are still expected to do (Luckman, 2015; McRobbie, 2016). These wider issues are important and provide the context for my own area of focus: gender and expertise.

Social media and art and craft seller websites such as Etsy allow anyone to create and sell art and potentially make money from it, and the large majority of sellers on sites like Etsy are women. The opening up of cultural production through social media and seller sites has raised questions about the legitimacy of amateur art and its impact on ‘professional’ artists (Luckman, 2015).

Social media also makes it easier for people to say they are an expert in their field, to a potentially global audience, and yet the implications of this are yet to be explored in cultural work. In addition, those who talk about ‘experts’ in the cultural industries usually refer to cultural intermediaries, consultants and art critics (Prince, 2010; Taylor, 2013) and the idea of the expert is traditionally masculinised (Thomas-Hunt and Phillips, 2004). What about the expertise of artists? And what about the female experts in cultural production? I will unpack these questions using insights from my research so far.

1. What about the expertise of artists?

My social media analysis is still ongoing; for all of my participants I am taking samples of social media posts over four months and analysing them using Candace Jones’ (2002) signalling expertise framework. My findings so far demonstrate the importance of other people and companies for artists, especially for performing expertise. This includes associations with others through mentions and follows, mutual endorsement through retweets and sharing positive reviews from clients/customers. All of these practices are evident in my analysis so far. I’m now going to relate these to two useful concepts I have come across recently.

Naming

Pierre Bourdieu’s concept of naming a useful way of conceptualising this public endorsement on social media. Naming is “a symbolic strateg[y] through which agents aim to impose their vision of the divisions of the social world and of their position in that world” (Bourdieu 1991:239). This relates to how those in power can endorse people, such as artists, and enhance their status and reputation, which I have written about in a previous blog post.

The practice of retweeting endorsements by others and associating oneself with larger clients can be considered to be an example of artists using social media to repurpose the ‘naming’ by companies or people who could help to enhance their status. Where companies or people may not explicitly ‘name’ an artist, that artist can create an impression of naming which is specific to social media, such as mentioning others in posts and retweeting or sharing positive reviews by others.

In addition, Bourdieu’s process of ‘naming’ can be further progressed for social media: while being mentioned by high-profile and powerful companies/people is incredibly important for gaining increased exposure and enhancing one’s status, what occurs more often, and what appears to be crucial, is the mutual ‘naming’ among the artistic community, on social media at least, and more frequently among female artists, which I will talk about in more depth shortly.

Labour on social media

When thinking about social media use, the process of naming links to the idea of ‘relational labour’, which Nancy Baym defines as “regular, ongoing communication with audiences over time to build social relationships that foster paid work” (2015, p. 16). For my research, the idea of relational labour is useful for thinking about the labour that goes into performing expertise on social media-associating with others and nurturing those associations.

However, the idea of relational labour is too narrow for thinking about how the artists in my research use social media as a whole. Relating to each other is not all they do on social media, and paid work is not always the aim. They also build and maintain their online presence, browse for inspiration, check up on events and opportunities, see their friends’ latest holiday photos, look at memes posted by other artists or random people, or read the latest industry news. They do all of this on social media, and most of it feeds into their artistic practice. I argue that the labour of these myriad of practices, and the way they interweave with work and personal life, is better described as social media labour. 

2. What about the female experts in cultural production?

While I need to do more primary research and reading, I have some idea of where I can situate my initial thoughts on expertise in debates around gender, feminism and creative labour. Conor et al (2015) argue that despite appearances, gender inequalities are prevalent in the cultural industries; and in the same collection, Scharff (2015) highlights the challenges for female classical musicians to effectively self-brand and present themselves online in order to effectively compete for work. These accounts focus primarily on the cultural industries, such as film and music, and not the experiences of artists, however they point to wider prevailing inequalities for female cultural workers and increasingly difficult conditions for women to forge a successful career in the sector. In terms of gender inequality in art, Linda Nochlin asked in 1971 Why have there been no great women artistsWith Nochlin highlighting that the great artists of art history are often the heroic, singular male ‘genius’, identified by the male art historians. More than 40 years later, Nochlin could still be asking that question. According to a-n the artists’ network: “while female fine-art graduates outnumber male, only six women have won the Turner Prize in 30 years (four in the last ten), with male nominees vastly outnumbering female”.  The visibility of female artists remains an issue, so what about the female artists and what do they do to perform expertise on social media?

Using the signalling expertise framework, I’ve found that the major stand out theme is the widespread retweeting and mutual support demonstrated among female artists, even when they appear to be in direct competition. This is commonly in the form of simple retweets, but sometimes the tweets are quoted and accompanied by a compliment or kind message.

I’ve also noticed some communities on Twitter, particularly writing groups, where the majority of members are women and there appears to be a great deal of mutual support and encouragement going on; this is sometimes gathered around hashtags such as #Tuesdaybookblog. In interviews, a few of my participants have talked about the importance of supporting each other, with one person saying “we all need to make a case for the arts” which is important for reminding me about the significance of the wider context of the cultural economy and cultural policy.

This supportive online environment is not the form I thought the performance of expertise would take, but it has and it suggests that while the marketplace is crowded and competitive (and social media potentially opens that up to even more competition) there are at least pockets of convivial, supportive activity going on, particularly among the female artists. While they could be acting to “make a case for the arts”, are they also making a case for female artists?

 

References

Baym, N. K. (2015). Connect with your audience! The relational labor of connection. The Communication Review, 18(1), 14–22.

Bourdieu, P. (1991) Language and Symbolic Power. Polity Press.

Conor, B., Gill, R., & Taylor, S. (2015). Gender and creative labour. The Sociological Review, 63(S1), 1–22.

Jones, C. (2002). Signaling expertise: How signals shape careers in creative industries. Career Creativity: Explorations in the Remaking of Work, (May
1998), 209–228.

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Creative Labour Process Group at Goldsmiths

On January 13th I went to Goldsmiths for a symposium on creative labour called ‘Concepts and Methods in a Cross-Sectoral Frame‘. This was the second event by the Creative Labour Process Group which is organised by Angela McRobbie and colleagues at Goldsmiths. The symposium was well attended by academics in the field and there was some stimulating discussion throughout the afternoon.

The focus on methods and concepts is particularly timely for me as I am currently working on my methodology in my PhD. I was disappointed to hear that Georgina Born’s keynote was cancelled at short notice but her replacement, Don Slater from LSE, was excellent. In his project with Jo Entwistle and Mona Sloan, called configuring light, the aim is to integrate the social within lighting design practices. They are working with Derby Council on lighting in its town centre, and the argument of Don and the project team is that social knowledge is crucial for design. He talked briefly about expertise, especially the reliance on scientific knowledge for legitimising expertise and knowledge in lighting design practices, which overlooks the importance of social factors too. Expertise is an important part of my PhD, and it was interesting to see expertise being questioned and unpicked in other work, which needs to be done more often.

Angela McRobbie talked earlier in the day about methodological issues in her research on the fashion industry. She talked about how she ‘abandoned theory in the pursuit of research’ when she interviewed fashion designers in London and Berlin, but pointed out problems with accessing participants, and the impact of technology on the proliferation of secondary research material. She used the example of the film ‘Dior and I’ as an example of a rich ethnography that an academic researcher would not be able to produce. It provides insights that make interviews look thin. She likened Dior and I to Howard Becker’s Art Worlds, as it highlights the collaborative nature of the fashion industry. However, while the film does provide a rich insight, it comes with the editorial constraints of the film industry. She finished by suggesting that researchers in the cultural industries can mitigate the problems and constraints of access by carrying out more collaborative work.

This was a feature of Carolina Bandinelli’s PhD research on social and cultural entrepreneurs in London and Milan. She carried out an 18 month ethnography and highlighted her problems too with the uncertainty of the field of social and cultural entrepreneurs, and how collaborating with a participant meant that she was becoming a participant in her own research. I think in research the position of the researcher is crucial, and it is important that this is acknowledged in any discussion of method. Carolina became a practitioner too in the field she is studying, which is similar to my own position as a social media practitioner studying social media and this is something I’m thinking through at the moment as I write my method.

Earlier in the day Keith Negus presented his research on musicians. He didn’t have any concrete insights yet, but he found there is a great deal of mutual support between musicians, which is an emerging theme in my own research on artists. This was followed by three papers on data-related research. First, Nicola Searle talked about IP in the creative industries and issues with researching it. Cath Sleeman from NESTA discussed their work on data visualisations, with a particularly interesting example of the ‘off-screen talent network‘ at the BBC. Finally Mark Taylor presented initial insights from the Panic! social mobility in the arts project. While the analysis is in the very early stages, there are suggestions from the research that there is an ‘ideology of talent’ among those in good jobs, who believe that career progression is meritocratic, whereas those still working their way up believe that success in the creative industries also depends on ‘who you know’.

It was an interesting symposium overall with much food for thought, and it was useful that many of the methodological questions and problems in my own research were also discussed here.

Presentation at RESCON15

Last week (11 December) I presented at Birmingham City University’s annual research conference, RESCON15. I was a part of an Ethnography panel organised by Jerome Turner of BCMCR so the focus here was on methods.

I talked about social media methods and argued for the value of more qualitative methods in social media research. I revealed some early insights from my interviews and the added insight they have brought to my social media research, and I also talked about the importance of considering platforms and their owners in any social media research.

The talk was kindly recorded and edited by Dylan Line of Multimedia Services at Birmingham City University, and my slides are embedded below the video.

I should also mention that I won 2nd prize in the poster competition, in which I presented a reworked version of my expertise poster. Thanks to everyone who voted for me!