Back in October I condensed months of thinking in to a blog post, the aim being to find a direction for my MA dissertation research. I knew that I wanted to better understand how web 2.0 is changing the context of participatory arts practice; how projects are being developed and interacted with, and who is involved. I was also really interested in discovering more about the challenges from an artist/curator perspective and where the similarities and differences lie between on and offline practice.
I was thrilled that the post attracted some very helpful comments/emails from well respected academics Mike Press, David Gauntlett and Charlotte Frost. During my teenage years I was a prolific letter writer and trawled the back pages of the NME, sending off for demo tapes and ‘rare’ live recordings of my favourite bands. If I happened to get a letter back with my tape, it was a moment of great jubilation! I would now proclaim that feedback from academics is the new rock and roll but I do however feel under pressure to write something amazing to repay the interest shown; a home-made badge or postcard just isn’t going to cut it!
In November I met up with David Gauntlett at the V and A to talk craft, lego and everyday creativity and to continue with the rock and roll theme instead of getting him to sign my T-Shirt I asked for his autograph on my copy of Making is Connecting! David was very generous with his time, tolerant of my interrogation of his creative reflective research methods and un-phased by the level of my hyperactivity rising in relation to the amount of fizzy pop I consumed (he has small children). We discussed my hypothesis and choice of case studies (mostly sourced through a Twitter shout out) and I left with a clearer vision of where my research could take me.
My Hypothesis is:
Social media-led projects curated by artists using everyday creativity are challenging traditional modes of participation.
My research questions are:
What are the similarities and differences between traditional and online community participation?
What skills and motivations do artists attribute as being necessary to the development of social media-led projects that use everyday creativity?
What factors influence the future viability of social media-led projects?
I have identified five projects to research (an overview of each is detailed in my next post):
David Gillett’s 52 by 52
Inny Murnane’s #plateaknit
Kirsty Hall’s 365 Jars
Lucy Phillips’ What Cannot be Seen
And my We Found Art
Over the last couple of months I have spent many hours on trains travelling the country to meet with each project’s curator. It has been an absolute delight and a very enjoyable experience. I have been overwhelmed by the kindness shown to me by relative strangers. I have been met at train stations, escorted to bus stops, been welcomed into homes and had a never ending supply of coffee!
My research interviews have also had an unexpected element to them. When I met David Gillett in a cafe in Bath we were treated to various interjections from an overly tactile elderly customer who serenaded us with songs from the shows throughout our interview! In St Leonards, Lucy Phillips suggested an impromptu costal tour with her daughter as tour guide; I was only too happy to accept the offer and particularly enjoyed the ‘piece of cheese house’ and ‘yellow sweet shop.’
I have also been busy collecting data from ‘fans’, ‘followers’, ‘members’, ‘participants’ and the ‘audience’ of the projects selected via a series of online surveys. I hope to build a profile of the type of person who has taken an interest in each. In addition to demographics, I hope to discover more about levels of engagement and motivations, internet and social media habits, offline creative activities and attitudes towards arts and culture.
The next task is to code and interpret the qualitative data that I have collected and I will report back soon.