Finding the edge : online persona creation by fringe artists

Self-presentation through the creation of profiles and pages on digitally networked spaces is becoming ever more ubiquitous. In order to develop greater depth of understanding of the place of social media in our self-identification practice, my dissertation investigates the experiences of online persona creation by eight artists. Drawing on sociological and cultural studies approaches to understanding identity as performance, I tie current artists’ presentational and representational practices to historically grounded, socio-culturally constructed discourses of ‘artistness’. Through this connection, I argue that the creation of online persona has not radically changed notions of what it means to be an artist, or how artistness is represented and understood by audiences of fans or followers, but rather that digital technology has allowed for renegotiation of the boundaries of artistness that still draws from historical understandings of the role and persona of the artist. This shifting of boundaries, allowing for more inclusivity within the art world, is demonstrated by my focus on ‘fringe’ artists: those whose creative practice places them outside of the traditional art world and its existing structures of representation, distribution and consumption. The eight fringe artists who participated in this study are drawn from street art, performance poetry, craftivism and tattoo.

Interpretative Phenomenological Analysis drives the methodological focus on the experiences of the artists. Rather than a consideration of behaviour and habit, or what the artists do, this phenomenological approach allowed me to instead focus on what it is like for the artists to create persona, what drives particular types of representational practices. Using unstructured interviews, and online listening as an extension of participant observation, the artists’ narratives of experience are expressed through transcript extracts and screenshots: both are necessary to fully explore the nature of online persona creation.

My analysis of the artists experiences has demonstrated that there are three somewhat distinct registers of performance with which an artist’s persona can engage: the professional register, where one demonstrates ones proficiency, experience, popularity, and professionalism; the personal register, where one connects with
wider social and political interests and activities; and the intimate register, where one allows the audience in to one’s private world. These three registers occupy the same performance space, but are implicitly or explicitly for different segments of the digitally networked audience of fans, followers, friends and family. The complexity of the performance and reception of these registers is influenced by the shared nature of the performance space – where previously different roles would be performed for different audiences without reference to one another, the networked nature of online social media influences decisions of how much, and when, to share with whom.

Interpreted here using themes of strategy|happenstance, specialisation|diversification, visibility|self-protection,
self|others and work|play, the professional, personal and intimate registers of performance enable us to see the consideration and care with which each participant creates their artists persona. The experiences of performing the self in these three registers, as presented here, provides an insight into the complexities involved in creating online persona, while also demonstrating that this type of presentation of self is, in itself, no different from the types of role play and performance of self that has arguably always occurred in our physical world. Despite focusing on the role and performance of artistness, this dissertation speaks to the creation and performance of online persona more broadly. 

Finding the edge: online persona creation in fringe art forms

This study investigates the experience of persona creation by eight artists working in fringe art forms. The research demonstrates that for these artists, the online persona can operate in three registers of performance—professional, personal, and intimate—and in creating their personas, participants draw on socio-cultural discourses of artistness.

The online identity : towards a hermeneutic phenomenological approach

In order to better understand how artists working in countercultural or ‘fringe’ creative practice use social media to create online persona I am using a hermeneutic phenomenological approach to investigate the lived experience of both online and offline persona creation by tattoo artists, street artists, craftivists, and slam poets. The use of phenomenology to investigate artists’ lived experience is particularly appropriate, as ‘artists are involved in giving shape to their lived experience, the products of art are, in a sense, lived experienced transformed into transcended configurations’ (Van Manen 2006: 74). This paper will outline the methodological underpinnings of this project, using these underpinnings to explore the benefits offered by phenomenology to internet studies.

Understanding how people use online social media sites to construct personas can benefit greatly from understanding the lived experience of those who use these technologies, the decisions they make in persona construction, and the online/offline, public/private continuums. A phenomenological approach ‘seeks to revel and richly portray the nature of human phenomena and the experiences of those who live through them’ (Grace & Ajjawi 2010: 197) and offers both the researchers and the participants a way to interrogate and interpret the experience of constructing online personas. A phenomenological approach allows for ‘an intimate awareness and deep understanding’ (Saldana, Leavy & Bertvas 2011: 8) of the experience of persona construction in online and offline spaces, and could equally be used to interrogate other aspects of internet use. 

Youth and the communication of Risk: developing connections between cancer council Australia and contemporary online youth culture

Through two focus groups, the project investigated how youth culture perceives online communication of risk. In two 90-minute sessions, investigators gaged the range of online activities that nine 18 - 24 year old university students engaged with. Through a guided discussion the participants explored how they would relate to the communication of health risk more generally and cancer risk more specifically.
Participants’ online activity is very high and a range of social media forms are part of their everyday lives. In contrast, their use of traditional media is almost non-existent. Their relationship to accessing and being aware of health information demonstrated a range of views that pointed to quite new and different relationships to health and health professionals. To intersect with their online movements in the communication of health risk demands a sophisticated knowledge of their own searching patterns.
Key ideas generated from the focus groups include: that it might be advantageous to group health risk beyond the specificity of cancer for online success; that an online persona would be useful to provide a face for the communication of risk; that a multi-platform campaign to raise the profile of a persona would be useful; and that success means moving between the serious and the light-hearted in a way that makes the persona a complete person of interest for them.

Hiding in plain sight: street artists online

Identity and privacy concerns related to social media are the subject of widespread academic enquiry and mass media reporting. Although in most circumstances academic research tends to present identity play and online self-presentation as positive, media reporting in Australia makes much of the risks of identity theft, privacy breaches and online predators. This research explores the phenomenological experience of creating an online persona, focusing particularly on street artists. For street artists, the threat of unwanted exposure has to be balanced with the positive implications of sharing their creative work outside its geographical and temporal constraints. I argue that street artists use complex persona-creation strategies in order to both protect and promote themselves. The two street artists discussed in this article experience their engagement with social media and digital networks in ways that offer new insight into the opportunities and problems associated with the presentation of a persona online.

The artist in a networked society

Artists are under pressure from two conflicting sets of sociocultural expectations. On the one hand, they are expected to conform to the historically grounded myth of the artist as heroic genius. On the other hand, they must meet the expectations of the state (plus ensure their own survival) as economic contributors. One way  that these conflicting pressures are managed by artists working within the traditional art world is by separating the creator from the labourer through the use of intermediaries such as dealer galleries, critics, publishers and agents. This allows the artist to symbolically distance themselves from the economic structures that allow them to continue to work. However, for those artists working outside of these systems of support, legitimization and representation, the positioning of the individual as ‘artist’ becomes a much more complex task.

The construction of artists persona in online spaces can be seen most clearly in those artists who operate outside of the traditional art world. Lacking the symbolic distance between the economic producer and the bohemian, mythical genius, these individual artists instead negotiate a place to stand in direct relation to  their audience of fans, followers and audiences. Using examples from a range of fringe, alternative or counter-culture creative practice, this paper investigates artistic persona by linking the artist myth, economic considerations, and networked society to explore current presentation strategies. 

It can be quite difficult to have your creativity on tap : balancing client expectations and artistic practice in the tattoo industry

Tattoo artists work in a commission structure. Their artistic practice, possibly more than in any other creative career, requires the complete approval of the client prior to the creation of the final work. An unsatisfactory tattoo cannot be on-sold, discarded or easily replaced. Rarely can a tattooer practice their art without external participation. Therefore, tattoo artists come up with a number of strategies to manage their client base to ensure that the art they are asked to create satisfies both the client and their own artistic skills and preferences. Drawing on phenomenological research conducted for my PhD investigating artistic persona, this paper will explore the strategies tattoo artists use to construct their portfolios, manage the tattoo consultation and design process, and develop their own artistic skills, in order to build a successful and rewarding career in the tattoo industry.

The academic online: constructing persona through the world wide web

This paper explores the way individuals are part of the prestige economy generated by universities as institutions. It explores how the construction of online identities or persona is now an essential activity for the academic both from the perspective of university value and individual/career value. Five distinct types of academic persona are explored primarily through academics working in digital communication areas; through these cases and examples this new communication environment is explored. This paper concludes that institutions and individuals need to develop in the most pragmatic sense, online academic persona and ensure that these online ‘selfs’ are connected with authenticity to the professional work of the academic.

Understanding the emerging contemporary public intellectual: Online academic persona and The Conversation

At its core, the power of the public intellectual is the capacity to make ideas move through a culture. This article looks at what kind of academic persona – that is, what kind of public self whose original status comes from intellectual work and thinking – navigates effectively through online culture and communicates ideas in the contemporary moment. Part of the article reports on a research project that has studied academic personas online and explores what can be described as ‘registers of online performance’ that they inhabit through their online selves. The research reveals that public intellectuals have to interpret effectively that online culture privileges what is identified as ‘presentational media’: the individual as opposed to the media is the channel through which information moves and is exchanged online, and it is essentially a presentation of the self that has to be integrated into the ideas and messages. From this initial analysis/categorisation of academic persona online, the article investigates the online magazine The Conversation, which blends journalism with academic expertise in its production of news stories. The article concludes with some of the key elements that are part of the power of the public intellectual online.

Prueba de inmigración y márgenes legales del desencuentro. Políticas públicas, prácticas sociales y construcción de la persona

La redacción de las directrices y los procedimientos administrativos que hacen virtualmente posible la inmigración, contribuye a construir no sólo los itinerarios sino también el imaginario social sobre la alteridad. El principal objetivo del artículo es poner de relieve –mediante el análisis discursivo de las Hojas informativas publicadas en la WEB del Ministerio de Empleo y Seguridad Social- cómo la construcción social del emigrante/inmigrante y el proyecto migratorio topan con unas representaciones y envites, instituidos y refrendados  en y por la propia formulación de la reglamentación, pero no del todo explícitos. Entendiendo el texto como una acción que genera otras acciones, se examinan las consecuencias que tiene sobre la practica social de los inmigrantes. En suma, se trata  de vislumbrar los elementos (terminología, fórmulas, esquemas y prácticas inducidas) que van constituyendo al inmigrante como agente social subordinado a micro-procesos y relaciones que se le escapan en gran parte (en contra de las apariencias que parecieran sugerir lo contrario) y van marcando su propia capacidad de acción. En conclusión y retomando la distinción entre principio de diferencia y principio de indiferencia sugerida por Foucault, se muestra que mientras el primero rige las clausulas generales, el segundo articula las específicas.

Prevalencia de Dolor Lumbar y su Relación con Factores de Riesgo Biomecánico en Persona de Enfermería

Objetivo Determinar la prevalencia de dolor lumbar y su relación con los factores de riesgo biomecánico en el personal de enfermería de una entidad de salud de cuarto nivel en la ciudad de Bogotá, entre el año 2014 y 2015. Esta investigación se realizó teniendo en cuenta que el dolor lumbar tiene un alto impacto en la calidad de vida del personal de enfermería. Materiales y métodos: Es un estudio de corte transversal con exploración analítica. La población objeto de estudio está conformada por 866 trabajadores de enfermería de la cual se tomó una muestra de 265 individuos a los cuales se les aplicó un cuestionario online que indagó acerca de las características individuales, laborales de riesgo biomecánico. En la elaboración del instrumento se seleccionaron ítems de Ergopar y Nórdico. La muestra fue aleatoria, estratificada con distribución proporcional por servicio de atención y jornada laboral. Resultados La prevalencia de dolor lumbar en la población estudiada fue del 61.1% (n=162) con un intervalo de confianza del 95% (55.1-67.2). Los factores de riesgo biomecánico asociados al problema de estudio fueron: posturas que implican girar y/o inclinar la espalda o el tronco (p 0.05), y tiempo de movilización de pacientes (p 0.01). Los factores a nivel laboral que se relacionan con el dolor lumbar son: el tipo de contrato (p 0.002), las exigencias físicas del trabajo (p 0.001) y la imposibilidad para realizar el trabajo por causa del dolor lumbar (p 0.000). La prevalencia por servicios y la jornada laboral no presentaron asociación significativa. Conclusiones La prevalencia de dolor lumbar en personal de enfermería es alta y coincide con los estudios realizados a nivel nacional e internacional. La exposición a los factores de riesgo biomecánico que se relacionan con la presencia de dolor lumbar en el personal de enfermería, afectan su calidad de vida. Además, no existen diferencias significativas de acuerdo con las funciones de los cargos desempeñados.

Una taxonomía de la primera persona del plural

En este artículo se busca elaborar filosóficamente el concepto nosotros. Metodológicamente, se utiliza al constructivismo filosófico de Deleuze y Guattari. Se parte de una taxonomía comprensiva de la pragmática del pronombre de primera persona plural ‘nosotros’, y luego señalando juegos de oposiciones que brindan consistencia interna y externa al concepto. Se muestra que el pronombre implica múltiples usos que permiten tratarlo como una herramienta discursiva que afecta el campo de lo social.