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. 

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.

Responsible management of online academic reputations

Online professional persona creation in academia provides individuals and their employing institutions a range of positive reputational benefits. However, not all academics are equipped to keep pace with the speed and dynamism of the new media environment. This paper examines the challenges experienced by academics who are communicating with multiple audiences across several online platforms, some mandated by their institutions. Some academics are vulnerable to the negative consequences of heightened exposure and need additional protection and support. This paper outlines a set of recommendations that centres on the need for universities to accept greater social responsibility in managing this emerging issue.

Mind games : applying White’s principles of narrative therapy to the creation of a cabaret about depression and bipolar disorder

This PhD represents my attempt to make sense of my personal experiences of depression through the form of cabaret. I first experienced depression in 2006. Previously, I had considered myself to be a happy and optimistic person. I found the experience of depression to be a shock: both in the experience itself, and also in the way it effected my own self image. These personal experiences, together with my professional history as a songwriter and cabaret performer, have been the motivating force behind the research project. This study has explored the question: What are the implications of applying principles of Michael White’s narrative therapy to the creation of a cabaret performance about depression and bipolar disorder? There is a 50 percent weighting on the creative work, the cabaret performance Mind Games, and a 50 percent weighting on the written exegesis. This research has focussed on the illustration of therapeutic principles in order to play games of truth within a cabaret performance. The research project investigates ways of telling my own story in relation to others’ stories through three re-authoring principles articulated in Michael White’s narrative therapy: externalisation, an autonomous ethic of living and rich descriptions. The personal stories presented in the cabaret were drawn from my own experiences and from interviews with individuals with depression or bipolar disorder. The cabaret focussed on the illustration of therapeutic principles, and was not focussed on therapeutic ends for myself or the interviewees. The research question has been approached through a methodology combining autoethnographic, practice-led and action research. Auto ethnographic research is characterised by close investigation of assumptions, attitudes, and beliefs. The combination of autoethnographic, practice-led, action research has allowed me to bring together personal experiences of mental illness, research into therapeutic techniques, social attitudes and public discourses about mental illness and forms of contemporary cabaret to facilitate the creation of a one-woman cabaret performance. The exegesis begins with a discussion of games of truth as informed by Michel Foucault and Michael White and self-stigma as informed by Michael White and Erving Goffman. These concepts form the basis for a discussion of my own personal experiences. White’s narrative therapy is focused on individuals re-authoring their stories, or telling their stories in different ways. White’s principles are influenced by Foucault’s notions of truth and power. Foucault’s term games of truth has been used to describe the effect of a ‘truth in flux’ that occurs through White’s re-authoring process. This study argues that cabaret is an appropriate form to represent this therapeutic process because it favours heightened performativity over realism, and showcases its ‘constructedness’ and artificiality. Thus cabaret is well suited to playing games of truth. A contextual review compares two major cabaret trends, personal cabaret and provocative cabaret, in reference to the performer’s relationship with the audience in terms of distance and intimacy. The study draws a parallel between principles of distance and intimacy in Michael White’s narrative therapy and relates these to performative terms of distance and intimacy. The creative component of this study, the cabaret Mind Games, used principles of narrative therapy to present the character ‘Jo’ playing games of truth through: externalising an aspect of her personality (externalisation); exploring different life values (an autonomous ethic of living); and enacting multiple versions of her identity (rich descriptions). This constant shifting between distance and intimacy within the cabaret created the effect of a truth in ‘constant flux’, to use one of White’s terms. There are three inter-related findings in the study. The first finding is that the application of principles of White’s narrative therapy was able to successfully combine provocative and empathetic elements within the cabaret. The second finding is that the personal agenda of addressing my own self-stigma within the project limited the effective portrayal of a ‘truth in flux’ within the cabaret. The third finding presents the view that the cabaret expressed ‘Jo’ playing games of truth in order to journey towards her own "preferred identity claim" (White 2004b) through an act of "self care" (Foucault 2005). The contribution to knowledge of this research project is the application of therapeutic principles to the creation of a cabaret performance. This process has focussed on creating a self-revelatory cabaret that questions notions of a ‘fixed truth’ through combining elements of existing cabaret forms in new ways. Two major forms in contemporary cabaret, the personal cabaret and the provocative cabaret use the performer-audience relationship in distinctive ways. Through combining elements of these two cabaret forms, I have explored ways to create a provocative cabaret focussed on the act of self-revelation.

As newsletters com vídeos incorporados como instrumento de comunicação. O caso da clínicas Persona

Dissertação de Mestrado apresentada ao Instituto Superior de Contabilidade e Administração do Porto, para obtenção do grau de Mestre em Marketing Digital, sob orientação da Prof. Sandrina Teixeira

Predictors of knowledge creation performance. A quantitative qualitative comparative study of European doctorandi

Aquesta tesi forma part d'un projecte destinat a predir el rendiment acadèmic dels estudiants de doctorat portat a terme per l'INSOC (International Network on Social Capital and Performance). El grup de recerca INSOC està format per les universitats de Girona (Espanya), Ljubljana (Eslovènia), Giessen (Alemanya) i Ghent (Bèlgica). El primer objectiu d'aquesta tesi és desenvolupar anàlisis quantitatius comparatius sobre el rendiment acadèmic dels estudiants de doctorat entre Espanya, Eslovènia i Alemanya a partir dels resultats individuals del rendiment acadèmic obtinguts de cada una de les universitats. La naturalesa internacional del grup de recerca implica la recerca comparativa. Vam utilitzar variables personal, actitudinals i de xarxa per predir el rendiment. El segon objectiu d'aquesta tesi és entendre de manera qualitativa perquè les variables de xarxa no ajuden quantitativament a predir el rendiment a la universitat de Girona (Espanya). En el capítol 1, definim conceptes relacionats amb el rendiment i donam un llistat de cada una de les variables independents (variables de xarxa, personals i actitudinals), resumint la lliteratura. Finalment, explicam com s'organitzen els estudis de doctorat a cada un dels diferents països. A partir d'aquestes definicions teòriques, en els pròxims capítols, primer presentarem els qüestionaris utilitzats a Espanya, Eslovènia i Alemanya per mesurar aquests diferents tipus de variables. Després, compararem les variables que són relevants per predir el rendiment dels estudiants de doctorat a cada país. Després d'això, fixarem diferents models de regressió per predir el rendiment entre països. En tots aquests models les variables de xarxa fallen a predir el rendiment a la Universitat de Girona. Finalment, utilitzem estudis qualitatius per entendre aquests resultats inesperats. En el capítol 2, expliquem com hem dissenyat i conduït els qüestionaris en els diferents països amb l'objectiu d'explicar el rendiment dels estudiants de doctorat obtinguts a Espanya, Eslovènia i Alemanya. En el capítol 3, cream indicadors comparables però apareixen problemes de comparabilitat en preguntes particulars a Espanya, Eslovènia i Alemanya. En aquest capítol expliquem com utilitzem les variables dels tres països per crear indicadors comparables. Aquest pas és molt important perquè el principal objectiu del grup de recerca INSOC és comparar el rendiment dels estudiants de doctorat entre els diferents països. En el capítol 4 comparem models de regressió obtinguts de predir el rendiment dels estudiants de doctorat a les universitats de Girona (Espanya) i Eslovènia. Les variables són característiques dels grups de recerca dels estudiants de doctorat enteses com una xarxa social egocèntrica, característiques personals i actitudinals dels estudiants de doctorat i algunes carecterístiques dels directors. Vam trobar que les variables de xarxa egocèntriques no predien el rendiment a la Universitat de Girona. En el capítol 5, comparem dades eslovenes, espanyoles i alemnayes, seguint la metodologia del capítol 4. Concluïm que el cas alemany és molt diferent. El poder predictiu de les variables de xarxa no millora. En el capítol 6 el grup de recerca dels estudiants de doctorat és entès com una xarxa duocèntrica (Coromina et al., 2008), amb l'objectiu d'obtendre informació de la relació mútua entre els estudiants i els seus directors i els contactes d'ambdós amb els altres de la xarxa. La inclusió de la xarxa duocèntrica no millora el poder predictiu del model de regressió utilitzant les variales egocèntriques de xarxa. El capítol 7 pretèn entendre perquè les variables de xarxa no predeixen el rendiment a la Universitat de Girona. Utilitzem el mètode mixte, esperant que l'estudi qualitatiu pugui cobrir les raons de perquè la qualitat de la xarxa falla en la qualitat del treball dels estudiants. Per recollir dades per l'estudi qualitatiu utilitzem entrevistes en profunditat.

Social networks and performance in knowledge creation. An application and a methodological proposal

El objetivo de esta tesis es predecir el rendimiento de los estudiantes de doctorado en la Universidad de Girona según características personales (background), actitudinales y de redes sociales de los estudiantes. La población estudiada son estudiantes de tercer y cuarto curso de doctorado y sus directores de tesis doctoral. Para obtener los datos se ha diseño un cuestionario web especificando sus ventajas y teniendo en cuenta algunos problemas tradicionales de no cobertura o no respuesta. El cuestionario web se hizo debido a la complejidad que comportan de las preguntas de red social. El cuestionario electrónico permite, mediante una serie de instrucciones, reducir el tiempo para responder y hacerlo menos cargado. Este cuestionario web, además es auto administrado, lo cual nos permite, según la literatura, unas respuestas mas honestas que cuestionario con encuestador. Se analiza la calidad de las preguntas de red social en cuestionario web para datos egocéntricos. Para eso se calcula la fiabilidad y la validez de este tipo de preguntas, por primera vez a través del modelo Multirasgo Multimétodo (Multitrait Multimethod). Al ser datos egocéntricos, se pueden considerar jerárquicos, y por primera vez se una un modelo Multirasgo Multimétodo Multinivel (multilevel Multitrait Multimethod). Las la fiabilidad y validez se pueden obtener a nivel individual (within group component) o a nivel de grupo (between group component) y se usan para llevar a cabo un meta-análisis con otras universidades europeas para analizar ciertas características de diseño del cuestionario. Estas características analizan si para preguntas de red social hechas en cuestionarios web son más fiables y validas hechas "by questions" o "by alters", si son presentes todas las etiquetas de frecuencia para los ítems o solo la del inicio y final, o si es mejor que el diseño del cuestionario esté en con color o blanco y negro. También se analiza la calidad de la red social en conjunto, en este caso específico son los grupos de investigación de la universidad. Se tratan los problemas de los datos ausentes en las redes completas. Se propone una nueva alternativa a la solución típica de la red egocéntrica o los respondientes proxies. Esta nueva alternativa la hemos nombrado "Nosduocentered Network" (red Nosduocentrada), se basa en dos actores centrales en una red. Estimando modelos de regresión, esta "Nosduocentered network" tiene mas poder predictivo para el rendimiento de los estudiantes de doctorado que la red egocéntrica. Además se corrigen las correlaciones de las variables actitudinales por atenuación debido al pequeño tamaño muestral. Finalmente, se hacen regresiones de los tres tipos de variables (background, actitudinales y de red social) y luego se combinan para analizar cual para predice mejor el rendimiento (según publicaciones académicas) de los estudiantes de doctorado. Los resultados nos llevan a predecir el rendimiento académico de los estudiantes de doctorado depende de variables personales (background) i actitudinales. Asimismo, se comparan los resultados obtenidos con otros estudios publicados.

Value creation and value capture fro open source software publisher : a new business model based on mutualisation

Key topics: Since the birth of the Open Source movement in the mid-80's, open source software has become more and more widespread. Amongst others, the Linux operating system, the Apache web server and the Firefox internet explorer have taken substantial market shares to their proprietary competitors. Open source software is governed by particular types of licenses. As proprietary licenses only allow the software's use in exchange for a fee, open source licenses grant users more rights like the free use, free copy, free modification and free distribution of the software, as well as free access to the source code. This new phenomenon has raised many managerial questions: organizational issues related to the system of governance that underlie such open source communities (Raymond, 1999a; Lerner and Tirole, 2002; Lee and Cole 2003; Mockus et al. 2000; Tuomi, 2000; Demil and Lecocq, 2006; O'Mahony and Ferraro, 2007;Fleming and Waguespack, 2007), collaborative innovation issues (Von Hippel, 2003; Von Krogh et al., 2003; Von Hippel and Von Krogh, 2003; Dahlander, 2005; Osterloh, 2007; David, 2008), issues related to the nature as well as the motivations of developers (Lerner and Tirole, 2002; Hertel, 2003; Dahlander and McKelvey, 2005; Jeppesen and Frederiksen, 2006), public policy and innovation issues (Jullien and Zimmermann, 2005; Lee, 2006), technological competitions issues related to standard battles between proprietary and open source software (Bonaccorsi and Rossi, 2003; Bonaccorsi et al. 2004, Economides and Katsamakas, 2005; Chen, 2007), intellectual property rights and licensing issues (Laat 2005; Lerner and Tirole, 2005; Gambardella, 2006; Determann et al., 2007). A major unresolved issue concerns open source business models and revenue capture, given that open source licenses imply no fee for users. On this topic, articles show that a commercial activity based on open source software is possible, as they describe different possible ways of doing business around open source (Raymond, 1999; Dahlander, 2004; Daffara, 2007; Bonaccorsi and Merito, 2007). These studies usually look at open source-based companies. Open source-based companies encompass a wide range of firms with different categories of activities: providers of packaged open source solutions, IT Services&Software Engineering firms and open source software publishers. However, business models implications are different for each of these categories: providers of packaged solutions and IT Services&Software Engineering firms' activities are based on software developed outside their boundaries, whereas commercial software publishers sponsor the development of the open source software. This paper focuses on open source software publishers' business models as this issue is even more crucial for this category of firms which take the risk of investing in the development of the software. Literature at last identifies and depicts only two generic types of business models for open source software publishers: the business models of ''bundling'' (Pal and Madanmohan, 2002; Dahlander 2004) and the dual licensing business models (Välimäki, 2003; Comino and Manenti, 2007). Nevertheless, these business models are not applicable in all circumstances. Methodology: The objectives of this paper are: (1) to explore in which contexts the two generic business models described in literature can be implemented successfully and (2) to depict an additional business model for open source software publishers which can be used in a different context. To do so, this paper draws upon an explorative case study of IdealX, a French open source security software publisher. This case study consists in a series of 3 interviews conducted between February 2005 and April 2006 with the co-founder and the business manager. It aims at depicting the process of IdealX's search for the appropriate business model between its creation in 2000 and 2006. This software publisher has tried both generic types of open source software publishers' business models before designing its own. Consequently, through IdealX's trials and errors, I investigate the conditions under which such generic business models can be effective. Moreover, this study describes the business model finally designed and adopted by IdealX: an additional open source software publisher's business model based on the principle of ''mutualisation'', which is applicable in a different context. Results and implications: Finally, this article contributes to ongoing empirical work within entrepreneurship and strategic management on open source software publishers' business models: it provides the characteristics of three generic business models (the business model of bundling, the dual licensing business model and the business model of mutualisation) as well as conditions under which they can be successfully implemented (regarding the type of product developed and the competencies of the firm). This paper also goes further into the traditional concept of business model used by scholars in the open source related literature. In this article, a business model is not only considered as a way of generating incomes (''revenue model'' (Amit and Zott, 2001)), but rather as the necessary conjunction of value creation and value capture, according to the recent literature about business models (Amit and Zott, 2001; Chresbrough and Rosenblum, 2002; Teece, 2007). Consequently, this paper analyses the business models from these two components' point of view.

From Prosumer to Produser: Understanding User-Led Content Creation

Alvin Toffler’s image of the prosumer (1970, 1980, 1990) continues to influence in a significant way our understanding of the user-led, collaborative processes of content creation which are today labelled “social media” or “Web 2.0”. A closer look at Toffler’s own description of his prosumer model reveals, however, that it remains firmly grounded in the mass media age: the prosumer is clearly not the self-motivated creative originator and developer of new content which can today be observed in projects ranging from open source software through Wikipedia to Second Life, but simply a particularly well-informed, and therefore both particularly critical and particularly active, consumer. The highly specialised, high end consumers which exist in areas such as hi-fi or car culture are far more representative of the ideal prosumer than the participants in non-commercial (or as yet non-commercial) collaborative projects. And to expect Toffler’s 1970s model of the prosumer to describe these 21st-century phenomena was always an unrealistic expectation, of course. To describe the creative and collaborative participation which today characterises user-led projects such as Wikipedia, terms such as ‘production’ and ‘consumption’ are no longer particularly useful – even in laboured constructions such as ‘commons-based peer-production’ (Benkler 2006) or ‘p2p production’ (Bauwens 2005). In the user communities participating in such forms of content creation, roles as consumers and users have long begun to be inextricably interwoven with those as producer and creator: users are always already also able to be producers of the shared information collection, regardless of whether they are aware of that fact – they have taken on a new, hybrid role which may be best described as that of a produser (Bruns 2008). Projects which build on such produsage can be found in areas from open source software development through citizen journalism to Wikipedia, and beyond this also in multi-user online computer games, filesharing, and even in communities collaborating on the design of material goods. While addressing a range of different challenges, they nonetheless build on a small number of universal key principles. This paper documents these principles and indicates the possible implications of this transition from production and prosumption to produsage.