Module #5 Content Creation with Pinterest
Module Overview: Module 5 focuses on the art of curation and the use of Pinterest as a dynamic tool for this purpose. It explores how curated content, from a variety of sources, can be woven into a coherent narrative. This module emphasizes the development of critical skills necessary for selecting and evaluating sources, and for understanding the role of editorial perspective in shaping narratives.
Thompson, S., & Reilly, M. (2019). “Everyone’s a Curator”:
This article explores the democratization of curation in the digital age, arguing that with tools like Pinterest, curation is no longer a professional privilege but an everyday activity. It emphasizes the importance of understanding the principles and responsibilities that come with this new role.
Mihailidis, P., & Cohen, J. (2013). "Exploring Curation as a Core Competency":
This paper argues for the inclusion of curation as a critical skill in digital and media literacy education. It discusses how the ability to curate information effectively is becoming increasingly important in a world overloaded with digital content.
Schwamberger, B. A. (2020). "Pinterest Strategy Tips for 2018":
This practical guide provides strategies for effective curation and content management on Pinterest. It offers insights into how to use Pinterest as a tool for marketing and communication, applicable to the process of academic curation and narrative creation.
Hermitage Museum. (2012). "An Open Letter to Everyone Using the Word ‘Curate’ Incorrectly":
This open letter is a critique of the casual use of the word 'curate' in digital contexts. It provides a historical perspective on the term and emphasizes the need for a more thoughtful and responsible approach to digital curation.
Ryan, N. (2018). "We Need to Rethink the Value of Content":
This supplemental reading challenges conventional views on content creation and compensation, particularly in the context of digital platforms. It offers a critical perspective on how content is valued and shared in the digital economy, relevant to the process of curation on platforms like Pinterest.
Thompson, S., & Reilly, M. (2019). “Everyone’s a Curator”:
This article explores the democratization of curation in the digital age, arguing that with tools like Pinterest, curation is no longer a professional privilege but an everyday activity. It emphasizes the importance of understanding the principles and responsibilities that come with this new role.
Mihailidis, P., & Cohen, J. (2013). "Exploring Curation as a Core Competency":
This paper argues for the inclusion of curation as a critical skill in digital and media literacy education. It discusses how the ability to curate information effectively is becoming increasingly important in a world overloaded with digital content.
Schwamberger, B. A. (2020). "Pinterest Strategy Tips for 2018":
This practical guide provides strategies for effective curation and content management on Pinterest. It offers insights into how to use Pinterest as a tool for marketing and communication, applicable to the process of academic curation and narrative creation.
Hermitage Museum. (2012). "An Open Letter to Everyone Using the Word ‘Curate’ Incorrectly":
This open letter is a critique of the casual use of the word 'curate' in digital contexts. It provides a historical perspective on the term and emphasizes the need for a more thoughtful and responsible approach to digital curation.
Ryan, N. (2018). "We Need to Rethink the Value of Content":
This supplemental reading challenges conventional views on content creation and compensation, particularly in the context of digital platforms. It offers a critical perspective on how content is valued and shared in the digital economy, relevant to the process of curation on platforms like Pinterest.
This week’s readings held a particular relevance for me as someone with a Bachelor of Fine Arts. In my undergraduate degree, the “academic” art sphere emphasized the importance of the notion that anything can be art, so long as its conception arises from deep critical thinking, research and is accompanied by a thorough explanation regarding its relevance to the art world. Every day, we see new, weird, and wacky artwork surface in the world— most of which is criticized by various members of the art community, and upheld by others. Work that is now regarded as some of the most renowned in modern society, such as the works of the artist “Banksy”, were once profoundly bashed by the traditional academic fine arts community. Now, his paintings are sold for hundreds of thousands of dollars at Sotheby’s auctions, and people travel from all over the world to catch a glimpse of his famed graffiti. This has been the story for every “groundbreaking” artist from every era— anything that challenges the traditions, and the power that those who uphold those traditions hold, is seen as “bad” art, and those who belong to academia often do everything in their power to gatekeep the definition of artistry in hopes that their own work remain in style.
ReplyDeleteThe collection of readings for Module 5 elicited similar conversations regarding the definition of “curator”— another title tied closely to the artistic profession. Our fourth reading, an open letter posted by the Hermitage Museum, was most blatantly leaning to the side of gatekeeping this term— arguing that an individual requires professional training and education on curatorial “best practices” before adopting the title of a curator. While this notion holds gravitas for myself, personally, when taking into account certain new digital tools that are overtaking certain artistic professions such as AI Generative Art software, the opinions stated in this article leaned a little too heavily into its bias to be extrapolated to this area. Since the jobs offered for professional curators are not threatened by the presence of members of the online community who adopt this moniker, I believe that to restrict its use in this context is a form of gatekeeping that may hinder the growth of this market, rather than protect the title of its original recipients. Contrastingly, many digital artists (as an example), are actively being put out of work and replaced by AI software that is trained on their data subsets— their artwork— and are therefore actively being replaced in a way that professional curators are not (currently).
I began working as a professional communicator about five years before we began using social media as a communications tool. Once these tools became mainstream, there was a sense that anyone who knew how to use social media was qualified to work in communications. This experience led me to understand the perspective shared in the Hermitage Museum reading for this module titled “An Open Letter to Everyone Using the Word ‘Curate’ Incorrectly on the Internet”. The author writes “To curate doesn’t just mean to carefully select items, but also to look after and care for them.” They then go on to explain the differences between using social media platforms, and the actual process of curation. This tracks in the communications industry as well. Our work isn’t as simple as publishing a post on Facebook – we are responsible for monitoring the reactions to the post, to transliterate the content onto other platforms and channels, and to keep the conversation going by providing additional context or clarification when necessary.
ReplyDeleteFor a long time I shared the author’s opinion that my profession was not something anyone with a Facebook account could do – but this has since changed, and I find myself having a much more critical opinion of this mindset than I did before.
A few years ago I had the opportunity to attend a conference, where the keynote spoke about the different generational attitudes toward sharing information and learning. He explained that in the past, information was power, and people were conditioned to hoard and protect information and to share as little as possible to hold on to one’s power. He explained that with the advancements in technology, anyone with a phone and a social media account could now share their expertise, and that younger generations now see sharing information as the path to becoming more powerful. He showcased youtube accounts that shared simple tutorials but had millions of views and high numbers of followers to prove his claim.
In hearing his speech, I realized there is space for both professional communicators and amateur communicators with social media expertise, just as there is space for professional curators and those of us who simply “curate” online. The Hermitage Museum argues the major difference is that professional curators care for the artefacts they curate – from discovery all the way until their need for the artefact has expired. To assume one who curates digitally doesn’t also take care in what they have collected isn’t a fair assumption. I know I am constantly reviewing and cleaning up my digital presence, including digital artefacts I have collected over the years. Since learning about it in class, I now consider this to be a form of hupomnemata, as described by Weisgerber & Butler.
The Brilliant Business Mums post included in this week’s readings reinforced my criticism of the Hermitage Museum article. Schwamberger shares her expertise on Pinterest, and one can assume sharing this information at no cost is to her benefit as an online blogger and business woman – otherwise why would she bother. Her openly sharing this information for anyone to use on the Pinterest platform is in direct contrast to the main argument of the Hermitage Museum article, which argues curation is a form of art that carries with it a great deal of skill and therefore requires formal education and experience.
I can relate to what you said, Sarah. As a health communications professional, especially in roles where I worked in digital health, I used to feel like people downplayed my role responsibilities to just social media management, which was absolutely not the same. Especially in health communications, where breaking down scientific information into digestible bits for the layman is important while striving not to lose meaning.
DeleteThe keynote speech you mentioned from the conference you attended resonates with me as well. It's enlightening to consider how generational attitudes toward sharing information have evolved. The shift from hoarding information to sharing it as a means to gain power reflects a broader change in how we perceive and value expertise. And as you’ve highlighted, curation involves more than just selection; it encompasses preservation and ongoing management. Thank you for sharing your insights and experiences.
After reading the articles, I find myself intrigued by the discussion about curation and the evolution of digital platforms, such as Pinterest. The open letter by Hermitage Museum (2011) highlights a significant issue within the digital landscape, which in this case is the dilution of professional terminologies. The author's frustration with the misuse of the term "curate" is understandable, given its deep-rooted significance in the fields of museum, gallery, and library sciences. However, it’s important to note that the evolution of language in digital spaces often leads to the broadening of definitions. While it's essential to respect the origins and professional connotations of terms like "curate," I also believe that it’s important to acknowledge that language is dynamic, especially in digital media, and words can take on broader meanings that apply differently across various contexts. To an artist, "curate" might carry a different connotation than it does to a digital content creator, and that's okay.
ReplyDeleteThe article by Schwamberger (2018) resonated with me as well as it offers valuable insights into the shifting paradigms of content strategy on digital platforms. The emphasis on quality over quantity and the importance of keyword-rich, engaging content are key takeaways that resonate with the broader theme of transliteracy. One that I try to incorporate into my daily job as a health communications professional daily. The ability to navigate, understand, and create content across various platforms is essential in today's digital age, and Pinterest's evolving algorithm highlights the need for a strategic, thoughtful approach to content curation and creation.
In light of these readings, I think it's clear that the role of curation, whether in traditional or digital contexts, is integral to the dissemination and preservation of knowledge. The challenge lies in balancing the respect for professional terminologies with the adaptability required to thrive in digital spaces. As we continue to explore the intricacies and complexities of transliteracy, it's important to engage in conversations that bridge the gap between traditional definitions and contemporary interpretations, ensuring that both the richness of language and the depth of professional expertise are maintained in the digital age.
References
Hermitage Museum. (2011, October 4). http://hermitagemuseum.wordpress.com/2011/10/04/an-open-letter-to-everyone-using-the-word-curate-incorrectly-on-the-internet/
Schwamberger, B. A. (2018, May 10). Pinterest Strategy Tips for 2018: Learn the NEW metric that matters most! (+ a Free Content Guide!) -. Brilliant Business Moms. https://brilliantbusinessmoms.com/pinterest-strategy-tips-2018-new-metric-free-content-guide/
The reading in module 5 discusses Pinterest as a tool for curation. I enjoy the reading from Thomapson and Reilly (2019), in which they use Pinterest as a dataset to understand the "everyday curators". They found daily curators actively and consciously decide managing pins into their themed pinboards. Compared with professional cursors, everyday curators are more likely to share meaningful information and knowledge based on their individual interests and experiences. In other words, everyday curators tend to be driven by interest rather than commerce. In addition, I think another benefit of curating on Pinterest is audience participation. Unlike traditional curation, curation on these networks allows curators to interact with the audience timely and hear their suggestions directly.
ReplyDeleteHowever, curation by using Pinterest is not perfect. In this era of growing digital data explosion, it is no longer difficult to find the information people want but to recognize the variety of information. Personally, the quality of pinboards on Pinterest varies, which means that viewers have to pick and choose while enjoying them. But the interesting thing is that audiences can collect the pins they find valuable during this selection process and create their own pinboards. In this way, they establish a curation cycle: everyone is both a curator and a viewer in a digital curation process of sharing knowledge and aesthetics.
References
Thompson, S., & Reilly, M. (2019). “Everyone’s a Curator”: Identifying the Everyday Curator. International Journal of the Image, 10(2), 25–38. https://doi-org.login.ezproxy.library.ualberta.ca/10.18848/2154-8560/CGP/v10i02/25-38
I found this Module to be interesting in the exploration of curation and what it means. As a museum professional, I do have a particular understanding of what a curator does and what curation means, however, I would disagree with the Hermitage Museum. While curation has a particular place in museology and a particular definition, even within the museum sector, the definition of curation is being re-evaluated. The use of curation in museums is colonial in nature and implies that one individual’s perception of history is fact - without taking into account other interpretations or viewpoints from the event. This is also seen in the narratives and text panels. When was the last time you went to a museum and the text panel included the name of the author? Museums are recognizing the colonial legacy they have enacted. Just because someone is highly trained and has curator as their job title, does not mean they are the only authority. Museums are now focusing on community curation or co-curation with the appropriate community members. This does imply that curation can - and is- for everyone, regardless of your academic background.
ReplyDeleteWithin the context of social media, curation is an appropriate term to address how individuals, particularly influencers, organize their feeds. They may not have a high level of academic training, but that does not mean that they aren’t organizing their feeds with a level of care and attention that traditional curation has incorporated. From an Indigenous librarian’s perspective, Jessie Loyer wrote a compelling article titled, Collections Are Our Relatives Disrupting the Singular, White Man’s Joy That Shaped Collections. In it, she reflects upon how traditionally colonial collections were representations of a singular individual’s (typically a white male) personal interest. This personal interest is reflected in social media curation and presentation.
Loyer, J. (2021). Collections Are Our Relatives Disrupting the Singular, White Man’s Joy That Shaped Collections. Library Juice Press. https://mru.arcabc.ca/islandora/object/mru%3A793?solr_nav%5Bid%5D=6534d8170705661ab295&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=2
Hi Meredith,
DeleteOnce again, it's valuable hearing your thoughts on the this module as someone who's actually a museum professional. It's interesting to hear that you believe curation "can-and is-for everyone" and that the definition of "curation" can be re-evaluated, as opposed to the Hermitage Museum's perspective. Because the evolution of media is showing us that titles aren't necessarily binding. For example, singers/celebrities aren't only born from big record labels, they're often born from social media. An interesting duo (which is far from the museum realm but illustrates the point!) is Meghan Trainor, a pop star, and Chris Olsen, a famous digital creator, who are leveraging each other's popularity on TikTok for marketing purposes. What are they? "Influencers"? "Celebrities"? I guess the labels don't really matter that much.
I meant to share an example of one of many of Meghan's and Chris's collab videos for reference: https://www.tiktok.com/@chris/video/7349217751619161386?lang=en
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