Pinning Design: The Curatorial Labor of Creative Professionals

Abstract

Pinterest describes itself as a "visual discovery tool that you can use to find ideas for all your projects and interests" (Pinterest, 2015). With over 72.8 million users (Mangalindan, 2015), Pinterest is a fast-growing online image-sharing platform that allows users to collect and display ideas by "pinning" images to thematic boards around projects, hobbies, and inspiration. Users can pin their own photos or images from websites outside of Pinterest or they can repin images from other users' boards within Pinterest. Unlike other image-sharing or social network sites like Flickr or Facebook, Pinterest users do not tend to upload and share their own images, but circulate images found within Pinterest or elsewhere on the web (Hall & Zarro, 2012; Moore, 2014; Zarro & Hall, 2012). Indeed, the most common activity on Pinterest is repinning images from other Pinterest users' boards rather than pinning personal images or images from websites outside of Pinterest (Moore, 2014). The sharing of videos or photos found online with others is a popular activity not just on Pinterest. Pew Research Center's Internet Project found that 47% of adult Internet users have shared videos or photos that they found online with others (Duggan & Smith, 2014). The sharing of online content through various social media platforms has been referred to as curation (Duggan & Smith, 2014). Because Pinterest is a site that is primarily used for online content sharing, as opposed to content creation, it is a unique platform through which to explore curatorial practices. Pinterest is increasingly used by organizations, brands, and professionals to circulate images of their products and services to potential consumers (Silberman, 2013). While research has begun to explore general Pinterest use (e.g. Gilbert, Bakhshi, Chang, and Terveen, 2013; Linder, Snodgrass & Kerne, 2014), there is little understanding of how professionals think about and use Pinterest. Nevertheless, there is a growing literature surrounding how creative professionals more broadly adopt and adapt to social media platforms (e.g.

‘Creativity is a skill that everyone has’: analysing creative workers’ self-presentations

“…Murthy, 2012), and, though much more limited, specifically on creative workers (e.g. Duffy & Hund, 2015;Scolere & Humphreys, 2016). This research establishes the production of self-presentation as linked to workers' identity in cultural industries and as part of individuals labour, as producing 'inventories of branded selves' (Hearn, 2008: p. 211; see also Scolere & Humphreys, 2016).…”

“…Duffy & Hund, 2015;Scolere & Humphreys, 2016). This research establishes the production of self-presentation as linked to workers' identity in cultural industries and as part of individuals labour, as producing 'inventories of branded selves' (Hearn, 2008: p. 211; see also Scolere & Humphreys, 2016). But what is missing is a discussion of how the intentions and processes with which self-presentations are generated might affect our analysis and interpretation of this data.…”

“…Creative workers have to present an authentic 'distinctive and marketable individuality' (Bain, 2005: 29;Daniel, 2016) in order to find employment and sustain their career. Their self-understanding is closely entwined with that 'marketable individuality' (also Duffy & Hund, 2015;Peterson, 2005;Scolere & Humphreys, 2016;Svejenova, 2005). A clear sense of who they are as creative professionals is therefore not only the driver of their work but also a sine qua non for their ability to earn an income from their creative endeavours.…”

“…In media studies social media data is increasingly utilized to discuss self-branding activities (e.g. Duffy, & Hund, 2015;Scolere & Humphreys, 2016).…”

Surfing for Inspiration: digital inspirational material in design practice

“…Even though those online platforms offer a large repertoire of inspiration and information, little research has been done thus far on their use in professional design practice. The studies coming closest have addressed artists' use of DeviantArt (Salah et al, 2012) or public collecting and curating of inspiration in the Pinterest service (Gilbert, Bakhshi, Chang, & Terveen, 2013;Scolere & Humphreys, 2016). The research gap is especially important because finding a good inspirational example for professional design use can be challenging, and a critical gulf may exist between online tools and designers' current needs.…”