Discussion: Methodological model

In the methodological model I directed my observations towards the  mobility/mooring dialectic as well as the performative effect of the social media art assemblages. Informed by 'touch', the assemblages are seen as the outcome of the intricate material and immaterial co-interactions of the mobility tools.

Based on the visual analysis of screen dumps and the ethnography informed by the screencasts a body of codes emerged, and, following Robson’s guidelines (2011, p. 483) I expected that between 4 to 10 themes would be identified for potential analysis.

The first model identified several interlocking strands of research relating to the perceived heterotopia of the social media spaces. Another strand looked at how the mobility of the connected users is affecting these digital spaces. Finally, the conditions of the networked users were also noted as having an effect on the digital artefact.

However, it became clear that this initial model was too complex for analysis with too many interdependent strands in view of the limited scope for discussion.

Subsequently, a second framework was developed with the focus on a number of mobility topics which emerged from the further grouping of the codings. These topics were also present in the first model, but here become a central part of the analysis, narrowing down the discussion.  These topics are (i) temporal, (ii) shadowed and (iii) situated.

First of all to illustrate the methodological model, I would like to give an example of encountering graffiti in the street. The organic spray-painted artwork, usually situated in an urban setting, and digitally grabbed, is transferred through Wi-Fi and re-situated into a virtual environment. The image moves around the various social media spaces, with users reciprocating the image (through sharing) and or ‘acquainting’ the author (through liking or befriending), potentially following (or shadowing) both. As a result of this activity some of the artefacts become more salient (available on multiple online sites). However, measured through various analytics this is a temporary effect overtaken in time by newly salient images.  This activity is influenced by how the artefact is positioned within the online spaces. The interaction creates what appears to be fluid online assemblages. Viewing these artworks on the mobile phone or laptop, within the curatorial spaces can be considered a mobile aesthetic experience, with the user and artworks moving around physical and digital spaces.

Describing the tools for the mobility conditions

What is understood by temporal, shadowed and situated is determined by the level of engagement of the user with the artefact, in the context of the social media spaces in which the user is navigating.

The three themes were selected in order to address the research questions with regards to identifying the mobility tools and to what extent these themes contribute to the practice of creating assemblages when visiting social media spaces. The tools are also enabling the perfomative nature of the assemblages.

Temporal

Interaction with social media apps is characterised by images being uploaded, an inherently time-based activity affecting their curation. Apps may highlight a sense of urgency, for instance when promoting exhibitions, or highlighting 'what is trending now'. The delivery of pushed messages onto the phone indicates engagement on the social media platform, recorded through time offering a historic reference. The screen displays reflect the ephemeral quality, with artworks performing ‘across’, a momentarily display captured but soon after refreshed and replaced with new artworks.

Shadowing

Shadowing is understood in the context of following the artefacts and their associated authors (users), a re-occurring feature underpinning the curating experience. The shadowing is not only with regards to the users, but also affects the artworks, and may be integrated through GPS located pins on a Google map highlighting locations. The movement of artefacts may also be observed onto other social media locations. Users’ behavioural activity such as liking (or the lack of it) also affects the performance of the images, with the more popular ones being pushed.

Situated

The repositioning of artworks, appropriated from its original source (digital or organic) reappears on-screen, in social media galleries, re-authored by other users in different locations. Traditional museum location and galleries may be located in dedicated parts of the app. GPS location may also feature, supported by crowd sourced performance.

In all, the analytics of the social media apps offer a tight integration for monitoring the temporal, shadowing and situating, supported by a Wi-Fi friendly (or lacking) urban infrastructure.

The effects of these three mobility conditions are concurrent,  each playing an intricate part in the curating of the artworks and giving a performative quality to the resulting outcome.

In the following sections, three discussions will be presented.  First of all there is the outline of a social semiotics treatment of the three social media applications, informed by the screen dumps and ethnographic data. 

This is followed by two observations: the first presents the findings regarding the mobilities conditions of temporal, situated and shadowed, seen as tools in the social media curating. The second observation reflects on the creation of assemblages.

Continue to the section describing the social semiotics treatment