1. From Practice to Purpose:Embracing Technology forCreative CommunitiesBy Kate Holmes University of Bolton

2. Domain Creative IndustriesIn which the product or service contains a substantialelement of artistic or creative endeavour (Caves, 2000,p. vii). DIY Ethic- Counter Cultural movement which is about usinganything you can get your hands on to shape your owncultural entity; your own version of whatever you think ismissing from mainstream culture (Spencer, 2008, p.11). 3. Theory Postmodernism Lyotard (1984) identified five characteristics of postmodern culture: Globalisation Educationalisation Technologisation Fragmentation Skepticism toward the Grand NarrativeThe postmodern community (Delanty, 2003) where communities areno longer necessarily defined as a physical group. 4. Communities of Practice -These are groups of practitioners who regularly cometogether in order to assist and further their work (Wengeret el. 2002). It is argued that collaborative learning and practice allowsindividuals to evolve their work further and moreefficiently than if working alone (Leadbeater, 2009).This research will explore how technology enables COPs within the domain of the creative industries, specifically craft/DIY culture. 5. Application of TechnologiesUbiquitous Technologies A reality in whichnumerous computers are woven into the fabric of dailylife (Resatch, 2010).Web 2.0 - common phrase used to explain how web applications have enabled participants to contribute to the media they are using. This is also referred to as user generated content where the user becomes the producer of the material and has control over the content.Sack Boy from Little Big Planet -Play, Create, Share 6. Virtual CommunitiesArguably Web 2.0 culture has assisted inthe formation of new types of communitiesthese are often referred to as VirtualCommunities (Rheingold, 2000).Social media - in particular social networking sites became a prime online presence to meet new people and forge new relationships (boyd and Ellison, 2008). 7. Examples of niche SNS/VCOPsRavelry which a social networking site deigned specifically forknitters and other elements of fiber artwww.ravelry.com 8. Craftster Gives the opportunity to showcase your work to others and get help,advice and feedback on your projectswww.craftster.org 9. Etsy Provides a platform to display and sell your work on a global scale, usingthe theme of an online craft fair. www.etsy.com 10. This is an attempt to make this research part of a widercommunity. To integrate the research into thetechnologies of which it is documenting and a place torefer potential interviewees.http://holmesphd.blogspot.com/ 11. Methodology 12. Bricolage The qualitative researcher as bricoleur, ormaker of quilts, uses the aesthetic and material tools ofhis or her craft, deploying whatever strategies, methods,and empirical materials are at hand (Becker, 1998, p.2).The methods undertaken will reflect the practice of theparticipants in DIY culture.Participatory - Engaging and collaborating fully with thesubject and participants under question. This may givethe researcher a better understanding of the field(Breitbart, 2006). A flyer from Knitting Group - Knitted Kittens to be used as an example of how the researcher engages with the subject and participates in creative communities of practice. 13. Data CollectionData has been collected through Interviews, recorded and thentranscribed Face to face Via email Skype Focus Groups Content from the Internet.Interviews attempt to capture peoples experiences, they are a methodthat attempts to try and make sense from experience (Seidman, 2006).As the research engages with people it is expected to be complex and richin nature, therefore it could be argued that the researcher has topersonally engage with subject and participants to fully understand it(Strauss, 2003). 14. Phase one Semi- Semi- Semi-Semi- Email structuredstructuredstructured structuredInterview 5interview 1 interview 2 interview 3interview 4Focus group 1Structured interviews held at local craft fair (6-12) 15. Phase one Semi- Semi- Semi-Semi- Email structuredstructuredstructured structuredInterview 5interview 1 interview 2 interview 3interview 4 Focus group 1Structured interviews held at local craft fair (6-12) Phase Two Semi-Semi-Semi- Semi-Emailstructured structured structuredstructuredinterview 17 interview 13 interview 14 interview 15interview 16 Focus group 2Semi-structured interviews held at local craft fair (18-31) 16. Phase one Semi- Semi- Semi-Semi- Email structuredstructuredstructured structuredInterview 5interview 1 interview 2 interview 3interview 4 Focus group 1Structured interviews held at local craft fair (6-12)Phase Two Semi-Semi-Semi- Semi-Emailstructured structured structuredstructuredinterview 17 interview 13 interview 14 interview 15interview 16 Focus group 2Semi-structured interviews held at local craft fair (18-31)Phase ThreeSemi-structured Semi-structuredSemi-structuredvalidationvalidation validation interview 32interview 33 interview 34Validationfocus group 3Conclusions 17. Data Analysis This research will be seen to provide a crystallizedresponse when approaching the data (Merriam, 2009).As it adopts a multiple methods to collect data andembraces the notion of plurality. What we see depends on our angle of response nottriangulation but rather crystallization (Richardson,1994,p.522).The data has been analyzed through the process ofthematic coding. 18. Analysis KeyThe viewing of data within acomplex domain can be likened tothe view through a Kaleidoscope asthey consist of many colouredfragments which when turnedchange pattern and configurationand are unstable (Waring andSkoumpopoulou, 2011, p.23) 19. Findings and FrameworkCharacteristics of Evidence found throughout analysisPostmodernismGlobalizationWell I think a lot of it originated in America certainly. Why? Because of the worldwide web.... (KD). A retailer actually somewhere in the states messaged me yesterday saying they would like to buy some of my brooches and I had never even heard of them before so they must of found my site (NR).Technologilisation The recent renaissance in craft is mainly down to technology and the Internet and I think there is a kind of dichotomy there that demonstrates that people who are interested in craft arent necessarily technophobic (KD).Educationalisation There are so many tools on the Internet just about how to do things that I wouldnt be able to do like how to do a zip, you just watch the American woman going through it on YouTube (LA).FragmentationIts so easy to sit alone in a workshop all year round with no interaction with clients or the people who are going to buy your work it can become quite disjointing (JD).Skepticism Towards the Creating something that you have control over the production of makes you feel like youve gotGrand Narrativesomething to show at the end of it rather than sitting and watching TV. Also I think consumers have become increasingly more cynical towards the methods of production that have been increasingly used in terms of international labour which has been linked with consumerism (KD). Again a kind of backlash towards how homogenised culture has become and how a lot of our activities have been fed to us in a way, you know the passive consumer model and I think people dont find that very satisfying ultimately. I think people are finding a connection with their world and it might be that we have been through this period of the twentieth century where consumption has become the main driving force in our world (KD). 20. Conclusion This research will explore and identify howtechnology may enable COPs within the domain ofthe creative industries, specifically craft/DIY culture.It will provide a unique insight into some of thecomplex relationships that surround people and theiruse of technology. This will be achieved by fully engaging with thesubject, themes and participants to gain a deeperunderstanding of the domain. The findings will thenbe applied to a postmodern framework. 21. References Boyd, d and Ellison, N (2008) Social Network Site: Definition, History and Scholarship Journal of ComputerMediated Communication. Vol. 13. Pp 210-230 Breitbart, M (2006) Participatory Research Methods in Key Methods in Geography Clifford, N and Valentine, G(eds). London: Sage Publications Caves, R (2000) Creative Industries: Contracts Between Art and Commerce. USA: Harvard University Press. Craftster Homepage (2011) www.craftster.org (21 March 2011) Delanty, G (2003) Community. USA: Routledge. Etsy Homepage (2011) www.etsy.com (21 March 2011) Holmes, K (2011) http://holmesphd.blogspot.com (21 March 2011) Leadbeater, C (2009) We Think, Mass innovation, not mass production. UK: Profile Books Ravelry Homepage (2011) www.ravelry.com (21 March 2011) Resatch, F (2010) Ubiquitous Computing: Developing and Evaluating Near Field Communication Applications.Germany: Gabler Rheingold, H (2000) The Virtual Community. London: MIT Press Sarup, M (1993) An Introductory Guide to Post-structuralism and Postmodernism: Second Edition, UK:Pearson Education. Seidman, I (2006) Interviewing as Qualitative Research, Third Edition. New York: Teachers College Press Spencer, A (2008) DIY: The Rise of Lo-FI Culture. London: Marion Boyars. Strauss, A (2003). Qualitative Analysis for Social Scientists. Cambridge: Cambridge University Press Weber, M (1958) Essays in Sociology. Weber. M, Gerth. H and Mills. C (eds) From Max Weber. New York:Oxford University Press. Wenger, E, McDermott, R and Synder, W (2002) Cultivating Communities of Practice: A Guide to ManagingKnowledge. USA: Harvard Business School Press. 22. Thanks for listening. Any Questions?Contact: Kate HolmesKh1gcc@bolton.ac.ukhttp://holmesphd.blogspot.comTwitter: kateholmes1