The second wave of Arts and Crafts? Craft online: Amateurs, Influencers and Craftivists of Generation Craft

2019冠状病毒病大流行让世界在网上工作、学习、购物、社交和消费娱乐。这种对虚拟的采用在工艺的触觉领域是惊人的，自21世纪初以来，已经有越来越多的从业者使用这个在线空间。将现代工艺和新媒体研究结合在一起，这项多学科研究调查了通过社交媒体和工艺复兴的工艺动态转变;从智能手机的到来到流行病的不断变化的影响。手工艺的这种民主化使新的身份得以出现，因为代表性不足的群体能够获得技能，分享知识，并在传统的进入壁垒被消除时在手工艺部门建立存在。社交媒体使人们能够接触到那些受到社会、财政和时间限制的人，并挑战了传统的手工艺学习需要教师在场的观念。数字平台促进了新的工艺身份的出现，如工艺影响者和在线艺术家，并提出了问题，什么是生产，它是如何被调解的，谁消费它。随着越来越多的研究机构对当代工艺的研究，如工艺市场报告（工艺理事会，2020），人们对社交媒体在塑造新的工艺社区和消费者部落中的作用知之甚少。Instagram、YouTube和TikTok等平台正在挑战根深蒂固的工艺概念，例如触觉和身体的重要性、业余和专业之间的界限，以及高等教育、学徒制、画廊和出版等数字化前工艺结构的作用。这种基于实践的研究从第一手经验中发展出来，涉及制作工艺品的自动民族志过程，同时在这些在线利基社区中分享和互动。新媒体已经改变了我们学习的方式，我们做什么，我们如何沟通以及谁可以获得知识和手工艺部门。

The Covid-19 pandemic moved the world online to work, learn, shop, socialise and consume entertainment. This adoption of the virtual is striking in the tactile realm of craft, which has already witnessed a growing number of practitioners using this online space since the early 2000s. Bringing together Modern Craft and New Media studies this multidisciplinary research investigates the dynamic transformation of crafting through social media and the craft revival; from the smartphone's arrival to the evolving effects of the pandemic. This democratisation of craft enables new identities to emerge as underrepresented groups are able to access skills, share knowledge and build a presence in the craft sector as traditional barriers to entry are removed. Social media enabled access to those limited by social, financial and time constrains and challenges the conventional notion of craft learning requiring the co-presence of a teacher. Digital platforms facilitate the emergence of new craft identities such as craft influencers and online craftivists, and calls into question, what is being produced, how is it being mediated, and who consumes it.With a growing body of research on contemporary craft such as the Market for Craft report (Crafts Council, 2020) there is little understanding of social media's role in shaping new craft communities and consumer tribes. Platforms such as Instagram, YouTube and TikTok are challenging entrenched craft concepts such as the significance of the haptic and the body, boundaries between amateur and professional, and the role of pre-digital craft structures such as higher education, apprenticeships, galleries and publishing. This practice-based research evolves out of first-hand experience and involves the auto ethnographical process of making craft, while sharing and interacting within these online niche communities. New media has transformed how we learn, what we make, how we communicate and who has access to knowledge and the craft sector.