The COVID 19 pandemic has transformed the teaching and learning environment. We are still discovering the many ways in which student and faculty interactions are affected by being mediated through facial coverings and spatial distance. Although faculty and students are now moving back into the classroom, they have lost a key piece of information that humans rely on to understand others’ meanings and read their emotions. We are accustomed to encountering masked others mainly in situations that make us anxious or afraid. Now, it is the new normal. Similarly, online teaching and learning can deprive us of the facial expressions and body language that helps us assess whether others understand and agree with us. Online teaching cannot replicate what occurs in a classroom, even when participants are unmasked. So, we have our work cut out for us!
This blog lists a small sample of the makerspaces contributing their community’s time, energy, and resources to making products that help health care workers in their attempt to contain the COVID19 virus.
I met Chick when he presented a seminar at the University of Michigan back in the mid-1960s. I kept in touch with him through occasional letters and meetings at regional, national, and international conferences over the next six decades. How does one encapsulate all those years with just a few observations? I’ve chosen to pick out a few things that came immediately to mind when I thought about what the world has lost.
To start, he’s indirectly responsible for the intellectual turn I took in
Because she was interested in learning how to play the guitar, as well as to learn more about the craft, Dudley got to meet some of the key players in the industry as she conducted her fieldwork throughout the first decade of the 21st century. She attended meetings, went to trade fairs, and thus learned first-hand the vicissitudes of being a craft worker in a machine age.
Like Matthew Crawford in his New Atlantis article, “Shop Class As Soul Craft,” her book celebrates the materiality of craftwork and the intrinsic satisfaction craft workers get in producing beautiful artifacts that other people want to own. She emphasizes that almost all the craft workers she studied were drawn to the occupation not because of financial considerations – – until the collecting boom hit the market in the 1990s, many lived off the wages of their spouses – – but rather because they just wanted to make something.
What makes her book relevant to the maker movement is her depiction of the struggle in the industry between craft workers who are happy with low-volume production and a penurious lifestyle versus those who discovered that they can earn a nice living, but only if they scale up production by using modern technologies, particularly CNC machines. Beginning in the early 1990s, the cash value of vintage guitars soared, surpassing wine and fine art. The pursuit of collectible high-end guitars spilled over into guitars made by contemporary guitar makers, raising their value as well.
Some makers had the surreal experience of selling one of their guitars for less than $2000 and seeing it subsequently auctioned off for 5 to 10 times that amount. $100 guitars suddenly became $1000 guitars, and more. The economic incentive to produce at a higher volume was irresistible to many, but not all. The arrival of wealthy collectors, many of them who made their fortunes and the high technology boom of the 1990s, benefited only some of the guitar makers. Those who were able to get their guitars into the hands of celebrity guitarists and onto the performing stages of concert halls or clubs gain the reputation that radically boosted the value of their products. As in other winner-take-all markets, the number of people who could do this was inherently limited, and so other guitar craft workers had to be content with continuing to earn money with refurbishing and repairs on guitars, with the occasional sale of their own work.
A large part of the narrative in this book concerns the struggles in the guitar-making community over the issue of automation, scaling up, and potential destruction of the sharing ethos which guided early and mid-20th century guitar makers. Just as Richard Ocejoe’s book, Masters of Craft, describes the dilemma of distillery owners who received huge offers to sell out to big distributors, so too does Dudley portray the dilemma of guitar makers, living out their golden years in semi-poverty or buying CNC technology, scaling up, and reaping the rewards of large-scale production & distribution.
Hanging over all this are the CITES (Convention on International Trade in Endangered Species) regulations designed to prevent the importation of rare & endangered wood products, making it very difficult for makers to get the materials they need.
To scale or not to scale, that is the question facing skilled artisans today.
We believe the key to successful collaborative relationships lies in preparing for them ahead of time, rather than attempting to deal with problems as they arise. In fact, some research suggests that the effectiveness of collaborative work is determined before any of the work is carried out. We have identified four structural elements that increase the likelihood of creating and sustaining collaborative relationships.
Define the Scope and Logic of the Project
At the start, the parties to a collaborative relationship should agree on a project’s scope and logic of inquiry. The researchers should ask themselves a few questions that will ensure that they are all on the same page. For example, will the project be open-ended, continuing until all possible avenues of interpretation have been explored and as many papers as possible published? Or, is the project more self-contained, with target journals or conferences identified and the project ended when a paper is accepted? Is the relevant data for the project already in hand or clearly identified, or will building a new dataset be a major thrust of the effort? Sharing “mental models” of the work to be done and how it should be carried out leads to effective teamwork.
In addition to being able to answer these questions, the types of goals a team comes up with will likely affect how well the collaboration goes. Although “write a paper together and get it published” is a common goal for academic collaborations, the success of the research project may depend on having a compelling goal. Is the research question challenging and (by academic standards) somewhat consequential? And, is the goal focused enough so that researchers are working toward a final product but open-ended enough that researchers have some level of autonomy and can be creative when the need arises? Interdisciplinary teams need to communicate with one another the reward systems of their disciplines, as some may place higher values on books than journal articles, or may value certain kinds of journals over others.
Agree about Responsibilities
Teams should also be deliberative and explicit about each researcher’s responsibilities. External factors often dictate how well an organization (or group) does, but individual interventions, especially by team leaders, can lead to more effective team performance . Teams should decide whether one person will be identified as the “leader” of the project, ultimately responsible for taking major decisions (after consulting with the team) or whether leadership responsibilities will be rotated. In either case, a leader can increase effectiveness by ensuring that the research team comprises individuals whose skills and competencies complement each other and all contribute to the overall goal of the project, designing tasks that give everyone enough autonomy to make their contributions personally fulfilling and meaningful to the project and establishing norms of how the group will work and interact . Teams should identify each team member’s competencies, clarify what that member will do to move the project forward, and make sure everyone on the team knows the others’ roles.
Enforce Deadlines and Give/Receive Timely Feedback
Failure to meet deadlines often sinks collaborative relationships. However, failure to even set deadlines is probably a bigger headache. Without deadlines, members have no way of holding one another accountable for holding up their end of the relationship, as a member can always say that they’re not quite finished yet or they will have their part done “soon.” To receive the benefits of collaborating with people who have complementary skills, team members must be ready to comment in a timely fashion on intermediate products produced by others. First, team leaders can make sure that all researchers on the team are kept in the loop about how the project is going. Second, leaders can try to encourage everyone on the research team (and model ways) to provide good, timely feedback, e.g. by scheduling regular feedback sessions.
Use Coordination Mechanisms That Facilitate the Collaboration Process
Coordination and communication challenges can hinder the success of collaborative research. Although email and video conferencing services such as Skype have become ubiquitous, these technologies do not necessarily ensure that collaboration is successful. For example, although email and video conferencing allow researchers to communicate more easily, these kinds of tools may not be the best for task coordination, information sharing, and intra-project learning. One of the main challenges for teamwork is juggling multiple and simultaneous work tasks. Researchers, therefore, should use tools that help them manage these multiple tasks, allowing them to know what’s expected of them and see changes to the project almost instantaneously. A plethora of programs and software now allow for this. We recommend that researchers start with one that has low start-up costs—both in terms of time and money—and not be lured by fancy features, as they can be a time sink. Sometimes, investing in innovative technologies is worth the time, but teams should be deliberate about whether the investment is worth it for their project.
We have identified strategies for mitigating or eliminating collaboration problems in team-based research. At the beginning of a project, face-to-face meetings can establish the ground rules and expectations were all members of the team. Free riding, shirking, and social loafing are much harder when team members agree on responsibilities and create monitoring and enforcement mechanisms. Candid and timely feedback limits the damage that emergent problems can create, but requires strong leadership and commitment by all members to be effective. Finally, as in other collaborative efforts, state-of-the-art coordination and communication technologies facilitates effective team governance.
First, not doing a full outline before beginning to write a draft. Even in my senior honor’s seminar, open only to the best students in our program, many students give me a funny look when I ask them whether they do an outline before they began working on their papers. Okay, you say, those are undergraduates, what do you expect? However, when I ask the same question of graduate students and even faculty, many say they can’t be bothered, offering various excuses including “it takes too much time,” “I like to discover my central theme as I write,” and my favorite, “it hampers my creativity.” I liken this practice to hikers walking into one of our large national forests on a week long track without a map. What do we call such people? Lost. Somebody will eventually need to rescue them. In academic settings, the rescuers are often editors and reviewers.
Second, skipping a difficult section while writing a draft. Assuming that you prepared an outline, you have an end goal in mind and so the problem is just to execute. However, the only way to test whether the outline actually represents a coherent narrative for your story is to go through it from beginning to end, in order. The difficult bits that you skip over, assuming that they can be written later, might actually be the points where you eventually discover that you can’t get there from here. When writing an outline, it is fairly easy to convince yourself that, as seen from the mountaintop, there is a walkable trail from the park entrance to the creek. On the ground, however, the unbridgeable chasm that was concealed by the tall trees becomes readily apparent. It is much easier to do it right the first time than to walk back to the entrance and start over again.
Third, not recording the full reference for a book, article, or blog post when you first take notes on it. It is easy to convince yourself that you can always come back later and get the rest of the reference you need for the bibliography. Moreover, there’s a chance that you won’t actually use the material in your paper, and so why spend extra time writing down all that information when you’ll never need it. Indeed, why bother? The answer becomes painfully apparent when you discover the incomplete references on the morning you plan to submit the conference paper, to meet the announced deadline, and you find that the library server is down.
Fourth, not doing the descriptive statistics before beginning the multivariate analysis in a statistically based paper. I try to teach my students the relevance of this potential misstep when they bring me the first draft of their paper and I point out the implausibility of a coefficient or two. Could it really be true that people with college degrees earn less than those who dropped out of school? Quite likely, somewhere along the way, a coding error or data transformation mangled the true values. Carefully scanning means, standard deviations, skewness, and other basic properties of the data goes a long way toward reassuring me that you actually understand your data.
Fifth, sending out a paper for comments from your friends and colleagues before you have proofread and copyedited it. Nothing says “I don’t care about your time” more than sending a colleague a paper full of typos, misspellings, botched grammar, and other mistakes that could have easily been caught with an hour or so of careful reading. I suggest first running the paper through a standard spelling and grammar checker on your word processor, then printing the paper out and reading it line by line. To ensure perfection, you might try having a very patient and loyal friend read it aloud to you. Here’s your chance to discover the true meaning of a “strong tie.”
John Wooden was surely right: although each of these shortcuts will seem to save you time in the short run, the gains are purely illusory. You have merely embedded problems in your work that will come back to haunt you later, especially when they are discovered by others. Do yourself, your friends, and your reviewers a favor: take the time to do it right the first time.
First, just wait. After you finish reading the editor’s letter and the reviews, you might feel the need to “do something.” My advice? Don’t! Read the letters a couple of times to make sure you’ve noticed everything and haven’t spent more time on the negative then the positive reviews. Then, put them aside and just think about them for a day or two. Or longer.
Second, moderate your emotions. It is natural to feel annoyed, irritated, and even angry about a letter that points out the flaws in your work. However, letting your anger get the best of you will lead to unprofessional behavior which you will later regret. Given that the letter is a revise and resubmit request, there will be sentences in the reviews that say positive things about your work. Relish them and then move on. Similarly, there will be sentences in the reviews that lead you to question the intelligence and motives of the reviewers. Such thoughts are not helpful. They block rational thinking about the strategic course of action you need to take.
Third, thank the editor. The letter probably asks you to indicate to the Journal whether you plan to resubmit and if so, by what date. I never turn down such invitations. Even if the letter says something like “meeting the reviewers’ comments will require major changes in the manuscript,” the fact that the editor thinks you have a chance is reason for celebration. So, don’t complain in the message you send back to the Journal; just tell them that you’re grateful for the opportunity to revise the manuscript and you will be returning it within 30, 60, or 90 days, or whatever time frame it is that you’ve been given. Editing is mostly a thankless job — give the editor a break.
Fourth, do not send the manuscript unchanged to another journal! Occasionally I hear friends and colleagues tell me that the effort to meet the revision requests is not worth it and they’re just giving up and sending the paper to another journal. That’s a big mistake. Why? First, for most journals, far less than half of the authors submitting papers are given opportunities for revision. Somebody likes your work. Second, the odds of an acceptance skyrocket for most journals, once the paper has been given an R&R. For some journals, the odds approach 50% that a revision will be accepted. Whatever the number, if you cared enough about the Journal’s reputation to submit to it in the first place, you’ve now got a much better opportunity to publish in it and so you shouldn’t turn it down. Third, and perhaps most important, it is quite likely that at least one of the reviewers who told the editor that the paper needed work will be a reviewer for a subsequent journal to which you send the paper. Nothing angers a reviewer more than to learn that all the work put into a review has been ignored by an author who has chosen to send the unchanged paper elsewhere. Sending the paper elsewhere without revising it is likely to elicit a strong rejection or at least one really strong negative review!
Fifth, consider the possibility that the reviewers were right. Lots of research in cognitive neuroscience tells us that people consistently overestimate the value of something they have produced, as well as being wildly overconfident that their work is above average. Don’t be one of those people. Take the reviews to a colleague and, without biasing their response with a negative cue, ask them to tell you what they think of the reviews. You will be surprised at the response. Although your colleagues can put themselves in your shoes as a spurned author, they probably have had much more experience as a reviewer than as an author (judging by the average colleague’s CV), and so their sympathies are quite likely to lie with the reviewers. Listen to what they have to tell you.
Sixth, make a plan. Every revise and resubmit editor’s letter asks an author to not only revise the manuscript but to include a document that indicates how each of the comments made by the reviewers was dealt with. You can get a head start on that document by using the reviews to create a plan for revision. First, fit the plan to the comments. If the points in the reviews aren’t already numbered, number them. Keep track of which reviewer said what by giving each reviewer a letter, e.g. A, B, and C. Second, indicate whether you accept the criticism and can do something about it (adding literature, clarifying language, conducting new analyses, and so forth) or you can’t. If you can’t do something about it, indicate why. Third, clearly indicate which of the comments will require moving words around (theories, concepts, models, etc.) versus which will require new analyses. Externalizing your thoughts in this way will show you whether you truly understand what the editor is asking you to do. (You can write back and asked for clarification of murky points.) It also gives you a sense of the magnitude of the effort required to meet the comments. This document will be both a plan for revising the manuscript and the template for the letter you will write to the editor.
Seventh, don’t lengthen the text. Almost all papers that are submitted are close to or over the ideal word limit set by a journal. Although you may claim that you can’t deal with the reviewers’ comments without adding more words to the text, that is surely not true. Unless you had hired a professional editor before submitting the paper, there are many places in the text where you will find redundancies, unnecessary digressions, and so forth. Use the revision opportunity to shorten the text, or at least to ensure that it is no longer than the original submitted.
Eighth, be generous. Avoid gratuitous insults to the editor or reviewers in the letter you of explanation write. Although it is tempting to claim to an editor that the reviewers misunderstood your manuscript because they’re out of touch with the literature or have inferior reading skills, you’ll gain no profit by doing so. Avoid effusive praise, but do thank the reviewers when they genuinely pointed out something that you had missed. In simple declarative prose, explain to the editor and the reviewers how you understood each of their points, how you responded to it, or why you were not able to.
If you follow these tips, I cannot guarantee you that your resubmitted manuscript will be accepted. However, I can guarantee that your professional reputation will emerge intact and you’ll live to fight another day. You will also feel better about the process.
I believe some, but not all, of the difference in the perceived usefulness of these two papers reflects their authors’ choices of titles.
So, what makes for a “good” title? Let me offer four suggestions, based on my experience with writing dozens of titles, good and bad.
First, I strongly suggest choosing a title that you must live up to – one with bold and even outrageous claims to importance. It should make promises about the payoff that readers will expect you to keep. Of course, the risk is that they will be deeply disappointed if their expectations are not fulfilled. Do not disappoint them! Set the bar high and motivate yourself to get over it.
Second, simple titles with an emotional resonance that surprise readers and foreshadow the paper’s “hook” are my goal. Finding them is arguably as important as crafting a strong narrative for your paper. Indeed, I have discovered that choosing a memorable title often completes the final piece of the puzzle that shows me the way forward for the narrative.
How simple? “Entrepreneurship through Social Networks” is a 4-word title – with no colon and thus no follow-on description of its contents – that succinctly captured the essence of what Catherine Zimmer and I had to say. Published in 1986, it has been cited over 2600 times, garnering several hundred citations each year for the past decade. The paper’s narrative offers a few simple ways in which social contexts and connections can increase the likelihood of people becoming entrepreneurs, none of which were new to the literature in the 1980s. Evidently the title is a magnet for people who already believe that networks are important for entrepreneurship and just want a confirmation, in print, that they can cite to substantiate their beliefs.
Similarly, “Who’s the Boss? Explaining Gender Inequality in Entrepreneurial Teams” asks a simple question but doesn’t necessarily imply what the answer will be. From the words after the colon, it is clear that Tiantian Yang and I will be looking at men and women as bosses, within entrepreneurial teams, requiring people to actually read the paper if they want to know the outcome of our inquiry. We could have written a longer title, such as “Will Men or Women Be in Charge of an Entrepreneurial Startup?” Instead, the simple “Who’s the Boss?” suffices to provoke a reader’s interest, especially coupled with the material after the colon.
Third, I suggest choosing a surprising title. How surprising? Studies of babies show that even at a very young age, they have a strong sense of the causal interconnectedness of their world and thus take for granted a lot of what they see. By contrast, they are startled when their expectations about the world are thwarted and focus intently on where things have gone wrong. Authors can use this trick of confounded expectations to heighten interest in their papers.
In our paper on generational units, collective memory, and imprinting, Steve Lippmann and I took an old proverb and slightly twisted it, generating the title “A Rolling Stone Gathers Momentum.” Note that we only changed the last word in the proverb, but that change completely overturned the original meaning. Instead of gathering no moss, the stone now picks up speed as it moves along. The new meaning fit well with the paper’s theme, which was that a combination of imprinting and collective memory create generational units that play leadership roles in a region’s economic development over time.
Surprise can also be generated by conjuring up bizarre images, as Ellen Auster did in our paper “Even Dwarfs Started Small: Liabilities of Age and Size and Their Strategic Implications.” Strange as it may seem, the first part of the title actually anticipates quite well the papers theme, which is that small organizations are ubiquitous in the world and that few of them grow significantly. Auster and I discussed the ways in which small firms coped with their disadvantaged starting point.
Fourth, you earn a bonus if your simple and surprising title also subtly implies the paper’s hook, especially if you can do it in the words before the colon, rather than after. I published “Paradigm Wars: Donaldson Versus the Critics of Organization Theory2″ in the late 1980s, when Lex Donaldson had taken on not only what he called anti-managerial theory but also the threats to organization theory from social constructionists. My initial title was “Paradigm Warriors,” but I decided that I wanted to put the focus on the theories themselves, rather than the protagonists.
One of the notable features of this venue is a small coterie of jazz aficionados that sits in the front row, occasionally bending down to tinker with something under their chairs. One evening when I was sitting in the second row and could see clearly what they were doing, I realized they had small tape recorders running under their chairs, creating tapes which they exchanged among themselves, I assume. Several of the men took photos and then sold the glossy black & white photos to patrons the next night. If a musician is booked for multiple nights, the photographers provide indelible markers for autographed photos on subsequent nights. (I have no idea what financial arrangements they make with the musicians.)
Jazz Land customers are an incredibly attentive audience. Anyone who tries to carry on a conversation while the guest artists are playing is promptly told to shut up and no one needs a second reminder.
Sitting through two or three sets was a challenge for me back in the old days, because of the clouds of smoke that eventually hung down from the ceiling and more or less engulfed the audience. I suspect there were ventilation shafts running out of the room, but they were clearly overwhelmed by the amount of smoke produced by the patrons! Every night I went home with my hair and close smelling of smoke. But, whenever I complained, people who’d accompanied me would probably remind me that we had a great time. I haven’t been back in a long time and so for all I know, the place is now non-smoking.)
From the late 80s through the early 90s, I probably made seven or eight trips to Vienna to teach in entrepreneurship program of the Wirtschaftsuniversität Wien. As I was there for a week or two on each trip, I typically was able to see two or three great jazz artists. Some evenings it was just local artists, but other evenings Axel had booked guests such as Benny Carter, Eric Reed, Art Farmer (who lived in Vienna for over 30 years, preferring it to the US), Gene Harris, Frank Wess, Bob Wilber, Joe Williams, and Howard Arlen. Wild Bill Davidson (1906-1989), a great jazz trumpet player from my home town in Northwest Ohio, often appeared there. (I had no idea Wild Bill had grown up in the basement of the library I used to frequent – I only learned about it when I was in my 50’s.)
Usually the club was packed, but occasionally the crowds were sparse, giving me an opportunity to spend some time with the musicians. For example, Howard Arlen was in town for two nights and on the first night, only about 15 or 20 people showed up. We gathered in a circle around him and he entertained us with tunes and tales. I asked him a question I’m sure he’d heard before, “are you related to Harold Arlen [e.g. “Over the Rainbow,” “Stormy Weather,” “Let’s Fall in Love”] the song-writing guy?” He paused, sighed, and said, “If I were, do you think I’d be out on the road like this?”
On one memorable occasion, I got a chance to talk with Gene Harris (1933-2000) and Frank Wess (1922-2013), who were backed up by three local musicians. Of the two, Harris seemed more lively and talkative, but oddly enough, Frank Wess outlived him by more than a decade. When I told Wess that I was from Chapel Hill, North Carolina, he mentioned that he had “bivouacked” nearby on one of his tours. At first I thought he was talking about being in the Army, but then I realized that he would’ve come through in the days when black artists couldn’t stay in local white-only hotels and so he had to stay in a hotel in Durham that accepted black customers. Times have changed.
A similar question occurred to me a few days ago after I finished a fruitless 6 hours of fly fishing at a local Lake. Along with the other members of my small fishing group, I had spent the day in bitterly cold weather, casting into a howling wind, with almost nothing to show for it by way of trout landed. This was not an atypical day, except for the cold, as we often spend an entire day fly fishing without catching more than a handful of fish. Nonetheless, every week, on our appointed day, we trek back to the lake and try it again.
On the way home from the lake, I found myself thinking about the similarities between my fly fishing experience and that of underemployed members of the creative professions that I’ve been studying. Actors, musicians, authors, dancers, filmmakers and others often spend years without finding steady employment in their profession, sustaining themselves by working in other jobs that may have little or no connection to their professional identity. For example, at the beginning of 2012 report by Actor’s Equity Association said that the average unemployment rate for actors was around 90%.
One of my friends asked if I would accept an analogy between the experience of athletes, who often experience “failures” through losses in competition and infrequently-employed creative artistic professionals. I said no, because the context for athletic failures is quite different. Athletes, whether amateur or professional, are competing within a context where there are rules that govern their actions: there is little uncertainty about the need to experience failure. Every athletic contest has a winner and a loser, determined by rules that were set a priori. The very nature of athletic competition mandates that someone will lose in every game.
By contrast, fly fishermen and creative professionals are operating in a highly uncertain context. There are well-established and standardized procedures for acquiring the skills needed to potentially do well as an angler or artist, but for any given performance, whether it will be a “success” or “failure” is highly uncertain.
Additionally, many products produced by creative professionals either fail to get distributed or lose money when they are distributed. Paul Hirsch pointed to the overproduction of many cultural products, such as films, records and CDs, books, and plays, resulting in a large number never reaching their intended audiences. American playwrights, for example, consider themselves fortunate if their new plays are produced for a 2nd or 3rd time, after their premier. Many are produced once and never appear in a theater again.
So, in the face of such long odds, what sustains a belief in success among these unsuccessful creative professionals? As I drove home, I pondered the similarities between these artists and fly fishermen. Admittedly, initially it seemed a bit of a stretch, but then several principles came to mind. 1st, as we know from behavioral psychology, intermittent reinforcement is a very powerful force in sustaining a behavior. Indeed, intermittent reinforcement – – receiving reinforcement on an unpredictable schedule – – is more powerful than receiving reinforcement consistently after every trial. For anglers, all it takes is a few successful catches in a day to create the feeling that the day has been a success. Perhaps for artists, the same thing holds?
2nd, and probably more important, anglers, especially fly fishermen, are often part of a very resilient community that gives them a very strong sense of shared fate with other anglers. Fly fishermen have magazines, blogs, videos, television programs, voluntary associations, and other mechanisms that enable communication with others who share a passion in fly fishing. I believe the same is true of the creative professions. Having a strong sense of social identity, in which someone perceives their identity as tied to that of a larger community of like-minded people, could sustain a person through difficult times.
3rd, if someone has experienced powerful socialization pressures such that their personal identity is bound up with their occupational identity, they may tolerate an enormous amount of misery before abandoning that identity. Thus, someone who strongly identifies with their artistic craft may continue to hold onto that belief, regardless of having few opportunities to demonstrate their prowess. Lena and Lindemann used data from a very large survey of individuals who had pursued an arts degree in the United States to investigate the question of artistic identity, noting that many workers are defined themselves as artists did not hold artistic jobs. They focused on the very large group that said they had worked in an occupation associated with the arts but who did not indicate that they identified as a professional artist. However, what caught my eye in the survey was a much smaller number of people who said they either currently or at one time had worked as a professional artist but then indicated in another question that they had never worked in an occupation associated with the arts. This small group of people apparently had sustained a sense of being an artistic professional while never having an opportunity to work in an occupation associated with the arts.
I would love to know more about these “artists” – – were they able to publish, record, perform, or otherwise display their talents just often enough to maintain a belief that someday they would “make it big”? Were they member of local communities of creative professionals who reinforce one another’s beliefs that they were just going through a temporary bad patch and success was just around the corner?