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Using social media platforms to build informal learning processes and social networks is significant in academic development practices within higher education. We present three vignettes illustrating academic practices occurring on Twitter to show that using social media is beneficial for building networks of academics, locally and globally, enhancing information flows, inspiring thinking, and motivating academic practice. Using a reflective and diffractive methodology, we illuminate how different flows of forces and relations are enacted. We argue it is in this fluidity of informal learning that perspectives are contested and shaped, and that academic developers can benefit by encompassing such practices.

While there is increasingly widespread use of social media by those visiting museum exhibitions relatively little is understood about this practice. Further still, the focus of such practices is unknown yet research in this area can reveal much about how visitors using applications driven by smart phone technology are engaging with exhibition content, space, design, architecture and people. This article draws on a case study of one exhibition using visual content analysis to frame, explore and interpret visual and text based posts by visitors using the social media application, Instagram, as part of their experience. Findings suggest that museum visitors using this application do so to account for and record details of their experience that draws attention to exhibition content, specifically objects. The implications are extensive for cultural institutions given the uptake of social media in all corners of life, with museums and galleries being a lively context for social media use via mobile technologies.

Peer feedback and critique is integral to the creative practice of studio‐based textile designers. In a creative learning context, how do students perceive the role of peer feedback and critique? What conditions do students identify as being important to stimulating creativity in a collaborative peer feedback and critique‐driven learning environment? This article highlights research conducted in one undergraduate textile design programme of an urban Australian university based on a small‐scale designed learning intervention. Our study set out to explore: (1) what students thought about creativity; (2) the conditions which supported its development; and (3) the role of peer learning and critique in the learning experience of design students in a studio‐based environment. Qualitative data were collected from students about their views on creativity, peer learning and the intersection of these two areas both prior to and after the intervention. Staff observations and reflections were also explored. Findings include an increased awareness of the role of peer learning in the creative process for the majority of students. For staff, important revelations unfolded about the role of the group in peer learning and critiques, the elusive nature of creativity itself, the inherent nature of creative disciplines, and the importance of particular physical and mental environment(s) in creative studio‐based learning and teaching. This study highlighted that studio‐based learning environments (involving peer feedback and critique as a critical component of the creative process) need to consider the group dynamic at play and carefully design learning interventions accordingly.

Purpose – The purpose of this paper is to investigate the growing use of Twitter in academic and artist practices. The authors explore commonalities, overlaps and differences within the reflections on the initial and ongoing motivations, usage and learnings the authors have encountered whilst immersed in this environment. Design/methodology/approach – The authors locate the particular inquiry by drawing on the literature surrounding digital identities, academic literacies and digital scholarship. Departing from other studies, the focus is on a narrative inquiry of the lived experiences as academics and as artists using Twitter. Findings – Academics use of Twitter plays a distinctly social role enabling communication that connects, and fostering accessible and approachable acts. It enables a space for challenging norms of academic ways of being and behaving. In addition, the authors draw conclusions about the “messiness” of the interconnected space that incorporates multiple identities, and highlight the risk taking the authors associate with using Twitter. Research limitations/implications – Academic practice is ever changing in the contemporary university. This initial study of academic and artist practices and the use of Twitter suggests future developments including participants using similar questions to elicit notions of practice to engage in a deeper understanding of motivations and behaviours. Practical implications – In using social media tools such as Twitter, individual academics and their practices are modified; the impact of this practice is visible. Originality/value – The authors contribute to emerging discussions and understandings about academics, social media and identity. The authors argue that by participating in the use of Twitter, the authors are part of the collective process of challenging what it means to be an academic and artist.