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"abstractNote": "Librarians' liminal (intermediate) position within academia situates us to make unique contributions to digital humanities (DH). In this article, we use genre theory, feminist theory, and theories of emotional labor to explore the importance of discourse mediation and affective labor to DH and the interplay between these areas and academic structural inequality. By claiming our expertise and making explicit work that is often not visible, we can advocate for new and varied roles for librarians in digital humanities. Our analysis is informed by both theory and practice, and it takes a dialogic approach that depends upon the interactions between the two.",
"publicationTitle": "College & Undergraduate Libraries",
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"shortTitle": "Claiming Expertise from Betwixt and Between",
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\n\"Theories of expertise have been situated mainly, though not exclusively, within the field of cognitive psychology. Notable theorists Carl Bereiter and Marlene Scardamalia define expertise as \"effortfully acquired abilities . . . that carry us beyond what nature has specifically prepared us to do\" (1993, p. 3). They claim that experts are better problem solvers in their own local domains because they are able to draw on knowledge that allows them to think less than non-experts. Outside of their domains of expertise, however, experts work harder and appear to work t\" (Tardy 2009:25)
\n\"In order to communicate actively, appropriately, and successfully within a specific domain or disciplinary discourse community—that is, to communicate as an expert—writers must develop2 genre knowledge. At the outset, I need to emphasize that I see genre knowledge as related but not identical to general second language (or even first language) writing skills. In a thorough and thoughtful exploration of the construct of writing, Grabe (2000) lays the groundwork for moving toward a theory of second language writing. He argues that a useful starting point for theory building is to generate a taxonomy of research on aspects of\" (Tardy 2009:28)
\nWeeeeeeellll I don't fully agree for blah blah blah reason.
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\n\"Frames not only simplify and create alternative views of a problematic situation; they also evoke particular outcome spaces that afford a range of responses.\" (Paton and Dorst 2011:575)
\n\"Whilst the idea of a brief as a starting point for projects is widely accepted, the activities associated with the creation of a brief and the negotiations for its (re) definition are not often examined. From the initial expression of the project by the client (which can be in written or verbal form, and can be detailed or fuzzy), there is a set of interactions between designer and client that take place in order to develop a mutual understanding of what the project will be about. The aim of briefing, then, is to reframe both the client's and designer's preliminary appreciation of the situation in order to create an actionable view of the project for both parties. Ideally this view includes: a desired end state or goal; prioritisation and selection of relevant features; problem scope, solution scope and resource constraints; and projected value (Hey, Joyce, & Beckman, 2007). An accepted brief that is understood and agreed upon, should be one in which the designer's and client's frames have come to overlap or align to a certain extent.\" (Paton and Dorst 2011:575)
\n\"In all cases, the designers saw briefing as a process of negotiation with the clientdto define a 'vision' (mutually shared understanding) of what the project would be, an approach, and a shared appreciation of value to be achieved. The designers talked about multiple conversations with clients, briefing and re-briefing documents, and in some cases, aspects of the brief still being formulated once generative work began, indicative of highly iterative project formulation in those cases.\" (Paton and Dorst 2011:577)
\n\"Innovative projects were identified as those where the designer was understood as an 'expert', 'artist' or 'collaborator'. 'The projects that are the most exciting are when all our different abilities get touched on' (Designer_O, 2010). In these situations, the designer is engaged in framing with the client in light of some problematic situation. Examples included: changing the form that the design should take (e.g., from a website to an interactive experience); making salient or introducing the client to previously unconsidered approaches (e.g., creating a visual language that communicated the integrity of activities, rather than traditional marketing approaches to promotion); and being engaged in research on behalf of, and with, the client to reframe the situation (e.g., user-centred design techniques revealing the situation, rather than conforming to a list of functional requirements).\" (Paton and Dorst 2011:580)
\n\"In order to objectify and create a mutually agreed, shared frame for a project, the interviewees all cited contextual engagement through questioning and exploring the situation with the client. There is a sense that the interviewees were curious to find out about the client's world and incorporate that into the situation being framed. Contextual exploration is an exchange that shifts both the client's and designer's preconception. So we're really trying to get everythingdthat's the 'desk research' phase. That's so we don't re-invent the wheel, or we don't miss out on an opportunity that exists already from their content. It also helps us plan the workshop, because we were immersed enough to think about how the workshop should rundhow it should be different (Designer_B, 2009). This example indicates that contextual immersion is a means not only to learn about the design situation, but also to strategically understand how to create meaningful modes of interaction and helpful activities to facilitate reframing with a particular client. The contextually designed workshop would facilitate leaps in design understanding through co-exploration of the design situationdleading both the client and designer to new frames together.\" (Paton and Dorst 2011:581)
\n\"Every designer interviewed used the spatial metaphor of 'a journey', which implies a dialogical mode of interaction. A dialogical approach uses question and response, as well as representation and reflected re-representation, to create a shared horizon of understanding. The designers reported that it is prohibitively difficult to get the client to adopt new frames without dialogue. . And I always insist on starting with a meeting. I can't imagine ever hiring anyone to do almost anything for me without speaking to them! Immediately I'm on guard when someone just emails and says, \"Can you email me a quote?\" I immediately think, \"This isn't someone that I'm going to be able to work with.\" So, then at that point I'll just call them and try to start a conversation, (a dialogue), which can be difficult (Designer_C, 2009). Additionally, all of the designers insisted that decision-makers need to participate in the dialogical framing process so that they, too, adopt the new frame. 'We try and look for organisations where we can speak to the power brokersd[we're] not interested in middle tier conversations because they're trying to second guess their bosses all the time and they're too scared to ask questions' (Designer_J, 2010).\" (Paton and Dorst 2011:582)
\n\"The significant barriers to reframing, as experienced by the designers are: fixation by the client on their initial idea for the project; a problem-solving mental model of design; and, resistance to journey. Fixation by designers during conceptual phases has been described (e.g., Jansson & Smith, 1991; Purcell & Gero, 1996), however design thinking literature has not previously discussed the impact on design development of fixation by clients upon a particular framing. Abstracting from a client's currently held frame is a significant strategy by which designers de-structure a situation so that new frames can be communicated and adopted. Ways to achieve this abstraction were identified as: the use of metaphor and analogy; contextual engagement through research; and, conjecture, where reframing was assisted by co-exploring the abstracted conjectured view of the situation (see Figure 1).\" (Paton and Dorst 2011:585)
\n\"Reframing during briefing has the aim that both parties negotiate a mutually apprehended frame that is actionable. We have seen that designers strategically and actively modify and gain acceptance on more desirable and more workable frames with their clients during the briefing process. We found that 'innovative' projects from the designer's perspective, are those that have been reframed based on 'valued' frames, cultivated over projects within the designer's practice as a professional meta-activity.\" (Paton and Dorst 2011:585)
\n\"The study identified clear strategies that designers adopt to facilitate reframing with clients. These strategies were needed in order to shift the client from viewing the situation as a problem-solving exercise, to deconstruct presuppositions and loosen client fixation on a particular outcome, and to create dialogical ways of interacting with stakeholders and the situation. Activities that support new frames being adopted tend to abstract from the situation to allow for exploration of the context. Successful communication of new frames depends upon co-creation of a language through the hermeneutic process of gaining common understanding.\" (Paton and Dorst 2011:586)
\n\"Situated framing and reframing practices during briefing are clearly cultivated areas of expertise for designers. Framing is a key creative process that designers have strategies for, which are often not explicitly reflected on by professionals and are not taught to students of design. The design professions would do well to collectively reflect on these practices in order to understand how to cultivate innovative projects and support professional development in framing expertise. Additionally, design education would benefit from making reframing and briefing strategies salient for students: as a process at the project level; and, to foster expertise in creating new frames at the professional level. We identify a future research agenda that focuses on: studying briefing and reframing from the client perspective; investigating the professional metaactivities designers engage in to support fostering new frame types; and, understanding the different ways a frame can change.\" (Paton and Dorst 2011:586)
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