Culture Club

Wunderbar  

Symbolic interactionism is a sociological theory that develops from practical considerations and alludes to people's particular utilization of dialect to make images and normal implications, for deduction and correspondence with others.[1] In other words, it is a frame of reference to better understand how individuals interact with one another to create symbolic worlds, and in return, how these worlds shape individual behaviors.[2] It is a framework that helps understand how society is preserved and created through repeated interactions between individuals. The interpretation process that occurs between interactions helps create and recreate meaning. It is the shared understanding and interpretations of meaning that affect the interaction between individuals. Individuals act on the premise of a shared understanding of meaning within their social context. Thus, interaction and behavior is framed through the shared meaning that objects and concepts have attached to them. From this view, people live in both natural and symbolic environments.

Symbolic interactionism comes from a sociological perspective which developed around the middle of the twentieth century and that continues to be influential in some areas of the discipline. It is particularly important in microsociology and social psychology. It is derived from the American philosophy of pragmatism and particularly from the work of George Herbert Mead, as a pragmatic method to interpret social interactions.[3]

https://en.wikipedia.org/wiki/Symbolic_interactionism

ist ja doch sehr "theoretisch".

https://de.wikipedia.org/wiki/Symbolischer_Interaktionismus  

Die Idee dahinter ist ja, dass soziale Interaktion - Kommunikation im weitesten Sinne - Werte, Rollen, Identitäten, Lebensentwürfe definiert und nicht etwa umgekehrt. Interessant dabei auch die Verlängerung zur ideellen Interaktion mit dem 'generalisierten Anderen', der in meinem eigenen Kopf nistet und dort meine Performance kritisch beurteilt (Freudianisch das 'Realitätsprinzip).

Ich finde schon, dass das auch eine praktische Bedeutung hat. Vor allem für erwünschte oder auch befürchtete Veränderungen. Denn jeder echte Austausch verändert meine Spur, meist in Nuancen, manchmal aber auch fundamental. Ohne echten Austausch bleibe ich hingegen pecken, was zu immer rigideren Einstellungen und Charaktermerkmalen führt, so wie sie in bekannten Internetforen tagtäglich zu besichtigen sind.  

 

Dziga Vertov, 2 January 1896 – 12 February 1954, was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman. In the 2012 Sight & Sound poll, critics voted Vertov's Man with a Movie Camera (1929) the 8th best film ever made.[1]

https://en.wikipedia.org/wiki/Dziga_Vertov