Bildkommunikation

Showing/Sharing: Analysing Visual Communication from a Praxeological Perspective

“…Moreover, the interpretation of a single picture may find multiple and ambiguous layers of meaning which exist in parallel (Imdahl, 1994;Przyborski, 2017), 3 as we will see in the exemplary interpretations. Sharing pictures on social media can have manifold meanings and contexts, and has to be understood as a field full of continuities and changes: Picture sharing has always been a means of collaborative meaning-making and "doing sociality" (Keightley & Pickering, 2014;Sarvas & Frohlich, 2011) yet through social media modes of individual sharing have become more common than sharing within the family.…”

“…However, visual data analysis can unearth aesthetic, embodied and affective aspects of communicative relations which might otherwise be overlooked (Grace, 2014;Przyborski, 2017;Rose, 2012;Tinkler, 2013). To understand the complex entanglements of visual and social media, both their "media logics" have to be taken into account method(olog)ically.…”

“…It was originally developed within the logic of the Documentary Method, a qualitative, praxeological approach (Bohnsack, 2008(Bohnsack, , 2014Przyborski, 2017), but it is compatible with any kind of qualitative, interpretive approach which differentiates two levels of meaning (explicit and implicit meaning) and relates them in a systematic manner: What is said or visible is separated from how this content is actually conveyed within language (e.g. transcripts of interviews), practice (e.g.…”

Understanding Media Communication: On the Significance of Iconic Thinking for a Praxeological Model of Communication

“…The first three dimensions were developed by Imdahl (1996a) and have successfully been integrated in the Documentary Method, a particular methodological trajectory of social research that has been highly successful in Europe for the past 20 years (Bohnsack, 2001). Taking Boehm's (2007, p. 199ff) approach further in the course of empirical work, we added the fourth dimension-sharpness/fuzziness-into the documentary interpretation of pictures (Przyborski, 2018;Przyborski & Slunecko, 2012). With the help of these four dimensions, the particular pictorial logic of the plane is systematically accounted for in the Documentary Method (Bohnsack, 2010(Bohnsack, , 2020Przyborski & Slunecko, 2020) and in other reconstructive methods of picture interpretation (as summarized in Wohlrab-Sahr, 2014, andPrzyborski, 2018).…”

“…While preiconography focuses on the level of knowledge of the use of things and gesture, iconology deals with the level of conjunctive knowledge. The meta-theoretical conception addressed here only in rudiments is developed in greater detail by Bohnsack (2017Bohnsack ( , 2020 and Przyborski (2018). In the material analysis (section "Research Design: Pictures as the Empirical Basis"), it is further explicated through concrete research examples.…”