Medium reflexivity relationship

medium reflexivity relationship

KEYWORDS Reflexivity, reflexive engagement, participatory design, participation , relationships, social media 1. INTRODUCTION The purpose of this article is to. characterising youth culture in relation to media experiences. Bearing .. 8 The concepts of reflexivity and reflection are examined further in the theory chapter. In mathematics, a binary relation R over a set X is reflexive if every element of X is related to . () [], "Reflexivity", Encyclopedia of Mathematics, Springer Science+Business Media B.V. / Kluwer Academic Publishers, ISBN.

Other albums presented floral specimens that more literally connected clipping with memory. Catherine Fraser, Commonplace Book, early nineteenth century uncatalogued at time of photography. Watercolor with pen and ink, 21cm. More than witty visual play that merely reflected the album form, however, such illustrations also communicated the deeply affective role played by the processes of contribution that produced such volumes.

Riker in New York, for example, are punctuated by a number of typically sentimentalizing engravings. These inclusions highlight how the album was both a highly personal and particularized object, representative of the commodification of emotion that occurred from the second half of the eighteenth century.

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Another print depicts a young woman looking up from what looks like a letter. Elwell, The Young Ladies Album, Engraving with pen and ink, 25cm.

medium reflexivity relationship

This reflexivity is not limited to images that comment on the emotional practices of album culture. It is also characteristic of those engravings that relate to the material practices of that culture: This is clearly evidenced in Elizabeth R. Functioning as a visual shorthand for sentimentality, such engravings allowed albums to signal emotional bonds between owner, writer, and reader, a task they continue to perform for the viewer and reader today, ensuring that, even once removed from the intimacy of those relationships and the biographies of their makers, their role in the construction of affection remains clear.

Indeed, though albums are deeply biographical objects, they are often dramatically severed from those biographies through processes of archival loss and historical distancing. Though some have clear ownership and provenance, and are thereby firmly associated with owners who themselves have richly documented biographies, many are completely anonymous, or associated with a name alone.

This absence of information complicates any examination of their use in the processes of self-fashioning, emotional construction, and identity formation in the period in which they were made.

Despite this disruption, the reflexivity shown by these albums is a useful way of understanding their affective transactions, even after biographical ties are dissolved.

Whether referring to an intensely personal moment and intimately tied to a specific group or pair of individuals, or functioning as a generic and typical expression of friendship or love, by the second half of the nineteenth century the album became a visual and material synecdoche for an intimate moment shared. Helen Mar Robertson, Album University of Chicago Press, Frontispiece early C19in Lucy R.

Tatnall Scrapbooks 1 of 2 University of Pennsylvania Press,ix. Ladies, Mothers and Flirts Abingdon: Charlotte Rose, Commonplace book Charlotte Stewart, Album Bucknell University Press, American Antiquarian Society, Philadelphia. Martha Fletcher, Album The friendly repository and keepsake of Mary Eliza Bachman Long emails Handwritten letters Although this might seem impossible — and even ridiculous — in a world where texting and constant updating are an inevitable part of our relationships, I believe this way of communicating was the reason why we stayed together and remain together, more than 4 years later.

A recent study shows that sending too many texts can create some disconnects in committed relationships. During our long distance relationship, my partner and I refrained from communicating with each other through texting, and instead sent each other a long email every second or third day. The benefits were immense: By writing long, focused emails, we were able to go deeper and access complex thoughts that we would never be able to reach in a text or even a short conversation; As a consequence, writing those emails also served as a self-reflexive and sometimes meditative practice, allowing us to learn about ourselves in the process; As we knew that it would take the other person a day or two to get back to us, we avoided the anxiety of constantly checking for replies and we were able to focus on personal projects without distractions; The intervals between each email prevented us from getting bored of each other — which sometimes happens when you communicate with someone exclusively via digital media — because we always had something interesting and new to say; Because of the amount of time, focus and love we poured into our emails, we saw each piece of correspondence as something to be treasured: I remember setting aside intentional time to read his emails, and my heart jumped with excitement every time I saw his name on my inbox.

But there was one thing we treasured even more than long emails, and that was sending and receiving handwritten, palpable, physical letters. There is something special in crafting a long letter to someone you love. When you dedicate focused time to write to people, they will feel valued and loved — even if your grammar is imperfect and your structure inconsistent.

Also, this is not restricted to people who live far away from you.

medium reflexivity relationship

Even if my partner and I live together now, it still fills me with joy when I wake up to find a surprise love letter on my bedside table. But what can you write about? If you start writing or typing and do it for a long enough period of time, even if at first you feel stuck, your brain will eventually start making valuable connections and accessing gradually more interesting thoughts.

However, if you want to use your writing to powerfully address the root of your problems and create authentic relationship healing, then the next section is for you. In other words, when we compassionately exchange pieces of personal information with someone, we are closing the gap between us and becoming closer to each other. When I first saw it, my instinct was to call her and get defensive, but I quickly stopped myself as I realized that this would only generate more anger and distance.

I knew that the key to settling the conflict was to tell her how I felt without blaming her for the situation, but in order to do that I had to calm my anger and get back to a place of mental clarity.

Reflexive relation - Wikipedia

So I did the following: These sessions allowed for an unfolding, concurrent, reflexive process to take place between the fieldworking and non-fieldworking researchers. We conclude by emphasizing the possibilities of affording new perspectives for design and conceptual re-discoveries and creating a balance between research and design. This entails building new understandings, typically by experimenting within various situations, to inform actions in unfolding situations. There is a call to make the researcher visible and for reflexivity that takes into account the researcher as a historised, discursive, situated, embodied subject Markussen For Balka, explicating this venture is a question of making values and ideals visible and taking them also into account when discussing the outcomes and their scope of influence Balka It is then not just a question of making visible but of being responsible.

The aim was to develop a collaboration model supported by social media for professionals in their work against workplace harassment. The collaboration started through meetings with three key members of the study center who had been involved in collecting stories of workplace bullying and developing a manual for interventions. Due to this interest, they also had time and funding to participate in the process.

The overall design process was organized through this collaboration. The study center acted as a link between the other participants, all future users of the collaboration model.

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These participants were invited by the study center and they participated in the project as part of their work. They were invited to represent different target groups: These participants formed an expert group of twenty people with whom a series of workshops were carried out utilizing online collaboration during the year and a half pilot period. A preliminary social media platform was chosen based on these needs by the researcher together with the study center and taken to use in the following workshop.

The expert group met in workshops for visioning and developing the new way of collaborating. In between the workshops, they participated in online activities, such as using a wiki to write case narratives about workplace bullying and using their experiences online to discuss and agree on the guidelines for the collaboration model. Working hands-on with the collaboration model, the group gained experiences and new ideas were developed which led to a change of platform.

Reliability and ease of use were among the elements guiding the design process. Also, specific elements such as linking the discussions taking place in social media to other mediums of communication mainly e-mailcollaborative writing and forum for support were central guiding principles. The social media supported collaboration model was designed in and through use with the purpose of catering to continuing development in a sustainable manner during and after the pilot period.

Once the collaboration model was launched, the group of experts expanded as the initial participants, based on mutual decision, used their networks to inform and invite new participants to join.

Reflexive relation

The extended network of professionals numbering hundreds continued to work using the new model and tools. Additionally, the experiences with social media and design collaboration had created new projects and influenced the work practices of the study center beyond the pilot study. The design process was recorded in audio, memos, and ethnographic notes.

This data was used with the user- practitioners to discuss the collaboration. Qualitative analysis was integrated into the research as a cyclical, reflexive process. It combined the collected data from different sources with the observations creating a dialogical relationship between them.

The analysis was done through reading and re-reading based on the data collected by the fieldworking researcher. The analysis continued in the interdisciplinary discussions between the fieldworking and non-fieldworking researchers in which the experiences from the field were discussed and related to the assumptions, concepts, and current discourses in the PD tradition.

These sessions allowed for a reflexive process to take place that was meaningful for the concurrent design process as well as for the continued reflexive conceptual deconstruction and reconstruction work after the pilot study. With reflexivity as a central orientation, the study provides insight into the processes of locating oneself, negotiating participation, 87 ISBN: The locations of reflexivity form the basis from which we continue to sketch the notion of reflexive engagement.

From the first expert group workshop on, I began to reflect on how the understandings of technology and social media were influencing the process and the different ways the participants were entering the collaboration.

They were professionals whose shared framework was workplace harassment. For some of the participants computers were considered work related and the anticipation of difficulties was causing hesitance from the beginning.

At the same time, social media was seen as having the potential to facilitate work. Personal experiences and histories framed the understandings, interests, and expectations of the participants. Social media influenced some of them, but was in no way the only thing framing our participation.

There was a benefit in being a researcher as this was something valued by the user-practitioners. The realization of the difference in our starting points and the ambiguity of our roles challenged me to continuously critically evaluate and re-position myself. The reflexive acknowledgement of the gaps and negotiations of participation emerged as a space for discovery.

The value of experience-as-knowledge that was advocated opened a space for collaboratively re-defining social media technology.

1.1 Relations and Functions - Reflexive Relation - CBSE Class 12

Going further, we discussed this knowledge and experiences as necessary contribution for the understandings of social media. This meant that the different understandings of social media were allowed to influence the design.

Challenging these preconceptions afforded a space for collaboration and learning. The question of openness was consequently revisited, which influenced, for example decisions about a restricted access and the development of a practice for sharing acute harassment cases anonymously. Social media was discussed by contrasting different examples of, and experiments with, social media use and the ideas, visions and knowledge the professionals had about the extended network.

Also, the emotions and experiences were legitimatized as a relevant part of the design process. When the risks and threats of the use of social media, particularly with the topic of workplace harassment, became a central question, work on rules and guidelines was included in the process.

The development of the collaboration model manifested in a social networking site with shared contents, discussions, online meeting sessions and online seminars. The researcher in me was tuned in to listening, searching for authentic experiences, fears, and frustrations as well as joy, enthusiasm, and the constructions of meanings.