This article is the editors’ introduction to the transcript of a lecture that Harold Garfinkel delivered to a seminar in 1993. Garfinkel extensively discusses the relevance of Aron Gurwitsch’s phenomenological treatment of Gestalt theory for ethnomethodology. Garfinkel uses the term “misreading” to signal a respecification of Gurwitsch’s phenomenological investigations, and particularly his conceptions of contextures, functional significations, and phenomenal fields, so that they become compatible with detailed observations and descriptions of social actions and interactions performed in situ. Garfinkel begins with (...) Gurwitsch’s demonstrations with line drawings and other abstract examples, and suggests how they can be used to suggest original procedures for investigating the vicissitudes of embodied practical actions in the lifeworld. This introduction to the lecture aims to provide some background on the scope of Gurwitsch’s phenomenological critique and elaboration of Gestalt theory and Garfinkel’s “misreading” of it in terms of his own conceptions of indexicality and accountability, and ethnomethodological investigations of the production of social order. (shrink)

Developing novices’ proficiency in skilful activities is central to the reproduction of human societies. The interactional practices through which instruction is accomplished have provided a rich focus for ethnomethodological and conversation analytic studies examining classroom settings, and, more recently, non-classroom environments of instruction in practical and manual skills. This paper examines the work of instruction in basketball training and in particular the correction of player performances, which are a ubiquitous and central feature of instruction in basketball training sessions. A central (...) part of this instructional action relies on the coach observing training activities to determine players’ competencies and to extract relevant correctables from the players’ embodied displays, which are in turn embedded within complex arrangements of rapidly moving bodies situated in material environments. In this paper we examine the visual-analytic work involved in both organizing and observing a basketball training activity, demonstrating the sequential layering of multiple membership categorization devices drawn upon in producing and recognizing actions in this setting. We argue that the coach deploys spatial orientations which function analogously to membership categorization devices, with players’ bodily positions relative to one another and the material structure of the surround generating category-like sets of rights, responsibilities, and sequential relevancies. As we demonstrate, these orientations provide crucial resources for the identification of players’ errors and thereby for the organization of instruction in interaction in this setting. (shrink)

Setting out to understand “indexicality” and its significance in Ethnomethodology, it is first necessary to trace the history of the ideas of Harold Garfinkel. From his early commitment to find “order” in his Harvard dissertation, Garfinkel finds himself in California defending Parsons’ Structural Functionalism while confronting Goffman and Symbolic Interactionism, based in Simmelian, Schützian Sociology. From the audience of students shared with Goffman, Garfinkel puts aside the “situation” of Symbolic Interaction in favour of a process, “Indexicality”, abandoning theorising in favour (...) of ethnomethodology as the means to understand “order*”. This paper, then, demonstrates how indexicality works and proposes completing the tasks that Garfinkel set out in the Studies to disclose the taken-for-granted, the left out, bounded by caveats like No-Time-Out and For-all-practical purposes. (shrink)

The intelligibility of a performance of improvised dance does not reside in the rehearsed execution of a pre-existing script, nor does it result from a sustained verbal interaction between the dancers. Many aspects of the speechless performance obviously play an important role in the achieved intelligibility of the dance: a dancer is seen moving on and from a ground, on a stage, in a space delimited by walls, illuminated by spotlights, sounded by music, in front of an audience. And of (...) course with other dancers, whose joint gestures and moves give shape to a choreography by providing pace, rhythm and sequences, thereby constituting a narrative or fragments thereof. This paper addresses the manufacture of this witnessable order, by presenting some results of an ethnographic inquiry. The investigation will be focused on how, in an improvised duet, each dancer interacts with the other, and more specifically how she or he positions her- or himself in relation to the other, from distance to proximity and touch. This work of distance management is the dance, whose choreographic accountability is produced and structured by dancers staying at a distance, getting closer and touching each other. The analysis shows that distance management is oriented to as relevant by the dancers and that it has consequences on their improvised duet. It is also what makes their performance analyzable by distant observers. (shrink)