The analysis of video-recorded interaction consists of various professionalized ways of seeing participant behavior through multimodal, co-operative, or intercorporeal lenses. While these perspectives are often adopted simultaneously, each creates a different view of the human body and interaction. Moreover, microanalysis is often produced through local practices of sense-making that involve the researchers’ bodies. It has not been fully elaborated by previous research how adopting these different ways of seeing human behavior influences both what is seen from a video and how (...) it is seen, as well as the way the interpretation of the data ultimately unfolds in the interaction between researchers. In this article, we provide a theoretical-methodological discussion of the microanalytic research process. We explore how it differs from “seeing” affect in interaction either as a co-operative and multimodal action or as an intercorporeal experience. First, we introduce the multimodal conversation analytic, co-operative, and intercorporeal approaches to microanalysis. Second, we apply and compare these practices to a video-recorded interaction of a romantic couple. Furthermore, we examine a video-recorded episode of us, the researchers, reflecting on our analytic observations about this interaction. We suggest that adopting a multimodal and co-operative perspective constructs affect as co-produced and displayed through observable action, while an intercorporeal perspective produces affect as an embodied and experienced phenomenon. While the former enables locating affect in a specific moment and identifiable body parts, the latter facilitates recognizing the experienced side of affect. These different modes of professional vision complement one another in capturing affect in interaction while being fundamentally used in local interactions between the researchers. (shrink)

This study investigates Japanese compliments produced at a distinct sequential position and how the complimentees treat the compliments. In ordinary conversation, speakers sometimes talk about their accomplishments. Drawing on Conversation Analysis and multimodal interaction analysis, the study demonstrates how telling recipients deploy compliments at the possible completion of such tellings of accomplishment. The analysis also shows how the tellers deal with the complimentary telling responses, taking into consideration the design of tellings and the possibility of engaging in self-praise. The study (...) illuminates a context-sensitive nature of complimenting activity and managing two conflicting preferences by illustrating a specific interactional pattern of compliment sequences in Japanese ordinary conversation. (shrink)

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

The paper contributes to previous studies of identity as locally and interactionally produced by pointing to some of the multimodal resources employed by participants to achieving, challenge and manage the professional identity of ‘leader’ in different workplace settings. We examine professional identity work in sequential environments where it provides a resource for handling the resistance to improvement displayed by another participant. We show how leader identity work gets embedded within a four-part structure of: identifying a problem, proposing improvements, misaligning with (...) others’ proposals, and managing the misalignment. The paper is based on video ethnographic fieldwork and recordings of face-to-face institutional interaction at two different institutional settings in Denmark. The study provides insight about the role of identity work in the interactional achievement of institutional procedures. (shrink)

Based on video-recordings of several weeks of rehearsals of a Japanese theater piece played by French actors, and adopting an ethnomethodological and conversation analytic perspective, this paper focuses on how the same few lines of a scene are subsequently enacted. In particular, it explores how the scene is played, not only in relation to the script but also to the situated moment-by-moment unfolding of embodied movements constituting the actions and achieving their detailed formatting and meaning. Whereas the dialogue refers to (...) the scripted text, we argue that the multimodal details of each scene constitute a unique situated course of action achieved for ‘another first time,’ whose multimodal configuration depends on the temporality and the shape of each step, gesture, and body posture, as they are embodied and responded to in the vivid present and its contingencies. We demonstrate this by revealing how variations of the scene are performed, explored, and serendipitously found by the actors. We focus in particular on embodied details like walking, sitting, hugging and kissing, and the sequential and temporal positions at which they co-occur with the lines of the script. The analysis demonstrates both the indexicality of the script interpretations and the creative contingencies of the embodied work of the actors. In this way, it aims at contributing to current growing literature revisiting theater rehearsal as a situated activity and an interactional multimodal achievement. (shrink)

This video-ethnographic study explores how professional actors and a director at the end of a theatrical rehearsal process coordinate transitions between rehearsed scenes. This is done through the development and use ofcues, that is, ‘signals for action’. The aim is to understand how cues are developed and how timing in transitions is achieved by using the designed cues. Work on three different scene transitions is analysed using multimodal Conversation Analysis. The results show that cueing is a central tool for developing (...) well-timed transitions, and how cues serve different purposes in the developing performance. There is no prior plan for how to achieve timely transitions. In all the analysed examples, it is an actor who must produce or act on the given cue who insists on its precise definition, followed by a negotiation on candidate cues, confirmation and specifying the cue. It is also actors who are primarily responsible for the timing of transitions, and the timing is solved through an interplay of clear-cut and embodied actions that allow for temporal variance. Cues are reflexively linked to actors’ observation and interpretation of other actors’ actions, which prevents a mechanical determination of timing in scene transition. (shrink)

This contribution investigates the use of the Czech particle jako in naturally occurring conversations. Inspired by interactional research on unfinished or suspended utterances and on turn-final conjunctions and particles, the analysis aims to trace the possible development of jako from conjunction to a tag-like particle that can be exploited for mobilizing affiliative responses. Traditionally, jako has been described as conjunction used for comparing two elements or for providing a specification of a first element [“X like Y”]. In spoken Czech, however, (...) jako can be flexibly positioned within a speaking turn and does not seem to operate as a coordinating or hypotactic conjunction. As a result, prior studies have described jako as a polyfunctional particle. This article will try to shed light on the meaning of jako in spoken discourse by focusing on its apparent fuzzy or “filler” uses, i.e., when it is found in a mid-turn position in multi-unit turns and in the immediate vicinity of hesitations, pauses, and turn suspensions. Based on examples from mundane, video-recorded conversations and on a sequential and multimodal approach to social interaction, the analyses will first show that jako frequently frames discursive objects that co-participants should respond to. By using jako before a pause and concurrently adopting specific embodied displays, participants can more explicitly seek to mobilize responsive action. Moreover, as jako tends to cluster in multi-unit turns involving the formulation of subjective experience or stance, it can be shown to be specifically designed for mobilizing affiliative responses. Finally, it will be argued that the potential of jako to open up interactive turn spaces can be linked to the fundamental comparative semantics of the original conjunction. (shrink)