This article investigates a multiparty interaction in an accounting office by applying a multimodal approach to discourse (Norris, 2004a). This approach allows the incorporation of all relevant communicative modes and is based on the following three notions: 1) the notion of mediated action; 2) the notion of modal density; and 3) the notion of a foreground– background continuum of attention/awareness. The article illustrates that a social actor in a multiparty interaction simultaneously co-constructs several higher-level actions with the various participants on different levels of their attention/awareness. On a theoretical level, the article argues that traditional approaches to discourse analysis, with their unconditional focus on language as the primary mode, misconstrue the multiple higher-level actions that a social actor is engaged in simultaneously as dyadic or triadic interactions in quick succession.
A B S T R A C TThis article identifies some limitations of discourse analysis by analyzing interactions between five boys in which the TV and the computer are featured as mediational means. The incorporation of several modalities into transcripts and a shift in focus from primarily language to human action facilitate a better understanding of the multi-modal interaction involved. The use of conventional transcripts with a focus on language demonstrates that movie-and computer-mediated interactions appear fragmented; by contrast, an inclusion of images into the transcripts, representing central interactions and/or images of a movie or computer screen, demonstrates the significant visual modes that are imperative to the ongoing talk. Just as written words correspond to the oral language, images can exemplify the global interaction among the participants, or they can represent the images on the screen. In addition, viewing an image is much faster than reading a description, so that these images also display the fast pace of the movieand/or computer-mediated interaction. K E Y W O R D S computer interaction • discourse analysis • mediated discourse • multimodality • transcription • visual communication I N T R O D U C T I O NThis article explores sociolinguistic transcription conventions by analyzing the interactions among five boys watching a movie and playing a computer game: Will (3 years), Rick (5 years), Gary (7 years), Louis (8 years) and Ken (8 years). 1 The data for this study consist of participant observations of 37 play dates over a period of 6 months among the five boys studied; 12 hours of video data of interactions among the five boys during these play dates; and detailed transcriptions of particular sites of engagement. The observations of
Taking the action, rather than the utterance or the text, as the unit of analysis, this article isolates different modes, investigating the interdependent relationships, illustrating that the visual mode of gestures can take up a hierarchically equal or a super-ordinate position in addition to the commonly understood sub-ordinate position in relation to the mode of spoken language. Building on McNeill, Birdwhistell, Eco, and Ekman and Friesen, and using a multimodal interaction analytical approach (Norris), I analyse in detail three separate everyday (inter)actions in which a deictic gesture is being performed and spoken language is used by the social actor performing the gesture. With these examples, I build on previous work in multimodal analysis of texts and multimodal interaction analysis, illustrating that the verbal is not necessarily more important than the visual (Kress and Van Leeuwen; Norris; Scollon), demonstrating that verbal and visual modes can be utilized together to (co)produce one message (Van Leeuwen), and showing that a mode utilized by a social actor producing a higher-level discourse structure hierarchically supersedes other modes in interaction (Norris).
This article presents theoretical concepts and methodological tools from multimodal (inter)action analysis that allow the reader to gain new insight into the study of discourse and interaction. The data for this article comes from a video ethnographic study (with emphasis on the video data) of 17 New Zealand families (inter)acting with family members via skype or facetime across the globe. In all, 84 social actors participated in the study, ranging in age from infant to 84 years old. The analysis part of the project, with data collected between December 2014 and December 2015, is ongoing. The data presented here was collected in December 2014 and has gone through various stages of analysis, ranging from general, intermediate to micro analysis. Using the various methodological tools and emphasising the notion of mediation, the article demonstrates how a New Zealand participant first pays focused attention to his engagement in the research project. He then performs a semantic/pragmatic means, indicating a shift in his focused attention. Here, it is demonstrated that a new focus builds up incrementally: As the participant begins to focus on the skype (inter)action with his sister and nieces, modal density increases and he establishes an emotive closeness. At this point, the technology that mediates the interaction is only a mundane aspect, taken for granted by the participants.
Moving towards multimodal mediated theory, I propose to define a mode as a system of mediated action that comes about through concrete lower-level actions that social actors take in the world. In order to explain exactly how a mode is a system of mediated action, I turn to a perfume blog and use one blog entry as my starting point. The mode that I primarily focus on in this article is the mode of smell, explicating that the mode of smell is not synonymous with olfactory perception, even though modal development of smell is certainly partially dependent upon olfactory perception.As I am ostensibly focusing on the one mode, I once again problematize this notion of countability and delineate the purely theoretical and heuristic unit of mode (Norris, 2004). I clarify that modes a) do not exist in the world as they are purely theoretical in nature; b) that modes can be delineated in various ways; and c) that modes are never singular.Even though the concept of mode is problematical -and in my view needs to always be problematized -I argue that the term and the notion of mode is theoretically useful as it allows us to talk about and better understand communication and (inter)action in three respects: 1. The notion of mode allows us to investigate regularities as residing on a continuum somewhere between the social actor(s) and the mediational means; 2. The theoretical notion of mode embraces socio-cultural and historical as well as individual characteristics, never prioritising any of these and always embracing the tension that exists between social actor(s) and mediational means; and 3. The theoretical notion of mode demonstrates that modal development through concrete lower-level actions taken in the world, is transferable to other lower-level actions taken. n t r o d u c t i o n what is a mode?Moving towards multimodal mediated theory, I propose to define the term mode as a system of mediated action with regularities. Thus defined, the concept of mode aligns closely with my actual use of the term in multimdoal (inter)action analysis growing directly out of the theoretical underpinnings of mediated discourse theory (Scollon, 1998(Scollon, , 2001Wertsch, 1998). A mode, as shown in Geenen (forthcoming), would not be the only system of mediated action. However, in this article, I am only discussing the conceptualisation of mode as a system of mediated action with regularities. I illustrate that, even though the term and the theoretical concept of mode is a problematical and a necessarily problematizable one, the theoretical notion of mode is useful for the understanding of communication and (inter)action. In order to explicate my theoretical thinking, I shall closely investigate the mode of smell: I show that the mode of smell is not synonymous with olfactory perception, even though the mode of smell is certainly dependent upon olfactory perception.With the aim of elucidating my definition of the term mode as a system of mediated action with regularities, I take snippets from Olga Rowe's (2012) perfume review a...
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