Deploying an everyday life approach, this article focuses on the kindergarten meal, defined as a space in which humans, materials and discursive elements interact. The article identifies and discusses two co-existing perspectives on the everyday meals that emphasise children as future beings and here-and-now beings. Through the concepts of smoothing and striation the paper discusses how these perspectives produce different mechanisms of regulation and agency, and position the eaters differently. The paper emphasises kindergarten mealtime as an ambiguous space that does not offer simple discussions about good and bad meal situations. The paper thereby adds to the existing literature within children’s geographies which emphasise interactional, relational and material aspects of children’s lives. It does so by revisiting some concepts, striation and smoothing, that has been used to explore children’s spaces and child–adult relations, but argue that these concepts describe ambivalent and complex processes in children’s and adult’s everyday lives.

In this course you will learn how to use video data for prototyping. The course provides hands-on training in working with video clips, including transcription and identification of relevant actions. You will familiarize with core interaction analytic concepts (grounded in ethnomethodology and conversation analysis) and will learn how to do an action-by-action analysis. Working on the design case of everyday interaction with automatic doors, you will learn how video interaction analysis can be embedded in an iterative design process.

In this course you will learn how to use video data for prototyping. The course provides hands-on training in working with video clips, including transcription and identifcation of relevant actions. You will familiarize with core interaction analytic concepts (grounded in ethnomethodology and conversation analysis) and will learn how to do an action-by-action analysis. Working on the design case of everyday interaction with automatic doors, you will learn how video interaction analysis can be embedded in an iterative design process.

Conceptualizing agency is a long-standing theoretical concern. Taking an ethnomethodological and conversation analytic perspective, we explore agency as the oriented to capacity to produce situationally and sequentially relevant action. Drawing on video recordings of families interacting with the Cozmo toy robot, we present a multimodal analysis of a single episode featuring a variety of rapidly interchanging forms of robotic (non-)agency. We demonstrate how agency is ongoingly constituted in situated interaction between humans and a robot. Describing different ways in which the robot’s statuses as either an agent or an object are interactionally embodied into being, we distinguish “autonomous” agency, hybrid agency, ascribed agency, potential agency and non-agency.

Robot sound spans a wide continuum, from subtle motor hums, through music, bleeps and bloops, to human-inspired vocalizations, and can be an important means of communication for robotic agents. This first workshop on sound in HRI aims to bring together inter- disciplinary perspectives on sound, including design, conversation analysis, (computational) linguistics, music, engineering and psychology. The goal of the workshop is to stimulate interdisciplinary exchange and to form a more coherent overview of perspectives on how sound can facilitate human-robot interaction. During the half-day workshop, we will explore (1) the diverse application opportunities of sound in human-robot interaction, (2) strategies for designing sonic human-robot interactions, and (3) methodologies for the evaluation of robot sound. Workshop outcomes will be documented on a dedicated website and are planned to be collected in a special issue.

This paper explores how humans interpret displays of emotion pro- duced by a social robot in real world situated interaction. Taking a multimodal conversation analytic approach, we analyze video data of families interacting with a Cozmo robot in their homes. Focusing on one happy and one sad robot animation, we study, on a turn-by-turn basis, how participants respond to audible and visible robot behavior designed to display emotion. We show how emotion animations are consequential for interactional progres- sivity: While displays of happiness typically move the interaction forward, displays of sadness regularly lead to a reconsideration of previous actions by humans. Furthermore, in making sense of the robot animations people may move beyond the designer’s re- ported intentions, actually broadening the opportunities for their subsequent engagement. We discuss how sadness functions as an interactional "rewind button" and how the inherent vagueness of emotion displays can be deployed in design.

Inom multimodal interaktionsanalys utgörs data av videoinspelningar. Utan en videoinspelning kan man inte utföra multimodal interaktionsanalys i enlighet med vad som avses i denna bok. Videoanalysen inbegriper generellt såväl identifiering av relevanta sekvenser i förhållande till ett visst forskningsintresse som transkription av vad som dokumenterats i videofilmen och framskrivande av en empiriskt grundad argumentation. Det är denna analysprocess, ”från ax till limpa”, som utgör ämnet för detta kapitel. Olika undersökningar kan naturligtvis se olika ut. Vår framställning kan därför ses som ett vägledande förslag på arbetsgång.

I alla slags aktiviteter uppvisar deltagare i sitt manifesta beteende en ständig känslighet för vad övriga deltagare gör, verbalt såväl som genom övriga kroppsliga utryck. Mobilitet, eller deltagares förflyttning i förhållande till omgivningen, har visat sig vara en relevant aspekt av mänsklig interaktion. Detaljerade analyser har visat hur mobilitet och andra interaktiva resurser formar varandra ömsesidigt och att det är den multimodala och situerade helheten som deltagare baserar sitt meningsskapande på.

Multimodal interaktionsanalys syftar till att förstå människors agerande genom att studera naturligt förekommande aktiviteter där deltagarna gör något tillsammans. Multimodal betyder att man i sin kommunikation använder sig av flera modaliteter, såsom språket, ansiktet, händerna och övriga kroppen; interaktion syftar på samspel, det som händer när människor deltar i en gemensam aktivitet och med analys avses här att göra beskrivningar av hur, i detalj, deltagare i aktiviteter åstadkommer det de gör. I detta första kapitel redogör vi för fältets grunder.

Vi är dagligen beroende av olika teknologier som är programmerade för att interagera med människor. Robotar är förkroppsligade artificiella agenter som hjälper oss att hitta vägen på flygplatsen, undervisar barn i att räkna och tar hand om våra äldre. Det är självklart viktigt att sådan uppdrag sköts med finkänslighet och att någon slags "förståelse" uppnås mellan människa och maskin.

Although psychological states have been widely examined as social objects indiscursive psychology (DP), little is known about the interactional organisationof perception. This chapter is about joint sensorial activities in driver training.Specifically, we explore how neophyte drivers are being trained in identifyingand analysing kinetic information—including the car’s vibration, movementand direction—when performing routine car control operations. Throughmultimodal conversation analysis of four video-recorded examples, wedemonstrate how driving instructors gesturally enact sensations to invite theirstudents to “feel” the car’s kinetic status, how they jointly produce coordinatedsensory activities and how the sensoriality of the event is intersubjectivelyestablished through “feel enquiries”. Treating sensory perception asembedded—and embodied—in practical social activity, highlights the benefitsof including corporeality in future DP enquiry.

The purpose of this empirically informed, but mainly conceptual paper, is to understand what we might mean by the word ‘structure’ in cross-media design. The paper draws upon a workplace study in print and online news production at a Swedish local news publisher, where we observed the work of reporters, page planners and web editors. Structure in the context of cross-media design and production is initially defined as the pattern of arrangement of elements in the media. We identified three kinds of structure in our observations of the journalists’ work: category, time, and space. Category: how knowledge is ordered is foundational and explains how functions and content relate to each other. Time: the temporal structure is how functions and content are ordered in time (what comes before and after). Space: The spatial structure is the layout of functions and content in 2-dimensional or 3-dimensional space. These three kinds of structure have corresponding design representations in interaction design: concept maps, flow charts, and wireframes.

In mobile activities alternating between staying at a place and walking to the next place, such as guided visits, the initiation of walking awayis a powerful practice to achieve closing of conversational sequences and courses of action. This was demonstrated in a previous paper (Broth amp; Mondada, 2013): in this follow-up paper, we elaborate on the options that can be responsive to walking away, by focusing on actions that co-participants make in order to momentarily stopit, occasioning a delayed departure/closing. Delying walking awaymay be done, accountably, either as a continuation of the previous course of action, or as an initiation of a new course of action related to the present local position of the participants. The study is based on a large corpus of visits to different places and for diverse purposes, in French, Swedish and English. It also shows how trajectories of walking, their projections and their obstacles, are exemplary embodied practices revealing fundamental features of sequential organization - crucially related to the progressivity of talk, actions, and activities. (C) 2019 Elsevier B.V. All rights reserved.

How do people communicate in mobile settings of interaction? How does mobility affect the way we speak? How does mobility exert influence on the manner in which talk itself is consequential for how we move in space? Recently, questions of this sort have attracted increasing attention in the human and social sciences. This Special Issue contributes to the emerging body of studies on mobility and talk by inspecting an ordinary and ubiquitous phenomenon in which communication among mobile participants is paramount: participation in traffic. This editorial presents previous work on mobility in natural settings, as carried out by interactionally oriented researchers. It also shows how the investigation into traffic participation adds new perspectives to research on language and communication. (C) 2018 Elsevier Ltd. All rights reserved.

This article examines ascriptions of mental states to other road users in live traffic driver training. Through this practice, instructors formulate how others make sense of the trainee drivers car. Using multimodal conversation analysis, we demonstrate how others side formulations support trainee drivers communicative handling of the car during ongoing coordination events. In contrast, formulations occurring after coordination events serve educational ends, yielding the generic inferential practices by which competent drivers make contextual sense of others actions. Therefore, others side formulations comprise an important instructional resource for introducing neophyte drivers into the real-world theorizing, rendering traffic its orderly social character. (C) 2018 Elsevier Ltd. All rights reserved.

Professional production of live TV combines real-time and recorded video into a single broadcast stream. In "live" TV, non-live "instant replay" footage can help viewers to make sense of what has just happened. This article shows how multi-person TV production teams assemble timely and relevant instant replays that can be seamlessly combined with real-time footage during live broadcasts. Detailed interaction analysis demonstrates how this work is dependent on coordinated practices, and how team members achieve this by orienting to narrative concerns across multiple temporalities to produce topically useful instant replays, displaying clip relevance, and help segueing transitions between the ongoing action and replay. We conclude by examining the interrelationships between the sequential flow of visual content, the role of talk in mediating time-shifted visual alignments, and how members make their work visible and accountable to one another and to their intended audience.

This paper studies parsing as a practice used in mobile instruction. The findings build on ethnomethodological conversation analysis and on observations made on video data that have been collected from three settings: skiing, driving a car and flying a plane. In the data, novice learners are instructed by more experienced instructors to accomplish variousmobile tasks. The paper shows how instructors use parsing to guide learners to carry out, step-by-step, the sub-actions that the ongoing mobile task (e.g. turning, landing) is composed of. The paper argues that parsing is a practice employed by instructors to highlight the sub-actions of a mobile task. Instructors may also use parsing to orientlearners to emergent problems to do with the timing, quality and order of the sub-actions in the performance of a complex mobile task. Finally, the paper shows that sometimes there is not enough time to parse an ongoing task, in which case the parsing can be carried out afterwards.

Denna artikel undersöker hur körskoleelever instrueras i hurman gör sin bil förståelig (accountable) för andra trafikanter.Med bilens blinkers som exempel fokuserar analysen påinstruktioner om när det är relevant att använda blinkers, hurman blinkar i god tid, och, mer generellt, hur blinkerssignalenlärs ut som en integrerad del i vissa körmanövrer. Blinkers ärkanske bilens viktigaste instrument för att visa andra vart manavser att köra härnäst. Även om inte aktivering av blinkers isig får bilen att ändra riktning, är blinkersanvändning avgörandeför att andra ska kunna förutse hur en bil kommer att röra sig,så att de därmed kan anpassa sin körning. Analysen visar hurinstruktörer på ett strukturerat sätt formar elevers bilkörninggenom att påpeka vad blinkers åstadkommer innan man ger eninstruktion att svänga (a), efter en instruktion att svänga; (b),och som förklaringar till en tidigare korrigering av elevenskörning (c).

This article deals with the organisation of correction in mobile instructional settings. Five sets of videodata (>250 h) documenting how learners were instructed to fly aeroplanes, drive cars and ride bicycles inreal life traffic were examined to reveal some common features of correction exchanges. Through detailed multimodal analysis of participants’ actions, it is shown how instructors systematically elaborate their corrective instructions to include relevant information about the trouble and remedial action – a practice we refer to as the unpacking of correction. It is proposed that the practice of unpacking the local particulars of corrections (i) provides for the instructional character of the interaction, and (ii) is highly sensitive to the relevant physical and mobile contingencies. These findings contribute to the existing literature on the interactional organisation of correction and mobility, as well as to ongoing work in ethnomethodologyand conversation analysis on teaching and learning as members’ phenomena.

We are in a series of studies, ranging from news production to computer gaming, looking into the intersection of transmodal interaction and user experience. The purpose of this abstract is to outline the theoretical framework for that intersection. The first area we are studying is Transmodal Interaction, which is a concept that refer to a specific aspect of multimodal interaction. Human action is multimodal (Streeck, Goodwin, & LeBaron, 2011), and different sensory modes play an important role in action. However, little attention has been given to the intricate ways in which sensory modalities (seeing – drawing, hearing – saying, moving – touching, etc.) integrate, affect, and transform each other during the course of an activity. There are transformations of meaning in every new materialisation of an idea or a thought, partly depending on the communication potential of the sensory modality. This render what we refer to as a transmodal process where ideas and thoughts materialise action by action in an emergent sequence across relatively long and discontinuous timespans (Murphy, 2012). Over a sequence of actions, the meanings expressed in one modality, dynamically blend and shape what is expressed in other modalities. This produces, according to (Murphy, 2012) “a series of semiotic modulations in which certain core qualities persist, but others are noticeably transformed in the transition from one mode to another. (p. 1969)” We can, in intersemiotic translation (Jakobson, 1959) between modalities, address what is lost, how we introduce distortions, or even introduce perceptions of things that do not exist. A question is then how continuity of meaning and experience is preserved in modality changes. The second area we are studying is User Experience. The term refers to a person's perceptions and responses resulting from the use and/or anticipated use of a product, system or service (ISO, 2010). We employ a three level model of user experience based on Leontiev’s account of consciousness (Kaptelinin & Nardi, 2012; Leont ́ev, 1978), which also relate closely to Norman’s model of emotional design (Norman, 2005). The first level is the sensory fabric of consciousness, Norman refers to this as the visceral level. It is the largely subconscious level of how things feel. The second level is the personal meaning of things, related to what and how we do things action by action. Norman (ibid.) refers to this level as the behavioural level. The third level has to do with meaning, and what Norman refers to as a reflective level. It is the level of cultural meaning and what things mean for us in our socially and historically rooted activities. The intersection of these two areas constitutes our current focus of research. We are, in domains as different as news production and computer gaming, investigating persons’ perceptions and actions resulting from interaction with each other and with materialisations across different sensory modalities that give rise to intersemiotic translation effects. 

References ISO. (2010). ISO 9241-210: 2010 Ergonomics of human-system interaction -- Part 210: Human-centred design. Geneva: International Standardization Organization. Jakobson, R. (1959). On linguistic aspects of translation. In R. A. Brower (Ed.), On translation (pp. 232-239). Cambridge, Mass.: Harvard University Press. Kaptelinin, V., & Nardi, B. (2012). Activity theory in HCI: Fundamentals and Reflections. Synthesis Lectures on Human-Centered Informatics, 5(1), 1-105.  Leont´ev, A. N. (1978). Activity, Consciousness, and Personality. Englewood Cliffs, NJ.: Prentice-Hall. Murphy, K. M. (2012). Transmodality and temporality in design interactions. Journal of Pragmatics, 44(14), 1966-1981. doi:10.1016/j.pragma.2012.08.013 Norman, D. A. (2005). Emotional design: Why we love (or hate) everyday things. New York, NY.: Basic Books. Streeck, J. r., Goodwin, C., & LeBaron, C. (2011). Embodied interaction: language and body in the material

This paper explores how humans adapt to a conventional humanoid robot. Video data of participants playing a charade game with a Nao robot were analyzed from a multimodal conversation analysis perspective. Participants soon adjust aspects of turn-design such as word selection, turn length and prosody, thereby adapting to the robots limited perceptive abilities as they become apparent in the interaction. However, coordination of turns-at-talk remains troublesome throughout the encounter, as evidenced by overlapping turns and lengthy silences around possible turn endings. The study discusses how the robot design can be improved to support the problematic taking of turns-at-talk with humans. Two programming strategies to address the identified problems are presented: 1. to program the robot so that it will be systematically receptive at the equivalence to transition relevance places in human-human interaction, and 2. to make the robot preferably produce verbal actions that require a response in a conditional way, rather than making a response only possible.

The article focuses on how students in a Lindy Hop dance class move into a complex mobile formation as a sequentially relevant response to a directive embedded in the teachers verbal and embodied instructions of the next task for practice. This sequence of actions accomplishes a transition from a stationary constellation of observing students to a mobile circle of practicing dance couples. The article describes in detail how instruction is turned into practice in an emergent way, in and through the simultaneous accountable production and reception of qualitative instruction, practice proposals, structuring instructions, and count-ins. The analysis shows how student behavior is oriented to the couple as a relevant mobile formation and how couples gradually become more synchronized with each other.

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How do people use language, gestures and the materialenvironment around themfor interacting in mobile situations? Interaction and Mobility brings together international scholars who use video-recordings from real-life everyday settings to study how people interact in diverse mobile situations as part of activities such as walking, driving, flying, dancing and gaming. This book isvaluablefor anyone interested in multimodal interaction and mobility.

In this paper, we consider a student error produced in a French foreign language small group seminar, involving four Swedish L1 first term university students of French and a native French teacher. The error in question consists of a mispronunciation of the second vowel of the name Napoléon in the midst of a student presentation on the history of Corsica. Taking a conversation analytic approach to situated language use, the study considers the ways in which the erroneous pronunciation is turned into a resource, whereby both teaching and learning opportunities are accomplished in teacher-student interaction. By tracking subsequent references to the initial error in a corpus of video-recorded small group seminars, we explore some of the things that can be achieved by such referencing in later local contexts. The study demonstrates how not only students, but also the teacher, may learn in pedagogical interaction.

In this paper we describe in detail the coordinated practices of walking away as reflexively contributing to the organization of activity closings. The paper contributes to conversation analytic studies interested in multimodality, space and mobility, by showing the relevance of walking for the systematic and situated organization of talk-in-interaction. More particularly, the paper deals with sequential environments in which activity closings are projected, and achieved by the participants; it shows that in this position, initiating walking away is a resource that makes closing publicly projectable and recognizable. Moreover, the study shows how walking away is a negotiated matter, being initiated by some, aligned or disaligned by others, possibly retracted and revised. Finally, the study demonstrates that walking away as a coordinated and negotiated practice raises normative expectations among the participants: a deviant case is discussed in which participants orient to the absence of such a coordination. In sum, the paper offers a detailed analysis of a particular multimodal practice walking as a conduct systematically coordinated with talk-in-interaction.

This paper studies how unplanned ‘learnables’ emerge in classroom interaction. A ‘learnable’ is defined as whatever is interactively established as relevant and developed to become a shared pedagogical focus. A learnable can thus be related to any social practice. In the context that we are studying, a Swedish as a second language classroom, we show how interactive processes constructing something as a learnable may originate not only in the use of an unknown Swedish word whose meaning is then asked for (which amounts to a verbal source for a learnable), but also in an unknown name for an object (a material source for a learnable) or an unknown meaning of a gesture (a gestural source for a learnable). These last two sources have not been much described in the existing literature on objects of learning. Through detailed analyses of video recorded classroom interaction, focusing on the ways in which participants gradually accomplish learnables, we show how learnables can arise, step by step, in and for the relevant needs of an emergent learning project that may be quite different from the teacher's pedagogical agenda.

Minnesfunktioner är något som det forskas intensivt om. Flera traditioner existerar parallellt. När det gäller minne i kombination med lärande är idag det socialpsykologiska perspektivet på frammarsch. Det går i korthet ut på att inget lärande sker som något isolerat utan alltid i samspel med andra människor och det sker också i samspel med allehanda hjälpmedel eller artefakter. Hur går lärande och minnande till? Vad är det egentligen? Det är detta denna bok försöker besvara. För att förstå det har en tvärvetenskaplig grupp samlats under Roger Säljös ledning för att utforska lärande och minnande. Varför är det viktigt att veta? Den nya kunskap som presenteras i denna bok får konsekvenser för framtida undervisning, för utformande av kommunikation av varierande slag och av artefakter. Vad är "minnande"? Det är en aktiv form av att minnas, minnande är något man lär sig, alltså ingen statisk förmåga. Det sker i samspel med andra människor och artefakter. Minnande är en del av lärandet och vice versa. Man kan inte lära något om man inte samtidigt minns. När man lär något sker ett minnande. Dessa tankar om minnande och lärande grundar sig alla medverkande författare på när de berättar om sina respektive forskningsprojekt. Deras berättelser spänner över många mänskliga områden, från hur tolvåringar arbetar med naturvetenskapliga experiment via dataspelande till polisförhör och från specialpedagogik via kontroverser till minnande och lärande i arkitektur

Based on video-recorded perfor­man­ces of rela­tive­ly naturalis­tic, modern French dramas, the study examines the behaviour of the theatre audience in relation to unfolding stage events. Such behaviour is described through close inspec­tion of the sounds the audience pro­duces, mainly coughing, throat-clearings, and laughter. CA (Conversation Analysis) methodology is used to analyse not only an audi­ence’s overt reactions to stage events, but also the actions occurring outside these relatively short-lived phenomena in the context of a theatre performance. It is demonstrated that members of the audience refrain from making ‘vocal noise’ during the verbal inter­action of actors, and some of the resources used to achieve this end are described. Furthermore, the audience’s laughter is described. It is shown how members of the audience negotiate collective moments of laughter not only with each other, but also with actors on stage, to insert a laughing turn in the unfolding sequence of dramatic actions.

In this paper we explore the production of streaming media that involves live and recorded content. To examine this, we report on how the production practices and process are conducted through an empirical study of the production of live television, involving the use of live and non-live media under highly time critical conditions. In explaining how this process is managed both as an individual and collective activity, we develop the concept of temporal hybridity to explain the properties of these kinds of production system and show how temporally separated media are used, understood and coordinated. Our analysis is examined in the light of recent developments in computing technology and we present some design implications to support amateur video production.

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This paper explores how an only partially visible and audible television studio space can be accountably understood from the perspective of a television control room. A proper grasp of the studio space is necessary for understanding, for example, who is talking to whom in the studio, and the position of camera operators relative to both one another and the people they are filming. Such an understanding is crucial for the on-line collaborative editing of the studio interaction, in a way that is intelligible for the audience of viewers. Based on video-recordings of the control room and the studio interaction during the live production of the French interview program Rideau Rouge, this study describes some of the multi-modal resources and practices that the personnel in the control room mobilize for resolving, in interaction, practical problems pertaining to the studio space, e.g. how they manage to show relevant participants, show participants from complementary angles, and direct camera operators to produce specific shots.

Le neuvième chapitre, rédigé par Mathias Broth, traite de la manière dont une équipe de réalisation d'une émission télévisée en direct travaille pour présenter l'interaction qui a lieu sur le plateau et qu'elle est en train de filmer. A partir de la réalisation d'une émission qui porte sur le conflit au Proche-Orient entre Palestiniens et Isréliens, ce chapitre analyse comment ces deux catégories nationales sont rendues pertinentes par l'équipe et comment elles sont ensuite montrées à l'audience des téléspectateurs.

Ce texte s-intéresse au contexte, très complexe, d-une émission télévisée en directe. L-étude montre comment l-interaction sur le plateau peut être rendu pertinente par l-équipe de réalisation - la filmant et la passant à l-antenne - comme une « ressource contextuelle » fondamentale. La compréhension mutuelle des pratiques indexicales de l-équipe (par exemple paroles, commutations et manipulations de caméras) est décrite comme reposant en grande partie sur une attention conjointe vers l-interaction émergeante sur le plateau. A partir d-enregistrements vidéo effectués en régie lors de la réalisation en directe de l-émission Rideau Rouge du 20 janvier 2004, l-étude décrit plus particulièrement une orientation de l-équipe vers trois dimensions de l-organisation locale et endogène de l-interaction sur le plateau : la construction des tours de parole, la séquantialisation et la construction d-activités. L-analyse confirme la pertinence tout à fait générale de ces ordres d-organisation pour la parole-en-interaction, montrant comment, dans ce contexte particulier, chacune d-elles peut être exploitée aux fins pratiques de l-équipe de réalisation. L-étude réfléchit également sur les effets de la médiation lors de la perception distante de l-interaction sur le plateau. En régie, cette interaction peut seulement être surveillée par le biais du dispositif technologique utilisé, ce qui peut avoir des conséquences pour la façon dont elle peut être comprise.  

  Analyzing a videorecording produced in a TV-control room during the live broadcast of a multi-party discussion on the Road Map for peace in the Middle East, the ways in which the TV-crew exploits close-up shots of the listener, "listening shots", are described as a resource for visually categorizing participants in the studio. After establishing the listening shot as a members- phenomenon, he shows how such shots are oriented to as accountable in the emergent sequence of broadcast shots. At the level of the broadcast programme, listening shots are exploited to produce both confrontation and balance between the Israeli and the Palestinians present in the studio.

The present text focuses on the complex context of TV-production. The study shows how the dynamics of the studio interaction can be made relevant as a crucial contextual resource for the production crew filming and broadcasting the very same interaction. The mutual intelligibility of the crew’s indexical practices (e.g. talk, switches and camera movement) is shown to be grounded in a state of mutual attention to the unfolding studio interaction. Based on a number of recordings made in the control room during the live production of the French TV-show Rideau Rouge (January 20, 2004) the study describes in particular the crew’s orientations towards three dimensions of the endogenous organization of the studio interaction: turn construction, sequence organization, and activity constitution. The analysis confirms the general relevance of these orders of organization for talk-in-interaction, and shows how each can be used for the practical purposes of the production of the show. The study also reflects upon possible mediating effects when perceiving the studio interaction at a distance. In the control room, the studio interaction can only be observed through the technological system at hand, which is shown to be of some importance for the way in which it can be understood.

Dialogic language use can be defined as textual interaction between text participants in constructing and negotiating meaning in discourse. The articles in this multilingual volume show a rich variety of approaches and ask various pragmatic, text linguistic or sociolinguistic questions about synchronic and / or diachronic literary and nonliterary materials.

Le présent volume constitue un temoignage des fructueuses relations internationales établies à l'Université de Stockholm. Il contient quatorze articles écrits par des specialistes venant de Belgique, de France, de Norvège et de Suède. Ces articles portent sur une grande variété de paroles contemporaines et couvrent trois domaines des sciences du langage: ceux de la syntaxe et de la sémantique (1), de l'acquisition des langues (2) et de l'analyse du discours (3). Ainsi les articles réunis dans ce volume représentent-ils un vaste champ de recherches et soulèvent de nombreuses questions interessantes. La plupart se basent sur des matériaux écrits : des textes litteraires, scientifiques, joumalistiques et publicitaires, mais aussi sur quelques échantillons de la langue parlee: des enregistrements d'émissions télévisées, des interviews et des récits oraux. Grâce à ces matériaux, de langue française pour la plupart, et relevant aussi bien de la langue soutenue que de la langue informelle, les auteurs peuvent tirer des conclusions sur les caractéristiques linguistiques de différents genres textuels. Les auteurs mènent également d'importantes discussions théoriques et terminologiques et présentent des analyses de phénomènes langagiers observables à différents niveaux d'emploi de la langue écrite et de la langue parlée

Le présent volume contient des articles qui présentent une variété d approches en analyse du discours et révèlent de nouvelles réflexions encourageant la compréhension de la construction d images publiques et d idéologies impliquées dans les textes médiatiques. Les discours de la presse imprimée, de la radio, de la télé-vision et de l Internet composent le point de départ des analyses présentées.Même si les contributions se différencient au premier abord, donnant la prépondérance aux notions telles que la polyphonie, la rhétorique, l argumentation, l intertextualité et la métaphore, les autours se réunissent d un aspect qui se montre central pour les analyses du discours des textes médiatiques: les études de genre tant dans les discours oraux que dans le discours écrits.Dans son introduction Professeur Kerbrat-Orecchioni souligne la diversité méthodologique du champ de l analyse du discours, et en ce qui concerne plus précisement les discours médiatiques, elle envisage la problématique des genres dans une perspective à la fois classique, et "révisitée" à la lumière des théories récentes en analyse des discours et des interactions verbales.