Abstract
In this paper, we analyse the organisation of participation in a screen-centred intergenerational interaction. Drawing on three excerpts documenting a family game session, we highlight spatial, material and temporal issues as constitutive dimensions for the study of interaction complexity. From a spatial perspective, participants can navigate between different positions in front of the screen, across a two-row arrangement and a side-by-side configuration. From a material perspective, the screen can be mobilised either as a technological device displaying the virtual setting for game actions or as a fragile object, from which children must keep a distance. From a temporal perspective, local accomplishments on the screen can be prospectively addressed, retrospectively assessed or embedded within the overall organisation of the session.
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Notes
- 1.
This notion is rarely treated with regard to interaction (but see Lund et al. 2022).
- 2.
The project was funded by the Lab of Excellence ASLAN (Advanced Studies on Language Complexity) at the University of Lyon, France. (ANR-10-LABX-0081).
- 3.
Turns-at-talk and embodied actions were transcribed according to the conventions listed in the Appendix.
- 4.
This gives insight into the way children are categorised (Kern 2018) by adults and the room for manoeuvre that is allowed to young players with / in front of a large tablet.
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Appendix
Appendix
Transcript Conventions
Turns-at-talk are transcribed according to the ICOR conventions, which were inspired by the Jeffersonian transcript system (Jefferson 2004) and are available at https://icar.cnrs.fr/projets/corinte/documents/2013_Conv_ICOR_250313.pdf.
[ ] | Beginning and end of overlap | .h | Inbreath |
tu v- | Cut-off | t` es | Non-standard elision |
: | Prolongation of the immediately prior sound | OUI | Louder sounds |
(.) | Brief interval within or between turns (< 0.2 sec) | / | Rising intonation of the immediately prior sound |
(0.8) | Elapsed time by tenths of seconds | \ | Falling intonation of the immediately prior sound |
As for the notation of multimodality, the transcription system designed by Lorenza Mondada (2019) has been adapted according to the needs of our analyses.
bodM gazL gesD | In the pseudonym column, indicates the body movement (bod), gaze (gaz) and hand gesture (ges) of the transcribed embodied actions; capital letters indicate the participant doing the action (M means MUM, D means DAD, W means WIS, L means LOR) |
@ @ % % £ £ * * | Description of embodied actions is delimited between two identical symbols (one symbol per participant) that are synchronised with correspondent stretches of talk or time indications |
… | Preparation of the body movement/gaze/hand gesture |
–- | The body position is reached and maintained, the gaze/hand gesture target is reached and the gaze/gesture is maintained |
–(touches the heart) –(t tree) | The description of the embodied action is provided between brackets after the notation of gesture phases, if there is not enough space |
,,, | Body’s/gaze’s/gesture’s retraction |
–- > | The movement/gaze/gesture continues across subsequent lines |
–- > > | The movement/gaze/gesture continues after the end of the excerpt |
# | The exact moment at which a screen shot has been taken is indicated with a numbered hash symbol (#1) showing its position within the turn or a time measure |
#15a#15b | Hash signs (#) that are followed by the same number and a lowercase letter (a, b) indicate simultaneous screen shots |
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Baldauf-Quilliatre, H., Ursi, B. (2023). Playing Together on a Large Screen: Spatiality, Materiality, Temporality and the Complexity of Interaction. In: Haddington, P., Eilittä, T., Kamunen, A., Kohonen-Aho, L., Rautiainen, I., Vatanen, A. (eds) Complexity of Interaction. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-30727-0_8
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