Scénographie d’une ouverture d’interaction vidéo

Abstract

Nous nous proposons ici de participer à l’appréhension du concept complexe d’espace d’interaction numérique sous l’angle de la « scène » pour filer la métaphore théâtrale de Goffman (1973) – l’interaction comme représentation – et reprendre le concept de scène d’énonciation de Maingueneau (1998). À partir d’un corpus de séquences d’ouvertures d’interactions vidéos, nous analysons par quels moyens les interactants aménagent une scénographie commune se joignant en un « mi-lieu », point de contact entre les multiples scènes d’énonciation impliquées dans l’interaction. L’énaction de la scénographie apparaît subordonnée aux affordances et produites à partir des ressources disponibles – composants de décor et émissions voco-posturo-mimo-gestuelles tant physiques que numériques. Ces ressources sont rendues accountable au moyen d’activités multimodales – techniques, discursives, corporelles. La structure interactionnelle des séquences (sous-séquences successives d’entrée en interaction) et des échanges (recours aux échanges insérés attestant l’engagement des interactants) révèle la collaboration entre des individus géographiquement distants qui œuvrent à se rendre présents l’un à l’autre.

Situated Organization of Video-Mediated Interaction: A Review of Ethnomethodological and Conversation Analytic Studies

“…Prior to launching the connection, participants adjust their bodily appearance, position and physical environment, for instance moving furniture around (Fornel, 1996;Pappas and Seale, 2009;Ruhleder and Jordan, 2001b). This also goes on in the pre-opening phase as they launch and try out the connection (Ibnelkaïd, 2015;Licoppe, 2015;Mondada, 2015). These initial adjustments and tests are supported by technologies that provide feedback sound and image.…”

“…Nevertheless, the appearance of a remote image on the screen, or even the screen itself, can also function as a summons (Licoppe and Dumoulin, 2007;Muñoz, 2016;Relieu, 2007). In contrast to traditional landline telephone communication, modern videocommunication technologies (such as Skype) offer the called person the opportunity to decline the call in ways that display presence, but not availability, and also to choose between video and audio mode when answering the call (Ibnelkaïd, 2015). Another contrasting feature is that either the caller or the called person may speak first (Licoppe, 2015).…”

“…Another contrasting feature is that either the caller or the called person may speak first (Licoppe, 2015). This is due to the fact that participants rely on a series of greetings, verbal and gestural, produced during the pre-opening and opening phases as a way to display their own aural and visual appearances and confirm those of their interlocutors-to-be (Fornel, 1996;Ibnelkaïd, 2015;Licoppe, 2015;Mondada, 2015). This series of greetings is also a way to set up a proper pace and order for the sequential production of turns-at-talk (Mondada, 2015).…”

“…This series of greetings is also a way to set up a proper pace and order for the sequential production of turns-at-talk (Mondada, 2015). An alternative or additional resource for the participants to check an interlocutor's availability and the proper functioning of the technology is to switch to a textual mode of communication (Ibnelkaïd, 2015).…”

“…For instance, interlocutors ask each other where they are, what the place that they can partially see on the screen is, what time it is and what the weather is like in the other interlocutor's location, or who else is present. If the technology allows this practice, participants may temporarily point the camera in different directions to provide answers to some of these questions (Ibnelkaïd, 2015;Veyrier and Licoppe, 2015).…”