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PALGRAVE STUDIES
IN DISCURSIVE
PSYCHOLOGY
Analysing Digital
Interaction
Edited by
Joanne Meredith · David Giles
Wyke Stommel
Palgrave Studies in Discursive Psychology
Series Editors
Cristian Tileagă
Social Sciences & Humanities
Loughborough University
Loughborough, UK
Elizabeth Stokoe
Department of Social Sciences
Loughborough University
Loughborough, UK
Palgrave Studies in Discursive Psychology publishes current research and
theory in this established field of study. Discursive Psychology has, for the
past 30 years, established an original and often critical understanding of
the role of discourse practice for the study of psychological, social, and
cultural issues. This book series will provide both introductions to discur-
sive psychology for scholars new to the field, as well as more advanced
original research for those who wish to understand discursive psychology
in more depth. It is committed to the systematic representation of discur-
sive psychology’s contemporary ethos into all things social – from every-
day interactional encounters to institutional settings and the analysis of
wider social issues and social problems. Palgrave Studies in Discursive
Psychology will therefore publish ground-breaking contemporary contri-
butions on the relevance of discursive psychology for key themes and
debates across psychology and the social sciences: including communica-
tion, social influence, personal and social memory, emotions, prejudice,
ideology, child development, health, gender, applied interventions, insti-
tutions. The series editors welcome contributions from ethnomethodol-
ogy and conversation analysis, as well as contributions more closely
aligned to post-structuralism, approaches to analysis combining atten-
tion to conversational detail with wider macro structures and cultural-
historical contexts. We invite junior and senior scholars to submit
proposals for monographs and edited volumes that address the signifi-
cance of discursive psychology in psychology, communication, sociology,
applied linguistics. Please contact the series editors (c.tileaga@lboro.
ac.uk; e.h.stokoe@lboro.ac.uk) or the commissioning editor (grace.jack-
son@palgrave.com) for more information.
Analysing Digital
Interaction
Editors
Joanne Meredith David Giles
Department of Psychology Department of Psychology
University of Wolverhampton University of Winchester
Wolverhampton, UK Winchester, UK
Wyke Stommel
Center for Language Studies
Radboud University
Nijmegen, Gelderland, The Netherlands
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature
Switzerland AG 2021
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and
transmission or information storage and retrieval, electronic adaptation, computer software, or by similar
or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or
the editors give a warranty, expressed or implied, with respect to the material contained herein or for any
errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Contents
Name Index217
Subject Index219
Notes on Contributors
vii
viii Notes on Contributors
xi
List of Images
xiii
List of Tables
xv
1
Introduction: The Microanalysis
of Digital Interaction
Joanne Meredith, David Giles, and Wyke J. P. Stommel
“It’s noted that the style guide is that extracts are presented with a grey background.
However, there is inconsistency across chapters, with chapters 3, 4 and 5 having extracts
with no grey background, but all the other chapters do have this. I suspect this is because in
chapters 3, 4 and 5 the extracts are called examples or presented in tables. I would much
prefer it if all extracts could be presented as those in chapters 4 and 5, with a white
background with a box around them.”
J. Meredith (*)
Department of Psychology, University of Wolverhampton,
Wolverhampton, UK
e-mail: J.Meredith@wlv.ac.uk
D. Giles
Department of Psychology, University of Winchester, Winchester, UK
e-mail: David.Giles@winchester.ac.uk
W. J. P. Stommel
Center for Language Studies, Radboud University, Nijmegen, The Netherlands
e-mail: w.stommel@let.ru.nl
1 Introduction: The Microanalysis of Digital Interaction 3
Digital Interaction
For the purposes of this book when we talk about ‘digital’ interaction we
mean any communication which takes place within a digital environ-
ment which is designed to facilitate interaction. This can include blogs,
1 Introduction: The Microanalysis of Digital Interaction 7
Therefore, they are not just anonymous strangers, but they are also invis-
ible. In other contexts, such as in instant messaging or video-mediated
chat, the recipients tend to be known, although there may still be multi-
ple recipients. We can, therefore, reconsider the definition of recipient
design for the digital context, where interactions are often multi-party
and multi-recipient (Giles et al., 2015). In this sense it is important to
consider the participation framework (Goffman, 1981) for any digital
interaction. Goffman’s (1981) framework discusses the idea of ratified or
non-ratified participants. Ratified participants may be direct recipients
(e.g. the person to whom a message is aimed) or indirect recipients (e.g.
others who may be part of the conversation but not the direct recipient
of a message). Non-ratified participants may be bystanders or overhear-
ers, those who are not directly engaged in an interaction but have heard
parts of the interaction. Digital messages may be designed for a direct
recipient, such as when replying to someone’s Tweet. They may also be
designed for indirect recipients, that is those who have been engaged in
the interaction to this point but the message is not directed to them. We
can also consider whether messages might be designed for non-ratified
participants. Dynel (2014) argues that it is simply not possible to have
overhearing participants in digital interaction, as this suggests that it is a
non-sanctioned overhearing, whereas reading a post on Twitter which is
not directed at you is not non-sanctioned. However, in terms of recipient
design we can consider that these overhearing recipients may be impor-
tant in terms of thinking about designing messages for more general
audiences who may be simply reading these messages (Meredith & Potter,
2014). When analysing data which do not seem interactional, then, we
can consider who these messages are designed for—who might the
audience be?
landline telephone calls. But then other things happened that dragged
digital communication even further away from offline conversation. The
emergence of social media in the 2000s (Facebook 2004/Twitter 2006/
Instagram 2010 and so on) brought about a new set of interactional
interfaces that caused even more problems for academics trying to apply
CA to computer-mediated interaction. By this time, many of those aca-
demics had moved on, as if the matter had been solved with a few caveats.
Furthermore, these differences were not merely technological, but cul-
tural. One of the most interesting aspects of early online interaction was
that, in most environments, users were anonymous, at best represented
by a choice username. Online interaction tended to remain online. But
social media, driven by the possibilities of sharing visual information
among intimate friends and relatives, shifted the focus on to the (offline)
identity of the individual user. When someone tweets, we see their name,
what they look like, what they ‘do’, how many followers they have and
who (some of ) their friends are. This is social data, not just the content of
a text. Each new medium evolved its own culture (just the phenomenon
of a ‘tweet’ needs to be understood in the context of the medium, as a
unique communicative act) (Giles, 2018).
How do we address these contextual features in qualitative analysis?
One important contribution has been Hutchby’s (2001) work on affor-
dances (see also Arminen, Licoppe, & Spagnolli, 2016; Meredith, 2017).
The concept of affordances puts forward the possibility that features of
the environment (here the specific technology technological/cultural
environment) can be perceived as having a number of potential actions
for those who share the environment. However, the environment is also
shaped by its users and which features those users choose to make use of.
Regardless of designers’ intentions, features of technology can both afford
and constrain the interactional potential (Hutchby, 2001). The concept
of affordances moves away from the prospect of a technological deter-
ministic approach, and rather allows for an analysis of digital interaction
which also demonstrates how the interaction orients to particular techno-
logical features. On a practical level, the concept of affordances allows
analysts to examine the interaction itself first and then explore if and how
that interaction orients to the relevant technological features of the
medium (Arminen et al., 2016; Meredith, 2017).
14 J. Meredith et al.
(Stommel & Koole, 2010). It was noted by Paulus et al. (2016) that DP
tends to be used more commonly for asynchronous interaction, such as
online forums, while CA is more typically used with synchronous inter-
action such as instant messaging. This may be because the latter is less
obviously suited to the analysis of written text (Potter & Edwards, 2012).
It may also be because interactional issues are often more obvious in
instant messaging, and CA explicitly focuses on interaction.
Research which is broadly located within digital CA has also started to
investigate social media sites. Housley, Webb, Edwards, Procter, and
Jirotka (2017) analysed Twitter data, showing how it is possible to merge
microanalytic approaches with big data collection. Other more recent
research has explored the organisation of sequences on Periscope (Licoppe
& Morel, 2018) and the music sharing service Soundcloud (Reed, 2017).
Yet another string of research focuses on video-mediated interaction.
With the increasing use of video technology in various domains, interac-
tion scholars examine how the technological features interfere with the
social and/or institutional setting and goals (Oittinen, 2018; Seuren
et al., 2020; Stommel, Van Goor, & Stommel, 2019). More specifically,
such studies tend to focus on both verbal and embodied practices in
video-interaction afforded by the technology, such as showing (Licoppe,
2017a; Stommel, Licoppe, & Stommel, 2020). Hence, digital interaction
covers a wide range of different types of interaction occurring across a
multitude of different platforms. Digital CA and associated microana-
lytic methods have developed as ways to explore digital interaction in
depth. The aim of this book is to demonstrate how these methods can be
used, on a variety of data, and to address the opportunities and potential
challenges of applying such methods to digital data.
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alla».
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*****
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Kauniiden unien laakso! Siitä olisi tullut kaunis kirja, jos Mainward
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