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Yearbook of the Poznań Linguistic Meeting 2 (2016), pp. 141–165
DOI: 10.1515/yplm-2016-0007
Concepts in multimodal discourse analysis
with examples from video conferencing
Sigrid Norris
Auckland University of Technology
sigrid.norris@aut.ac.nz
Abstract
This article presents theoretical concepts and methodological tools from multimodal (in-
ter)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 mem-
bers 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 pre-
sented 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 close-
ness. At this point, the technology that mediates the interaction is only a mundane as-
pect, taken for granted by the participants.
Keywords: human–computer interaction; language and interaction; mediation; multi-
modal discourse analysis; multimodal (inter)action analysis.
1. Introduction
1
Multimodal (inter)action analysis (Norris 2004, 2009, 2011a, 2011b, 2013) is a
theory of human communication with an abundance of methodological tools to
1
This project is conducted by the Multimodal Research Centre at Auckland University of Tech-
nology, New Zealand with Sigrid Norris as PI; Jarret Geenen, Madeline Henry, Keely Kidner, Ewa
Kusmierczyk, and Jesse Pirini as Researchers. Data collection and partial analysis has been co-
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S. Norris 142
empirically
*
investigate interaction. Growing out of applied linguistics, anthropo-
logical linguistics, sociolinguistics, discourse analysis, and socio-cultural psy-
chology (Goffman 1963, 1974; Gumperz 1982; Tannen 1984; Schiffrin 1987;
Hamilton 1998; Scollon 1997; 1998; 2001; van Lier 1996; Wertsch 1998;
Wodak 1989) and strongly influenced by social semiotic thought (van Leeuwen
1999; Kress 2000; Kress and Van Leeuwen 1998, 2001), multimodal (in-
ter)action analysis (Norris 2004, 2011a) is a multimodal discourse approach.
Whereas some scholars in applied linguistics (Shohamy and Gorter 2008),
pragmatics (Herring et al. 2013) and sociolinguistics (Bucholtz and Hall, forth-
coming) are calling for or are incorporating multimodal data, this article offers a
novel framework (Norris 2004, 2011) that opens up the study of discourse and
interaction in vastly different ways than does the mere inclusion of multimodal
data into a linguistic study.
Multimodal (inter)action analysis (Norris 2004, 2011a) differs in substan-
tial ways from most other discursive approaches as well as from other multi-
modal approaches: In multimodal (inter)action analysis, language and other
modes are not viewed as phenomena that exist outside of the individual to be
studied as entities in and by themselves. Rather, multimodal (inter)action anal-
ysis champions to investigate language and other modes as part of the individ-
uals in the world and thus, more accurately, as part of the action that the indi-
viduals perform with others, the environment, and objects within. Certainly, no
one will disagree with the fact that language and other modes are part of indi-
viduals or disagree with the fact that humans are a part of their socio-cultural
world acting in and with it. But linguistic theories as well as other multimodal
theories fall short of explanatory tools that allow for the analysis of exactly
how social actors, world and objects connect. Too often we read that language
constructs the social at the same time as language is constructed by the social
(Schiffrin 1994) and while this is certainly true, the question remains: How do
we analyse this fact in detail?
Multimodal (inter)action analysis, based in an understanding of mediation
as advocated by Wertsch (1998) and Scollon (1998, 2001), builds a framework
for such detailed analysis. In this framework, every action is taken to be mediat-
ed in multiple ways.
*
funded by The Faculty of Design and Creative Technologies, The School of Communication Stud-
ies, and The Digital Mobility Research Group of the New Zealand Work Research Institute, Auck-
land University of Technology, New Zealand. We would like to thank all of the participants for
their involvement in this research project.
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Concepts in multimodal discourse analysis 143
A mediated action focuses on two elements: the agent and the media-
tional means, emphasizing an inherent irreducible tension between the
two.
(Norris and Jones, 2005: 17)
All actions are thus mediated because social actor(s) always act with or through
mediational means/cultural tools (Wertsch 1998; Scollon 1998). The notion of
mediated action makes the concept of mediation, psychological as well as phys-
ically embodied and physically through objects and the environment, a highly
important concept. Through the underlying concept of mediation in all respects
of action, the framework allows for the simultaneous theoretical inclusion of so-
cial actors and their psychological make-up, objects, and the environment. The
notion of mediation in this framework facilitates the resolution of differences
between human actors, the things they use, and the world that they inhabit (Nor-
ris 2013). Thus, in multimodal (inter)action analysis, the notion of mediation is
a theoretical concept that allows for the theoretically comprehensively bringing
together of cognitive and socio-psychological, embodied physical, object physi-
cal, and environmental physical aspects into one framework. Through the inclu-
sion of all of these facets, the theoretical framework embraces the complexity of
interaction. In order to analyse this complexity in practical terms, various meth-
odological tools have been developed (Norris 2004, 2009, 2011a, 2014, forth-
coming; Geenen 2013; Makboon 2015; Pirini 2016), taking the study of interac-
tion and language in use to a deeper level.
This article explicates some key concepts and methodological tools, by il-
lustrating these through examples from a large-scale study of 17 New Zealand
families (84 individuals in age from infant to 84 years old) interacting via video-
conferencing technology with family members across the globe, using either
skype or facetime. During the research sessions, New Zealand families used a
researcher-provided laptop that recorded the online interactions. A stationary
video camera positioned in the New Zealand participants’ home recorded the
video conferencing interactions from an external point of view, and one to three
researchers (depending on availability) were present, observing the interactions
and/or taking fieldnotes. The data was/is then logged according to the steps out-
lined in Norris (forthcoming) and is currently being analysed using multimodal
(inter)action analysis (Norris 2004, 2011a), building upon general philosophical
and theoretical concepts as exemplified below. Data analysis is still ongoing, but
the data for this article, one of the first interactions recorded, has gone through
all of these steps of analysis.
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S. Norris 144
1.1. General philosophical and theoretical concepts
The usefulness of Merleau-Ponty’s (1962, 1963) philosophical point of view,
which states that the human being is a part of the world acting in and with it,
erasing the internal/external duality is particularly evident when examining hu-
man-computer interactions. Figure 1, for example, shows a moment where Mic,
a New Zealand participant in our study, (inter)acts with his environment and the
objects within. Here, the left side of the image shows the larger part of Mic’s
computer screen, the top right illustrates a different part of his computer screen
(where he will later see his own image), and the bottom right shows Mic from a
video camera positioned on a tripod in his home. Mic’s right hand is placed on
the touchpad of the computer and his right middle finger has just pushed onto it
as he is attempting to re-connect with family members in Australia.
Figure 1. (Inter)acting with an object.
Without his (inter)action with the objects, the computer and touchpad, he would
not be able to establish a new connection in order to then (inter)act with his sis-
ter and her children. But besides handling the object, he also (inter)acts with his
environment in other important ways. Figure 2 illustrates the very next moment,
when the connection is being established.
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Concepts in multimodal discourse analysis 145
Figure 2. (Inter)acting with the environment and objects within.
In Figure 2, we see Mic gazing at the screen. Here, we observe him on the left
in Figure 2 (circled in red) as he sees himself on screen and to the right, we see
him sitting at the desk from the in-room camera view. He is sitting similarly as
in Figure 1, but here his body shows a slightly more relaxed position with his
right hand now placed on his right leg. His proxemics to the computer screen
are about the same as in Figure 1, which is close enough for him to easily ma-
nipulate the computer mouse and keypad, and also far enough away to leisurely
watch and be seen on screen. His facial expression that is visible on screen (left
in Figure 2 circled in light green), is happy and relaxed. All of his embodied
modes express his waiting and anticipation of the new connection to be estab-
lished at the same time as the computer makes a ringing sound indicating the
call to Australia and showing a waiting signal as droplets are moving towards
the name of the call recipient, both of which Mic appears to be watching.
Soon, the receiver has taken the call (Figure 3), the ringing stops and an im-
age appears in its place. Here, in Figure 3, we see the connection being made on
the left of the image, the screenshot of the participant as he sees himself is now
visible top right, and the in-room camera view of the participant is again located
at the bottom right. However, the connection is not quite established yet, and we
see Mic’s face has changed from a full smile a moment earlier (Figure 2) to a
slight worry as the connection might fail at this point.
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S. Norris 146
Here in Figure 3, it becomes highly evident that human beings, as Bateson
(1972) pointed out, are ecologically interdependent with as well as dependent
upon the environment. Only if the connection becomes established, will an (in-
ter)action between brother and sister (or uncle, nieces and nephew) unfold. The
awareness of his dependency on technology that goes beyond computer and
software, which is taken for-granted and is largely ubiquitous as soon as a work-
ing connection is established, is here in Figure 3 present and visible in the par-
ticipant’s facial expression.
These examples illustrate the notion of social actors as part of the world,
acting in and with it. In multimodal (inter)action analysis social actors are, oth-
er than in actor network theory (Latour 2005), always and only humans. The
computer in the above examples is a cultural tool/mediational means, and so are
the software and the many hidden technologies that make the connection be-
tween social actors possible.
Mediation is a term that is often used in regards to technology as computer
mediated communication regards any kind of communication mediated by one
or more technological devices. In multimodal (inter)action analysis however,
technology in the above example is only one aspect of mediation: For example,
as Mic operates the touchpad (Figure 1), he utilises the cultural tools (laptop,
Figure 3: A possible point of failure.
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Concepts in multimodal discourse analysis 147
skype, broadband connection, and other ubiquitous technologies) in order to
connect to his family in Australia. Clearly, this is the kind of mediation that
many researchers have in mind when speaking of computer mediated interac-
tion. However, as we will see below, multimodal (inter)action analysis with its
roots in mediated discourse analysis, takes mediation as theoretically much
more important than other frameworks.
2. Multimodal (inter)action analysis: An interdisciplinary
approach
Multimodal (inter)action analysis (Norris 2004, 2009, 2011a, 2011b, 2013,
2014, 2015) originating from mediated discourse analysis (Scollon 1998, 2001)
is based in the sociological interest of humans acting in the world that we find in
the work of Goffman (1963); incorporates the interest in intercultural interaction
that we find in the work of Gumperz (1982); includes an interest in power in in-
teraction that we find in the work of Wodak (1989); delves into the micro-
analysis of interaction that we find in the work of Tannen (1984), Schiffrin
(1987), or Hamilton (1998); has a strong interest in applied linguistics that we
find in the work of van Lier (1996); is strongly influenced by socio-cultural
psychology as we find in the work of Wertsch (1998); and is grounded in social
semiotic thought that we find in the writings of van Leeuwen and Kress (van
Leeuwen 1999; Kress 2000; Kress and van Leeuwen 1998, 2001). With these
foundations, multimodal (inter)action analysis (Norris 2004, 2011) has devel-
oped into a strong theoretical framework with an abundance of methodological
tools (Norris 2004, 2009, 2011, 2013a, 2013b, 2014, forthcoming; Geenen
2013; Makboon 2015; Pirini 2015, 2016) that make the analysis of (always)
multimodal (inter)action possible, opening up research into new and promising
directions.
As mentioned above, a main theoretical notion in this framework is the con-
cept of mediation. The importance of mediation finds itself in the unit of analy-
sis, the mediated action, which has been adopted from Wertsch (1998) (who de-
veloped it from Vygotsky) and Scollon (1998) (who developed it from Wertsch),
and is further developed and thereby delineated into three methodological tools
by Norris (2004). Theoretically, the mediated action is defined as social actor(s)
acting with or through cultural tools/mediational means (Wertsch 1998; Scollon
1998). The mediated action as unit of analysis incorporates the social actor(s)
and the (always multiple) cultural tools/mediational means. Thus human(s) +
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S. Norris 148
cultural tools with their always present inherent tension build the unit of analy-
sis. The terms cultural tools and mediational means are used interchangeably as
mediational means are cultural and cultural tools mediate action. This theoreti-
cal concept of mediation is embraced in the conception of the three methodolog-
ical units of analysis, the lower-level mediated action, the higher-level mediated
action, and the frozen mediated action.
2.1. The concepts lower-level, higher-level and frozen mediated
actions: Units of analysis
Multimodal (inter)action analysis conceives of all actions as mediated actions.
Therefore, as soon as we speak of lower-level, higher-level, or frozen actions,
we speak of mediated actions (even if it is not always stated explicitly). The
lower-level mediated action is defined as the smallest pragmatic meaning unit of
a mode (Norris, 2004). For example, an utterance is the smallest meaning unit
of the mode of spoken language. An utterance is a lower-level mediated action
as it is produced by a social actor + multiple socio-cultural and psychological,
embodied and physical, and semiotic mediational means/cultural tools as an ut-
terance is mediated by mediational means/cultural tools such as the larynx, lips,
teeth, tongue, out-breath, a language system, knowledge, and socio-cultural rel-
evance. By theorizing that every lower-level action, no matter what it entails, is
mediated in multiple ways, we can see that computer mediation in human-
computer interaction is not so very different from the mediation involved in the
production of an utterance. Revisiting Figure 1, where Mic pushes the touchpad,
this lower-level action (or smallest pragmatic meaning unit of the mode of com-
puter use) is also mediated by multiple socio-cultural and psychological, em-
bodied, physical, and semiotic mediational means/cultural tools. Here, the ac-
tion of pressing onto the touchpad is mediated by the finger, the hand/ arm/ body
posture (to allow for the finger movement), the laptop and its touchpad, the
ubiquitous technological tools effecting a change through this finger movement,
the knowledge about the device and the result of this action, and so on. While in
practical terms, the mediation in the production of an utterance is vastly differ-
ent from the mediation involved in the pushing onto a touchpad, theoretically
speaking, we clearly can see that there exist great similarities as well; as each
lower-level action performed by a social actor is mediated by multiple socio-
cultural and psychological, embodied and physical, and semiotic mediational
means/cultural tools.
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Concepts in multimodal discourse analysis 149
In line with this, the term mode in multimodal (inter)action analysis, is de-
fined as a system of mediated action (Norris 2013), incorporating a psychologi-
cal, physical, socio-cultural and with it a historical dimension to the concept and
adhering to the theoretical notion of mediated action. Conceived of as systems
of mediated action (Norris 2013), modes are learned by social actors in and
through contact with other social actors, the environment and objects within. In
this definition, the complexity of modal use in interaction is embraced at the
very same time as the always multiple mediation and the inherent tension be-
tween social actor(s), environment and objects within are contained.
Lower-level mediated actions are methodological tools that allow research-
ers to delineate micro actions that are (almost) never delineated by social actors
in their everyday lives. We may, of course, find the deliberate performance of a
blinking of the eyes or a loud outbreath or the push of a touchpad, but such in-
stances of individual lower-level actions are still always performed together
with other lower-level actions, some in and some out of synchrony, within the
performance of higher-level actions. For example, the lower-level action of
pushing the touchpad in Figure 1 is performed intentionally, but this action is
performed together with other lower-level actions such as a smile and gaze as il-
lustrated on Figure 4 (Figure 1 revisited).
Figure 4. Interconnection of lower-level actions.
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S. Norris 150
Higher-level mediated actions are those actions that social actors usually intend
to perform and/or, as explained in more detail below, are aware of and/or pay at-
tention to. Higher-level actions come about through the coming together of
many chains of lower-level actions (such as several utterances chained together
by speakers, gaze shifts, postural shifts and so on) at the same time as the high-
er-level actions constitute these lower-level actions. Thus, lower-level and high-
er-level mediated actions always constitute each other. Figure 5 illustrates this
point.
Figure 5. Lower- and higher-level mediated actions constitute each other.
As we see in Figure 5, the connection has been established and the uncle’s wor-
ried expression from just a moment earlier turns into a smile at the same time as
he begins to wave to his niece in Australia and the niece in Australia simultane-
ously smiles at her uncle. All of these lower-level mediated actions, each one of
which is mediated in multiple ways, are part of the higher-level mediated action
of these participants interacting via skype. Here, it becomes apparent that medi-
ation of this higher-level action, the skype interaction, is anything but simple.
Rather, we find that a higher-level action such as this skype interaction is medi-
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Concepts in multimodal discourse analysis 151
ated in vastly complex ways. While in much research on computer mediated
communication, technological mediation is discussed or referred to, multimodal
(inter)action analysis demonstrates that mediation on the one hand goes far be-
yond technological mediation, opening up the study of technology-mediated in-
teraction in new directions; and on the other hand, illustrates that technology-
mediated interaction is theoretically not all that different from other kinds of in-
teraction because all interaction is complexly mediated, opening up the study of
interaction in new directions.
In multimodal (inter)action analysis, we can dissect a higher-level action
and the multitude of mediation; or we can dissect a higher-level action and illus-
trate how it is made up and simultaneously produces a multitude of chained
lower-level mediated actions, that a social actor may or may not be focused up-
on. The more focused upon a higher-level action a social actor is, the stronger is
the higher-level action’s modal make-up. Strength of a higher-level action’s
modal make-up is represented through the concept of modal density which is
discussed in the next section.
But, briefly revisiting Figure 5, it is important to note that neither the wave
nor the smiles or the evolving utterances are separated from each other by the
participants in interaction; it is exactly their coming together that makes this
video-conferencing session just that: a video conferencing-session. Besides the
lower-level and the higher-level mediated actions, the third unit of analysis is
the frozen mediated action in multimodal (inter)action analysis. This concept al-
lows for the analysis of relevant actions that have been performed by a social
actor at an earlier time, which become frozen in objects or the environment. As
a quick example, when we have a look at Figure 5 once more, we see a beer bot-
tle standing on the desk (in the lower right image of the screen grab). This bottle
tells of the action of Mic drinking a beer and having positioned it where it is
standing now. Even if we had not witnessed him at points in the video having a
sip of beer now and again, we would read the action of him drinking beer off of
the object itself. As discussed elsewhere (Norris 2004), usually social actors
read those actions off of objects that are closest in time and space to the object
and the individual. These read-off actions may or may not be correct and are in
interaction often confirmed or rejected and corrected. As we will see in section
2.4 below, the concept of frozen action, just as the concept of lower-level action
and the concept of higher-level action, is highly relevant when analysing inter-
action.
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S. Norris 152
2.2. The concepts modal density and foreground-background
levels of attention
Modal density = lower-level action density within a higher-level action (Norris
2004, 2008, 2009, 2011). The concept of modal density allows to analyse inter-
actions beyond the focus; and the concept of a foreground-background continu-
um allows to visually represent the various levels of attention that an individual
is simultaneously engaged in. Revisiting the example given in Figure 3, more
information is necessary to allow for the analysis of Mic’s attention levels at
that very moment as shown in Figure 6.
Figure 6 illustrates that Mic is engaged in three simultaneous higher-level
actions: (1) He is skyping with family members in Australia; (2) He is engaged
in a research project; and (3) He is interacting with his girlfriend. The first high-
er-level action, the moment of reconnecting with his sister and nieces in Austral-
ia has briefly been discussed above (Figure 3). Mic’s skype call, as mentioned in
the Introduction, is part of a research session, in which Mic is using a research
laptop that records his online interaction, an external camera that records him
from an in-room point of view, and two researchers, who are observing him
from the back of the room. Simultaneously, and from before the time when the
researchers arrived at his house, Mic’s girlfriend is present. Mic, no doubt is
aware of all of this as he is sitting in front of the laptop trying to reconnect with
his sister in Australia. However, Mic is not aware of or paying attention to all of
these higher-level actions to the same degree. Here, as Mic is waiting for the
connection to be established, he is highly aware of the research session. When
looking at Figure 6, we see that at this very moment the research session modal-
ly dominates: Mic takes up close proxemics to the research laptop and he is well
aware of being recorded; he is aware of his proxemics to the stationary camera
and of the fact that this camera too records him; and he is aware of the presence
of the researchers due to his proxemics to them and having spoken with them
just a moment before. Taking part in a research project and the many mediated
actions that this entails (which are now frozen in the objects: laptop, tripod,
camera, researchers’ notebooks, etc.) as well as Mic’s embodied modes of pos-
ture and his bodily proxemics to the objects that entail the frozen actions and to
the researchers present in the room, cumulate in high modal density as illustrat-
ed in Figure 6, demonstrating that he is focusing on his engagement in the re-
search session at this moment. At the same time, and as mentioned previously,
Mic is paying attention to skype as he is waiting for the connection to be made.
His lower-level actions of a worried facial expression, direct gaze at the com-
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Concepts in multimodal discourse analysis 153
puter screen, posture (positioned to easily see and be seen), relaxed arms/hands
all cumulate in medium modal density as illustrated in Figure 6, demonstrating
that he is engaged in the skype call in the mid-ground of his attention. Still sim-
ultaneously, but to a much lesser degree, Mic is aware of the presence of his
girlfriend and his interaction with her. For example, he turns to her later and re-
quests her to join him in his skype interaction. However, at this very moment, it
is her proxemics to him and her presence in the room that cumulate in a low
modal density as illustrated in Figure 6, demonstrating that Mic is paying least
attention to the interaction with her at this time.
Figure 6. The various interactions that Mic is engaged in at a particular point in time.
Mic’s focused attention/awareness of taking part in the research project persists
for some time. But at almost 4 minutes into the skype session, Mic indicates a
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S. Norris 154
change in focus, which is analysable through the concept of semantic/pragmatic
means outlined in the next section. As he refocuses, Mic becomes more engaged
in the skype interaction as the modal density of this higher-level action rises.
2.3. Concept semantic/pragmatic means
Semantic/pragmatic means are pronounced lower-level actions that indicate a
change in focus by the one producing them (Norris 2004, 2011). These means
are semantic in that they produce a change in meaning of the higher-level ac-
tions in the attention levels of the performer; and they are pragmatic as their use
produces a knowledge of that change in attention to a different higher-level ac-
tion for others engaged in interaction. Semantic/pragmatic means are always
pronounced and have a structuring function. As such, they sit somewhat outside
of the higher-level actions themselves. When Mic produces the semantic/prag-
matic means of bowing forward (Figure 7), he indicates a shift from paying fo-
cused attention to his engagement in the research project to paying focused at-
tention to the interaction with his sister and nieces in Australia. Here, bowing
down low (a pronounced lower-level action) does not convey meaning as a part
of the higher-level action of engaging in the research project, nor does it convey
meaning that connects to the higher-level action of interacting with his sister
and nieces via skype.
Figure 7. Semantic/pragmatic means: Bowing forward.
Social actors, who are engaged in multiple higher-level actions, quite frequently
shift their focused attention from one to another higher-level action that they are
involved in. Refocusing is always structured by semantic means, as the social
actor is restructuring not only the attention that they are paying but also the
meaning that they are constructing by focusing on a particular higher-level ac-
tion. As the means that structure attention and meaning in the mind of the social
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Concepts in multimodal discourse analysis 155
actor producing them is always visible or audible, these means also function
pragmatically in interaction so that others are often aware of what someone else
is focusing on (Norris 2004, 2006, 2011a).
As is visible in the brief transcript in Figure 7 image 1 (reproduced larger in
Figure 8), Mic’s sister is prompting 3-year old Sophie indirectly to show Mic
her tooth when she says did you show Mic your tooth? (see Geenen, forthcom-
ing for a detailed analysis of Sophie’s (inter)action). Mic, however, is still
laughing at something that occurred earlier in the skype conversation, and he is
still focused upon the research session. However, as he continues to laugh, he
now bows his head low (Figure 7 image 2) in a semantic/pragmatic means, and
when his 5-year old niece Isla directs him to look at her tooth (to look at So-
phie’s tooth) Mic’s facial expression changes and illustrates that he is now fo-
cused upon the skype interaction with his sister and nieces in Australia as visible
in the transcript (Figure 9) discussed in the next section.
3. How do these concepts work together?: A shift in focus
As discussed in Section 2.2, Mic is first focused upon the research session, he
mid-grounds the skype interaction, and backgrounds the interaction with his
girlfriend (Figure 6). This analysis was conducted through the concepts of low-
er-level, higher-level and frozen mediated actions, modal density, and the fore-
ground-background continuum of attention/awareness. Utilizing the concept of
semantic/pragmatic means, it was then illustrated in Section 2.3 that it is possi-
ble to delineate the exact point at which Mic changes his focus from being en-
gaged in a research project to interacting via skype with his sister and nieces
due to the analysis of a semantic/pragmatic means (Figure 7). In Figure 9 below,
Mic’s new focus becomes apparent as we again utilise the concepts of lower-
level, higher-level and frozen mediated actions as well as modal density and the
foreground-background continuum of attention/awareness.
The multimodal transcript (Figure 9) follows the transcription conventions
described in Norris (2002, 2004, 2011) with a reading path from left to right and
top to bottom. Each individual screengrab is numbered top right and the exact
time in the video recording is presented top left of each screen grab; utterances
by individual participants are colour coded, overlaid on top of the screengrabs to
illustrate the coming together of spoken language and other modes and high-
lighting the rising and falling of intonation as produced by the speaker as illus-
trated in Ladefoged (1975). In the following transcript, we see Mic’s sister’s
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S. Norris 156
(the girls’ mother’s) utterances in red. She is not visible in the images. Then, we
find 5-year old Isla’s utterances in white and she is only visible in the first and
last two images of the transcript, but her hand is clearly visible in images 7–10.
Sophie is visible in all screen grabs but she does not speak in this excerpt; and
Mic is clearly visible and his utterances are produced in yellow as shown in
Figure 8.
Figure 8. Social actors and their colour-coded utterances in the transcript in Figure 9:
Mother’s utterances in red; uncle’s (Mic’s) utterances in yellow;
and Isla’s utterances in white.
The first three images in Figure 9 repeat the images in Figure 7 as they illustrate
on the one hand that a new topic is broached by the Sophie’s mother (Mic’s sis-
ter) and that Mic is not immediately responding to this topic as he is still fo-
cused upon the research session. As he refocuses, Mic becomes visibly more
engaged in the skype interaction demonstrating that modal density of this high-
er-level action rises.
In the first three images in Figure 9, Mic performs his sematic/pragmatic
means and in image 4 we see how modal density begins to rise. Social actors of-
ten lag once they have performed a semantic/pragmatic means (Norris 2004,
2011a) before they are fully engaged in the newly focused upon higher-level ac-
tion. What this shows is that social actors often take some time before they build
up the modal density and when examining these changes in great detail, we can
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Concepts in multimodal discourse analysis 157
Figure 9. Mic is now fully focused upon the skype interaction (images 5–10).
This same excerpt is analysed in Geenen (forthcoming), detailing Sophie’s learning
of making a relevant interactive contribution in family interaction.
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see how modal density is built up incrementally. In image 4 of Figure 9, only a
little over a second after the indicated shift in focus, we see a small change in
Mic’s facial expression and head movement: his previous smile turns into a se-
rious expression and his head moves forward and down a bit. Then, in image 5,
another second later, Mic has moved his posture and with it his head further
forward, is now gazing intently at Sophie’s teeth displayed on his screen, and
speaks, ending quite loudly, saying oh my God where. As Sophie pulls down her
lower lip, Mic continues to look intently, beginning to tilt his head and saying
you look like you’ve got all your teeth (image 6). However, his facial expression
displays that he is unsure as he tilts his head further and continues to intently
gaze at the teeth and Isla’s hand makes her way to Sophie’s tooth (image 7). In
image 8, Isla is pointing at a specific tooth in Sophie’s mouth; her mother says
no, and Isla latches this no of her mother saying that one. As they are producing
the utterances and Isla is pointing, we can see in Mic’s facial expression the pain
that he is feeling by the mere thought of Sophie having knocked out a tooth.
Mic moves his head and posture back a little as if to move away from a blow;
his head is still tilted and the facial expression is expressing even more pain
now with his mouth showing his teeth, the edges of his lips pulled downward,
and his eyes squinted (image 9). Mic continues to move back slightly and con-
tinues to produce the facial expression when his sister says it was (image 10)
and he exclaims oh really and she continues with it was horizontal (image 11);
and Mic questions Sophie how’d you do that.
By analysing the lower-level actions produced, we can demonstrate that
Mic’s change in focused higher-level action comes about after the production of
a semantic/pragmatic means which re-structures the amount of attention that he
pays to the simultaneous higher-level actions that he is engaged in and which
indicates this restructuring to others. However, rather than occurring immediate-
ly, a shift is produced incrementally (see also Norris 2008) with modal density
building up through (inter)action. In the above example, Mic begins building up
modal density of the higher-level action of (inter)acting with his sister and niec-
es via skype through embodied lower-level actions (and chains thereof) such as
facial expression, head movement, postural change, gaze, and proxemics to the
laptop screen as well as the production of utterances. As modal density of this
higher-level action increases, modal density of the higher-level action of engag-
ing in a research project decreases in tandem. Resultantly, Mic’s attention levels
can now be visualised with the concept of the modal density foreground-
background continuum (Figure 10).
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Concepts in multimodal discourse analysis 159
Figure 10. New distribution of higher-level actions in Mic’s attention levels.
The graph in Figure 10 visualises the new distribution of attention/awareness of
the higher-level actions that he is involved in. As illustrated in Figure 9 previ-
ously, Mic begins to focus more and more on the higher-level action of skyping
with family members as he is concurrently paying less attention to the higher-
level action of engaging in a research project. As lower-level mediated action
density to produce the higher-level action of skyping with family increases, the
lower-level action density for the higher-level action of engaging in the research
project decreases. With a shift in focus, Mic’s gazing at the laptop screen is re-
lated more to the looking at the damaged tooth and his awareness of being rec-
orded diminishes. Correspondingly, with modal density increasing to produce
the higher-level action of skyping with family members through the many em-
bodied modes that Mic uses, the modal density produced by the frozen actions
embedded in the tripod and camera as well as the physical presence and proxe-
mics to the researchers diminish with his paying less attention to them (indicat-
ed by dotted lines in Figure 10), thereby pushing the higher-level action of en-
gaging in a research project to the mid-ground of Mic’s attention/awareness.
The modal density foreground-background continuum, although a two-
dimensional and relatively simplistic visualisation, allows us to map the very
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S. Norris 160
complexly performed change in Mic’s attention/awareness in order to clearly
demonstrate the shift that has taken place (Figure 11).
4. How do the concepts work together?: Mediation
In this section, the above example (Figure 9) is revisited with an emphasis on
mediation: Each lower-level action performed by a social actor is mediated by
multiple socio-cultural, cognitive and psychological, embodied, physical, and
semiotic mediational means/cultural tools. The sematic/pragmatic means that
Mic performs in the first three images of Figure 9 is mediated psychologically
Figure 11. Modal density before and after Mic’s performance
of the semantic/pragmatic means.
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Concepts in multimodal discourse analysis 161
as he appears to feel more comfortable to change his focus away from the re-
search session onto the actual skype interaction; it is mediated cognitively, as
the means itself indicates a cognitive re-structuring of Mic’s focused attention;
the semantic/pragmatic means (the bowing of his head) is mediated socio-
culturally as it is learned through social and cultural development; the means is
mediated by his physical body, particularly his head; and it is mediated semioti-
cally as the bowing of the head at this moment in interaction is meaningfully
produced as a structuring device and can be read by others as a shift in his fo-
cus.
In image 4 of Figure 9, where Mic’s previous smile turns into a serious ex-
pression and his head moves forward and down a bit, he reacts to the utterance
and the serious tone of his sister’s voice when asking Sophie did you show Mic
your tooth? (image 1) and then explaining to Mic ‘she knocked her tooth out
(image 4). This producing of a serious expression is again mediated in multiple
ways from cognitive/psychological as he realises that his sister is sharing a seri-
ous matter; it is mediated socio-culturally as a serious matter and tone of voice
by one social actor in interaction is to be responded to in a serious way by the
other; it is mediated embodied physically as he changes the tension in his facial
muscles; and it is mediated semiotically as the facial expression displays his
knowledge of these semiotic systems.
Similarly, one can work through each of the lower-level actions that Mic
performs and establish the multiple ways that they are mediated. However, an
intensity of modal density is also developed by the interplay of several lower-
level actions and their mediation. In image 5 of Figure 9 for example, Mic con-
tinues to move forward and he gazes intently at Sophie’s teeth as he says oh my
God where, emphasizing the where with intensity of voice. These lower-level
actions not only are each mediated in multiple ways, they also mediate each
other: Mic’s embodied physical postural shift forward mediates his intent gaze
at Sophie’s teeth; Mic’s newly established closeness to Sophie’s teeth and his in-
tent gaze in turn mediate his emphasising the word where. As all of these lower-
level actions come together, they demonstrate Mic’s focus.
Then, even though Mic says you look like you’ve got all your teeth (image
6) and continues with I can’t see any missing (image 7) in a re-assuring tone of
voice, Mic’s facial expression, proxemics to the screen and intensity of gaze
suggest worry. Here, we see dual socio-cultural mediation of an intertwined
multimodal moment, linking reassurance with worry in embodied complex
ways. The physical embodied mediation allows for a skilful realisation of semi-
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S. Norris 162
otic dual expression of contradictory meaning, whereby the semiotic systems of
course also mediate the interactive moment.
As Mic’s sister produces her no, and then explains that the tooth was hori-
zontal (images 8-11) Mic’s facial expression mediates his empathy, the pain that
he is feeling for Sophie having damaged her tooth. His empathy is further medi-
ated as Mic moves his head and posture back and he squints his eyes in apparent
pain. Of course, each of these lower-level actions is not only mediated psycho-
logically by his feeling of empathy, but are also mediated in embodied physical,
socio-cultural, and semiotic ways.
During this time of high modal density and complex cognitive, psychologi-
cal, socio-cultural, and semiotic mediation of the interaction with his sister and
nieces, the computer technological mediation, which was apparent in Mic’s ear-
lier facial expression (Figure 3) is here taken for-granted and ubiquitous.
5. Conclusion
This article has explicated some key concepts of multimodal (inter)action analy-
sis (Norris 2004, 2011a, 2015, forthcoming) using examples from a family vid-
eo conferencing interaction. Multimodal (inter)action analysis is a framework
with strong theoretical foundations (Wertsch 1998; Scollon 1998; 2001) and
theoretically linked methodological tools that situate human social actors with
their cognitive, psychological, and bodily physical dimension as always linked
to their physical and socio-cultural environment. Taking the mediated action as
its unit of analysis, the framework embraces the complexity and constant inher-
ent tensions that exist in the unit of social actor(s) plus mediational
means/cultural tools. Through this unit of analysis, and more so through the
methodological tools derived from it (the lower-level, higher-level, and frozen
mediated actions) the framework allows for an inclusion of all of the various
multimodal dimensions. Thus it becomes possible to incorporate all modes into
a discourse study; analyse the interaction as linked to the relevant settings and
objects within; and to analyse the (almost) always multiple actions that social
actors engage in on various levels of their attention. After having explicated
some of the key concepts of this framework in the first sections, the article
turned to the analysis of a brief family interaction via skype in which it was first
shown that that the New Zealand participant Mic payed more attention to his
engagement in the research project than to the unfolding skype interaction. This
analysis is only possible because of the multiplicity of data collected: the online
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Concepts in multimodal discourse analysis 163
recording, the stationary camera recording, and the observations made by the re-
searchers. Such an analysis, for example, would not be possible for any of the
overseas participants because for all overseas participants we only have the
online data.
Next, the article showed Mic’s semantic/pragmatic means (his bowing his
head), which indicated a shift in focused attention. A close analysis of the
emerging interaction then illustrated how Mic’s modal density for the higher-
level action of interacting with his sister and nieces via skype incrementally in-
creased as the modal density for the higher-level action of being engaged in a
research project decreased. Through increasing multimodal interactional com-
plexity mediated in multifaceted ways, Mic increased modal density of the in-
teraction with his sister and nieces and established an emotive closeness. At this
time, the sharing about Sophie’s damaged tooth and Mic’s displayed empathy
takes on great importance, while the technology that mediates the interaction is
only a mundane aspect, which is taken for granted by the participants. Whereas
the technology is not taken for granted at a possible point of failure (Figure 3), it
here becomes ubiquitous as it functions correctly.
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Address for correspondence:
Sigrid Norris
Multimodal Research Centre
School of Communication Studies
Auckland University of Technology
Private Bag 92006
Auckland 1142
New Zealand
sigrid.norris@aut.ac.nz
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