Wow, thank you, Gordon! They’re great - I love the local adaptation of the parallel shoe prints into thongs. Hope you had a nice, relaxing trip!

Also, methodologically, you make an important point. If we want to track change in a quickly changing time, we must be very aware of these issues. Thank you for highlighting this!

Thank you! Oh, that’s beautiful! Clever, witty and informative! And fun to see humour in the dots. I see humour in a lot of posters and information materials, especially from municipalities and zoos, but rarely on the dots. This is a fine counter example!

@Galey Modan Ah, now im with you! yes, totally. I think the area that I’ve been able to observe (where I live) has actually done some of those things, but differently. It seems to me that your observations show efforts that ring of volunteer work and the individual’s will to community building. What I see here is different, I think more based in a spirit of entrepreneurial efforts: some people announce on the FB-page that they will prepare lunches - but not for donation, but as a replacement of lunch restaurants for those working from home. Others move their business outdoors, like the local yoga instructor and personal trainer: they keep their business going by moving out of their facilities and into the local park. A local florist who usually only do weddings and restaurants (which means basically no business for a year) advertise locally that they will deliver weekly bouquets to your doorstep, and sometimes they set up an impromptu, out doors flower shop on their lawn. Now that I think of it, one family arranged for a theme walk with tricky questions along the way to entertain families cooped up at home. Maybe there’s more than I thought, just less visible and bright than what you’ve documented. Thanks for making me see it!

Thank you, Monica and Orlando! That's very enlightening. I think maybe it could be an idea to separate digitization efforts that where already en route, and those that are new ideas, formed in response to the pandemic. Having said that, it's very interesting that museums have had better opportunities for working with the digitalization of the collections during the pandemic. As for the dots - yes, we can see the good intentions of the organization, and the lack of uptake from the visitors. In your pictures, there are fairly few visitors. I'd be curious to see what happens when more visitors are admitted, and we might actually see some crowding by the more famous art works. Maybe then the dots might come into play? I guess we will have to ait and see!

You could have a point. Then again, Sweden never had a lockdown, only restrictions of movement in stores etc, and restrictions on the right to arrange meetings. I think the possibility to have viewers/participants in these communicative events is key (why do it if no one could see or interact with your effort?). But there must be something more, maybe some cultural difference, or difference in the organization an perception of community?

Thank you for a very interesting talk! I see many similarities with how the pandemic has impacted my own language. Am I right in thinking that English is an official languages in Eswatini, alongside siSwati? I'm curious to know to what extent you've noticed siSwati Covid terminology in English texts and conversations? From your presentation, it sounds like the code switching is mostly siSwati speakers picking up or adapting English expressions?

Thank you Eldin, I'm so glad you enjoyed it! I'd be very interested in reading your work on the hermeneutic circle, if there's anything published? I imagine that a lot of our movement in space is more guided than we like to think. There's a whole field of applied psychology that deals with how to make customers end up in especially attractive sections of a store. In this case, from what I've observed (I don't see how I could get access to naturalistic video data AND stay within ethical boundaries), the dots in the shopping area may do things to us psychologically, ie I can't observe any obvious orientation to the dots, but in the queue section, there is an apparent orientation to the existence of spots, and introduction of new behaviour. People tend to stand on the spots. If there are very few people, there is often a free spot between people lining up, allowing additional distancing. At the beginning of the pandemic, a colleague told me about a thing that happened to her when standing in line. She chose to not stand on the dot, but a little behind it, to create more space than required by the covid restrictions, as an extra courtesy to the person in front of her. Then another person cut in line in front of her and placed themselves on the dot. She confronted them, and they let her know that since she didn't stand on the dot, she was obviously not standing in line. Sure, it's anecdotal, but it was actually what led me to take a CA approach to the dots. To me, this was participants orienting to the dots, and the person cutting the queue acted in overlap, identifying a form of possible transition relevance place, taking the chance to take over the turn.

Thanks for a very interesting presentation. It's amazing to see those pictures, and the community efforts. I haven't seen anything like that in my area of Sweden, at all. What I've noticed is that community efforts seem to take place online a lot. A lot of neighbourhoods have their own Facebook groups, and where I live, there has been a noticeable increase in offers to those at risk, especially the elderly, of local hair dressers giving haircuts in peoples' back yards, offers to pick up grocery shopping, that kind of thing. But also an increase in the already thriving Facebook based donation and second hand market for children's clothes and toys. I as wondering about how you make sense of the "type counted over time" graph? I'm thinking about Florence Mourlhon-Dallies' presentation, and the way she talks about different kinds of temporality and time during the pandemic. Does the graph reflect anything about the emergence of signs, or does it reflect your movements and collection activities?

Thank you, very interesting! I wonder about the first poster that you analyse in detail in your presentation. There, you say that the poster contains no threat. The way I read it, I understand "passengers who do not wear a mask cannot board the bus" as a threat, albeit an indirect one. This might be because of cultural sensitivities; in Sweden, it's extremely rare that a sign will tell you what the punishment for breaking a rule might be. First time I visited the US, I was shocked that there was a price tag on every infraction. And it seems the Korean prohibition signs are like American ones. As a Swede, I'm used to signs telling me that something is allowed or prohibited. Then I'm expected to follow the sign not because of impending fines, but because rules are meant to be followed (very simplified, of course). But in a Swedish context, I'd read "if you don't do X, then you can't do Y" as a threat. In short, my question is: how do you define 'threat'?

Thank you for a very interesting presentation. I have one question and one comment. First, I wonder about the digital approach. Some of the digital modes that you account for come across as rather pricey and time consuming. I'm thinking especially of such things as the children's museum and above all the archives of high resolution images. Are those resources really reactions to the pandemic, or are they part of digitalization and outreach efforts that preceded the pandemic? Secondly, I was thinking about the pictures of horizontal signage, those where the staff had placed dots on the floor in front of the pictures. The dots are arranged in a pattern that would suggest an arrangement of visitors in such a way that _if_ they were to actually stand on the dots (pictures show that they do not), visitors standing in the back would be guaranteed a view of the painting. I assume, from experiences from similar museums, that normally, it could be tricky for people in the back to get a good look. With the standing pattern proposed by the staff, the paintings would become accessible to more people. I'd argue that the placement of the dots suggest that the placer of the dots is aiming for not only a safe physical distancing, but also the added bonus of allowing visitors to stay safe while viewing works of art, even when placed at the back. In a way, that could be an intention to change the museum experience.

Thank you for a very interesting presentation! What a powerful data collection tool you have in the linguasnapp-app. Very handy not just for collection, but also for the organization of data. I'm interested in the materiality variable in your data. Some shops will invariably have access to more professionally made signage (for example, if they are part of chains or umbrella organization), while others will lack that kind of material resource. Can you see any difference in how more well-to-do stores handle signage compared to those with less access to for example organizational infrastructure such as communicators, graphic identities etc.?

Thank you for your question! Yes, there are some. One is this, from the floor of a Gothenburg tram. The two top lines are more or less the same message in Swedish and in English: 'keep your distance'. Below, much smaller, is one line in Swedish, thanking the reader for complying with the request (≈'thank you for your concern'). Below that, in English, we have a line saying 'travel safely', which I guess you could say sends the reader off on their further travels. Interestingly, it's like the composition of the sign makes up one end of a conversation on its own, constructing a cooperative reader. Then there is also this one: In this picture, it's placed on a door. But it's also used on the floor. This sign is fully parallel. It should be noted that the English isn't exactly standard ('keep distance' needs a 'your'), but is a verbatim translation of the Swedish. I've been looking for bilingual signs with other languages than Swedish+English. I would have expected some signs featuring the larger immigrant languages, for examples. In the areas where I've been collecting, I've found none. I assume that if I were to collect in more diverse areas of Gothenburg, the collection would encompass more languages, and also a larger variation in the floor signs' materiality. I've noticed that some chains, like very large supermarket chains, tend to have multilingual posters at the entrance, featuring at the very least Swedish, English and Arabic. But the 'floor dots' seem to be restricted to Swedish and sometimes English. One thing that contributes to the lack of variety could be that the shape and placement themselves are a strong enough reminder to most people. Maybe the verbal instructions aren't actually necessary (anymore)?