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The "symbol treater;' Garfinkel says (p. 179), "in treating these signs [of the other] generates further arrays of signs for treatment:' This back and forth, speaking and interpreting, between speaker and listener, is made mutually intelligible, according to Garfinkel, through a complex series of interpretive acts and mutual obligations that are organized through the use of various "strategies and tactics;' appropriate to the 32 T Respecifying the Study of Social Order cognitive style, identities, and background expectancies of any given situation of interaction.

According to Garfinkel (p. 112): The world of the guard is not an object of his thought, but is a field of things to be manipulated, dominated, changed, examined, tested. It is a world of things whose reality and objective character are unquestionably taken for granted, and every action is such that his hypothesis of the world's ontological character is indubitably confirmed. The guard has routines, practices, in which he and others regularly engage, and it is these practices, the way in which people engage in them, and the time frame they produce through these activities that construct for the guard an identity.

It cannot either confirm or disconfirm the success with which the speaker has produced a publicly witnessable conversational order. The interaction with the chair may involve interpretation, but that interaction is not reflexive in character (in Garfinkel's sense-because the chair does not respond) and the interpretation is purely individual. It is in this respect only, according to Garfinkel (p. 180), that interaction with a chair differs from interaction with another actor: The actor generates an array of signs which the other in turn treats, and thereby in turn generates another array which are unique to every exchange, are far less predictable and constant than the signs of"material" objects, do not depend on the effort of the actor for their realization as signs, are constantly changing or being replaced by others without the intervention of the actor, and always afford the actor more than he "asks" for.

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