482 C. Brassac and M.-C. Mietkiewicz towards his father, but this is also interesting considering the interaction process. Indeed, Emma does not feel responsible for the shortness of her mother(although signalled by her brother). After all, her drawing, following her brother's, could have(should have?) matched the first one done. Furthermore, it is interesting to point out how she simulta- neously asks her brother to do as she says while at the same time preventing him to do so Indeed, Emma takes Leo 's eraser. She does not grab hers(only 3 cm away from her hand) but she makes a large move to take it on her brothers right. Holding this eraser, she starts the erasing process. Leo reacts immediately by preventing her from touching his drawing This refusal is done in a multimodal way: he pushes away his sisters hand and says'no (L4). His head askew, his fist clenched on his pencil, he appears stubborn when answering a renewed request from his sister'no but look he's too tall(E5), he claims" but who cares (L6). This is an interesting statement, since he seems to imply that it is not his fathers size hat matters, but his mother's. Thus, he remains coherent with his first statement referring to the size of Mom. His sisters renewed request is a complex act. Indeed, the wording not only allows for her to reprimand her brother (no but look'(E5), but also to explicit the preparatory condition(in the technical sense of the aforementioned speech act theory, cf. above)to the request she made to her brother, to shorten the fathers legs. Leo will give llowing the resolution of the negotiation. The fine analysis of the complete unfolding of this negotiation(which lasted for about 30 seconds)enables the exposure of this very essential difference between the positions of oth children, in regards of their parents size. It is important for Emma that her father be not too tall compared to the mother. In other words, Leo distinguishes between each of his parents size, while Emma has a relative vision of it. Proof of this will be offered during the final size adjustments of the figure's representations The size adjustment We will not know with what term Leo wished to qualify his father as he gives in(but who cares dad is(L6). Indeed, his sister interrupts him by adding a mysterious argument( the size of arms but we do not know to whom they belong to)and by acting out. We shall see that this acting out takes place jointly and in two steps. First step: Leo withdraws his chest close to the drawing and lets Emma erase energetically the lower part of the legs. She does this with her brother's eraser, still in her hand. Along with this jerkily gesture, the comment she makes is another formulation of the previously given justification to her request towards her brother you know dad you see he is not that tall(E7). She finishes her work very carefully by brushing away the eraser scraps, by picking up again her pencil and pointing it at the spot she just changed, saying, you see. At this point, the drawing of the father has become incomplete: he is shorter, but amputated! Second step: Leo cannot leave it that way and intervenes. He pushes back his sister's hand standing in his way and carefully draws the feet, without lengthening the size of the legs. Hence, he totally meets his sister's request He validated it by bringing an end to the drawing. Thus, he agrees with his sister but he also gives back his Dad's integrity. An enigmatic exchange follows. E9 dad is taller', L10: yeah yeah, Ell: there. It is enigmatic because Emma appears to contradict herself, because we do not know to what Leo nods in agreement, nor do we understand why Emma concludes with'there. What we do know is that the tracing has led to a local irreversibility: Dad became shorter. The first part of Ell marks, speech-and gesture-wise(Emma puts down the borrowed eraser) the realisation of this joint decision, with shared responsibility, following a tight negotiation. At this moment, Dad is shorter than he was 30 seconds ago and recovered his integrity; but at this very moment the father482 C. Brassac and M.-C. Mietkiewicz towards his father, but this is also interesting considering the interaction process. Indeed, Emma does not feel responsible for the shortness of her mother (although signalled by her brother). After all, her drawing, following her brother’s, could have (should have?) matched the first one done. Furthermore, it is interesting to point out how she simulta￾neously asks her brother to do as she says while at the same time preventing him to do so. Indeed, Emma takes Leo’s eraser. She does not grab hers (only 3 cm away from her hand) but she makes a large move to take it on her brother’s right.6 Holding this eraser, she starts the erasing process. Leo reacts immediately by preventing her from touching his drawing. This refusal is done in a multimodal way: he pushes away his sister’s hand and says ‘no’ (L4). His head askew, his fist clenched on his pencil, he appears stubborn when answering a renewed request from his sister ‘no but look he’s too tall’ (E5), he claims ‘but who cares’ (L6). This is an interesting statement, since he seems to imply that it is not his father’s size that matters, but his mother’s. Thus, he remains coherent with his first statement referring to the size of Mom. His sister’s renewed request is a complex act. Indeed, the wording not only allows for her to reprimand her brother (‘no but look’ (E5)), but also to explicit the preparatory condition (in the technical sense of the aforementioned speech act theory, cf. above) to the request she made to her brother, to shorten the father’s legs. Leo will give in, allowing the resolution of the negotiation. Figure 2 The fine analysis of the complete unfolding of this negotiation (which lasted for about 30 seconds) enables the exposure of this very essential difference between the positions of both children, in regards of their parent’s size. It is important for Emma that her father be not too tall compared to the mother. In other words, Leo distinguishes between each of his parent’s size, while Emma has a relative vision of it. Proof of this will be offered during the final size adjustments of the figure’s representations. The size adjustment We will not know with what term Leo wished to qualify his father as he gives in (‘but who cares dad is’ (L6)). Indeed, his sister interrupts him by adding a mysterious argument (the size of arms but we do not know to whom they belong to) and by acting out. We shall see that this acting out takes place jointly and in two steps. First step: Leo withdraws his chest close to the drawing and lets Emma erase energetically the lower part of the legs. She does this with her brother’s eraser, still in her hand. Along with this jerkily gesture, the comment she makes is another formulation of the previously given justification to her request towards her brother ‘you know dad you see he is not that tall’ (E7). She finishes her work very carefully by brushing away the eraser scraps, by picking up again her pencil and pointing it at the spot she just changed, saying, ‘you see’. At this point, the drawing of the father has become incomplete: he is shorter, but amputated! Second step: Leo cannot leave it that way and intervenes. He pushes back his sister’s hand standing in his way and carefully draws the feet, without lengthening the size of the legs. Hence, he totally meets his sister’s request. He validated it by bringing an end to the drawing. Thus, he agrees with his sister but he also gives back his Dad’s integrity. An enigmatic exchange follows. E9: ‘dad is taller’, L10: ‘yeah yeah’, E11: ‘there’. It is enigmatic because Emma appears to contradict herself, because we do not know to what Leo nods in agreement, nor do we understand why Emma concludes with ‘there’. What we do know is that the tracing has led to a local irreversibility: Dad became shorter. The first part of E11 marks, speech- and gesture-wise (Emma puts down the borrowed eraser) the realisation of this joint decision, with shared responsibility, following a tight negotiation. At this moment, Dad is shorter than he was 30 seconds ago and recovered his integrity; but at this very moment the father