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AGNOSIA | https://ns1.omnitech.net/data/Nonverbal/agnosia.htm | <HTML>
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<P><FONT SIZE="+1"><STRONG><A NAME="AGNOSIA">AGNOSIA</A></STRONG></FONT></P>
<P><EM>Neuro term</EM>. <STRONG>1.</STRONG> The inability to recognize a coin, key, or other object merely by its feel, e.g.,
when held in the hand. <STRONG>2.</STRONG> The inability to recognize a door, e.g., by the sound of its slamming or
from its photograph alone. <STRONG>3.</STRONG> In agnosia, while perception itself (i.e., feeling a coin's shape or
hearing a door slam) is normal, recognition of objects is not.</P>
<P><EM>Usage</EM>: Studies of agnosia reveal how the brain processes nonverbal gestures, objects, and
sensations apart from <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speech</A></STRONG> or <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>. Though very vocal, human beings still spend a great
deal of their lives in <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>.</P>
<P><EM>Neuro-notes</EM>. <STRONG>1.</STRONG> Inability to recognize a coin by the sound of its dropping suggests problems with the
<EM>auditory association areas</EM> of the temporal lobe. <STRONG>2.</STRONG> Inability to recognize a coin held in the hand
suggests problems with the <EM>tactile association areas</EM> of the parietal lobe. <STRONG>3.</STRONG> Inability to recognize a
coin by its photograph suggests problems with the <EM>visual association areas</EM> of the occipital lobe.
These nonverbal brain modules exist independently of the cortical modules used to recognize and
produce speech sounds.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/apraxia.htm" TARGET="_top">APRAXIA</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1998, 1999, 2000 (David B. Givens/</FONT><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/index.htm"><B><FONT SIZE="-1">Center for Nonverbal Studies</FONT></B></A><FONT SIZE="-1">)</FONT></P>
</BODY>
</HTML> | **[AGNOSIA]{#AGNOSIA}**
*Neuro term*. **1.** The inability to recognize a coin, key, or other
object merely by its feel, e.g., when held in the hand. **2.** The
inability to recognize a door, e.g., by the sound of its slamming or
from its photograph alone. **3.** In agnosia, while perception itself
(i.e., feeling a coin\'s shape or hearing a door slam) is normal,
recognition of objects is not.
*Usage*: Studies of agnosia reveal how the brain processes nonverbal
gestures, objects, and sensations apart from
**[speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}** or
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**. Though very vocal, human beings still spend a great
deal of their lives in **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.
*Neuro-notes*. **1.** Inability to recognize a coin by the sound of its
dropping suggests problems with the *auditory association areas* of the
temporal lobe. **2.** Inability to recognize a coin held in the hand
suggests problems with the *tactile association areas* of the parietal
lobe. **3.** Inability to recognize a coin by its photograph suggests
problems with the *visual association areas* of the occipital lobe.
These nonverbal brain modules exist independently of the cortical
modules used to recognize and produce speech sounds.
See also
**[APRAXIA](http://members.aol.com/nonverbal2/apraxia.htm){target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
AKINESIA | https://ns1.omnitech.net/data/Nonverbal/akinesia.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>akinesia</TITLE>
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<P><FONT SIZE="+1"><STRONG><A NAME="AKINESIA">AKINESIA</A></STRONG></FONT></P>
<P><EM>Neuro term</EM>. <STRONG>1.</STRONG> Difficulty <EM>beginning</EM> or <EM>maintaining</EM> a body motion. <STRONG>2.</STRONG> Symptoms include: <STRONG>a.</STRONG>
slowed voluntary movements; <STRONG>b.</STRONG> difficulty in reaching for objects; <STRONG>c.</STRONG> inability to perform
repetitive, simultaneous, or sequential body movements; <STRONG>d.</STRONG> immobile, expressionless, or masked
face; <STRONG>e.</STRONG> loss of normal "restless" body movements while sitting; <STRONG>f.</STRONG> loss of arm swinging while
walking; <STRONG>g.</STRONG> shuffling gait; and <STRONG>h.</STRONG> diminished finger dexterity.</P>
<P><EM>Usage</EM>: Akinesia points to a variety of <EM>neurological problems</EM> (including, e.g., Parkinson's disease
and brain damage associated with strokes). Akinesic behaviors affect an individual's normal
nonverbal response, and may be (especially in older people) misconstrued as mood signs expressing emotions and feelings.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/apraxia.htm" TARGET="_top">APRAXIA</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1998, 1999, 2000 (David B. Givens/</FONT><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/index.htm"><B><FONT SIZE="-1">Center for Nonverbal Studies</FONT></B></A><FONT SIZE="-1">)</FONT></P>
</BODY>
</HTML> | **[AKINESIA]{#AKINESIA}**
*Neuro term*. **1.** Difficulty *beginning* or *maintaining* a body
motion. **2.** Symptoms include: **a.** slowed voluntary movements;
**b.** difficulty in reaching for objects; **c.** inability to perform
repetitive, simultaneous, or sequential body movements; **d.** immobile,
expressionless, or masked face; **e.** loss of normal \"restless\" body
movements while sitting; **f.** loss of arm swinging while walking;
**g.** shuffling gait; and **h.** diminished finger dexterity.
*Usage*: Akinesia points to a variety of *neurological problems*
(including, e.g., Parkinson\'s disease and brain damage associated with
strokes). Akinesic behaviors affect an individual\'s normal nonverbal
response, and may be (especially in older people) misconstrued as mood
signs expressing emotions and feelings.
See also
**[APRAXIA](http://members.aol.com/nonverbal2/apraxia.htm){target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
ANIMAL SIGN | https://ns1.omnitech.net/data/Nonverbal/animal1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>animal</TITLE>
</HEAD>
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<P><STRONG><FONT SIZE="+1">ANIMAL SIGN</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Altamira Cave Art" SRC="animal.jpg" tppabs="http://members.aol.com/doder1/objects/animal.jpg" HEIGHT="55%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><EM>Animals are . . . the visible phantoms of our souls</EM>. --Victor Hugo<BR>
<BR>
<I>Cats and monkeys, monkeys and cats--all human life is there</I>. --Henry James (<I>The Madonna of the Future</I>)<BR>
<BR>
<I>Many primatologists have experienced a profound change in their attitude towards anthropoid apes after making <A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top"><B>eye contact</B></A> with one for the first time. The spark across the species barrier is never forgotten</I>. --Frans De Waal (Waal and Lanting 1997:1)<BR>
</FONT></P>
<P><FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">Signal</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. A message emitted by the nonverbal behavior, cries, markings, body movements, or
shapes of an organism of the kingdom Animalia (see <STRONG><A HREF="efferen1.htm" tppabs="http://members.aol.com/doder1/efferen1.htm" TARGET="_top">EFFERENT CUE</A></STRONG>).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: </FONT><FONT FACE="Times New Roman">Animals provide an endless source of inspiration for artists, philosophers, photographers,
and cinematographers. They are a major source of companionship, entertainment, symbolism,
and food for all human beings.</FONT><FONT FACE="Times New Roman"></FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Word origin</EM>.</FONT><FONT FACE="Times New Roman"> The word </FONT><FONT FACE="Times New Roman"><EM>animal</EM> comes from the ancient Indo-European root <EM>ane-</EM>, derivatives of
which include <EM>anima</EM>, <EM>equanimity</EM>, and <EM>unanimous</EM>.</FONT><FONT FACE="Times New Roman"></FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Anthropology I</EM>. There is a curious ambivalence between <EM>Homo sapiens</EM> and all other species.
On the one hand, we find compelling similarities between ourselves and beasts. Yet on
the other, a cultural universal of human thought is the postulate that people and animals are
fundamentally un-alike. Between the human and the animal lies an immense chasm.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anthropology II</EM>. We find animals spiritually, intellectually, and morally inferior to ourselves.
Greek philosophers despised beasts for their lack of reason. Today's Christians deny animals a
soul, yet portray the Holy Ghost as a winged member of the Columbidae family (i.e., as a dove).
Hindus believe all creatures are divine, but see hoofed animals of the Bovidae family (i.e.,
sacred cattle) as more divine than others. Muslims picture all animals as being lower
than humans. Buddhists think animals, as well as humans, are ultimately unreal.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anthropology III</EM>. We attribute animal characteristics to ourselves. Zoomorphism is a popular
theme of greeting cards, e.g., which liken friends and family members to cuddly kittens, bunnies,
and bears. The Zuni Indians of New Mexico compare strong-willed men to black bears (Cushing 1883).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anthropology IV</EM>. The earliest animal art--naturalistic renderings of deer, horses, and bulls--appears in the archaeological record ca. 30,000 years ago in western Europe. The Upper
Paleolithic cave paintings of Cro Magnon man reveal that hunter-gatherers incorporated animals
into their thought processes and rituals at least 30 millennia ago.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anthropology V</EM>. We purchase an estimated 500,000 plastic pink flamingo ornaments for our
lawns each year (Conn and Silverman 1991:42).<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Beauty</EM>. While we overestimate the number of useful and attractive birds, butterflies, and mammals on
earth, we underestimate the much larger population of unlovely insects, spiders, bats, bacteria,
and worms (May 1992:42).<BR>
<BR>
<I>Cats</I>. The first commercial software designed for nonhuman animals may be a video game called "CyberPounce." In Cyberpounce, virtual flies, fish, and mice entice the paw-batting instincts of house cats, who "hunt" for the video images on a screen. "He [CyberPounce creator, Matt Wolf] learned that cats can recognize activity on a television screen or computer monitor, but most programming designed for humans doesn't titillate them. Cats fixate on an object's color and movement patterns rather than its shape, he said" (Krane2001:A6). </FONT><BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">Courtship</A></EM></STRONG></FONT><FONT FACE="Times New Roman">. Courting couples of the 17th century carried flea boxes, in which they collected the
bodies of the dead arthropods they had picked off each other's skin (Dean 1982). <BR>
<BR>
<FONT FACE="Times New Roman"><EM>Dislike</EM>. A<FONT FACE="Times New Roman">ccording to the Nature Conservancy, o</FONT>ur least-liked mammal is the rat (Anonymous 1990).</FONT></FONT><BR>
<BR>
<EM>Dogs</EM>. We design exotic <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG> for <EM>Canis familiaris</EM>. A 25-ounce bottle of Mon
Chien, e.g., contains water and ground-beef flavoring (for dogs who may turn up their noses at drinking from <EM>Homo sapiens's</EM> toilet). At Fido's Fast Food, a converted Fotomat
drive-through in Toledo, Ohio, dogs may dine on <STRONG><A HREF="http://members.aol.com/nonverbal2/crunch.htm" TARGET="_top">crunchy</A></STRONG> "cheeseburgers" and peanut-butter bagels
(Anonymous (1992C).<BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">Fear</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. We fear wild animals more than "safer" domestic breeds. Yet while millions are afraid of
sharks, e.g., only six people <FONT FACE="Times New Roman">in the U.S.</FONT> have been killed by sharks since 1988 (Conn and Silverman 1991:197). We fear dogs less, even though half of all U.S. children will be bitten by a dog by age 12 (Rovner 1992).
(<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Each year shying horses kill and wound more humans than all wild animals combined.)</FONT></FONT></P>
<P><FONT FACE="Times New Roman"><EM>Gorillas</EM>. We are fascinated by "humanlike" mannerisms of gorillas (<EM>Gorilla gorilla</EM>).
Gorilla groupies, e.g., sit for hours patiently watching lowland gorillas (<EM>G. g. berengei</EM>) at
the National Zoo in Washington, D.C. As one man remarked, watching gorillas "is the happiest
thing I've done with my spare time" (Mundy 1992). The peak experience of a gorilla groupie is sharing <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye
contact</A></STRONG> with the apes.<BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">Media</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. <B>1.</B> The first TV star was not a human being but a doll-sized replica of Felix the Cat, used in
the 1920s as a test pattern (Marschall 1986:13). <FONT FACE="Times New Roman"><B>2.</B> "Body hair is a remnant of our primeval animal self and, in evolutionary history, our human bodies are slowly losing their hair as we move away from the animal realm where we were open to nature" (Camille Paglia quoted in the <I>Washington Post</I> [Folliard 1995:E5]).</FONT></FONT></FONT></P>
<P><FONT FACE="Times New Roman"><EM>Size</EM>. As large-bodied animals ourselves (i.e., as <I>megafauna</I>), we consider much smaller creatures unworthy of humane
treatment. The U.S. Animal Welfare Act of 1971, e.g., does not apply to laboratory rats, mice, or
birds (Anonymous 1992D). As animals with backbones, we discriminate against much smaller
invertebrates. Few high-school teams, e.g., choose insects as mascots, despite the fact that insects
outweigh all of earth's vertebrates combined, nine-to-one (Holden 1989:754).<BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">Speech</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. </FONT><FONT FACE="Times New Roman">In the U.S., 90% of pet owners speak to their dogs, cats, and birds (Wolkomir 1984). (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>:
According a study at Utah State University, 73% think their pets talk back<FONT FACE="Times New Roman"> [Wolkomir 1984].</FONT>)</FONT><FONT FACE="Times New Roman"></FONT><BR>
<BR>
<I>Neuro-notes</I>. According to PET imaging studies, animal picture identification activates both the right and left occipital region (specifically, right and left lingual gyrus and left fusiform gyrus [<FONT FACE="Times New Roman">Perani et al. 1999]).</FONT> (<A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top"><B>Artifact</B></A> picture identification, on the other hand, activates only the left brain hemisphere [<FONT FACE="Times New Roman">Perani et al. 1999</FONT>].)</FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman">See also <STRONG><A HREF="tree1.htm" tppabs="http://members.aol.com/doder1/tree1.htm" TARGET="_top">TREE SIGN</A></STRONG>, <A HREF="http://www.petsmart.com/"><B><I>WWW.Petsmart.com</I></B></A>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001 </FONT>(David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
</FONT><FONT SIZE="-1">
Detail of photo (copyright Magín Berenguer)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **ANIMAL SIGN**
{border="0"
tppabs="http://members.aol.com/doder1/objects/animal.jpg" height="55%"
width="25%"}\
\
*Animals are . . . the visible phantoms of our souls*. \--Victor Hugo\
\
*Cats and monkeys, monkeys and cats\--all human life is there*. \--Henry
James (*The Madonna of the Future*)\
\
*Many primatologists have experienced a profound change in their
attitude towards anthropoid apes after making [**eye
contact**](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}
with one for the first time. The spark across the species barrier is
never forgotten*. \--Frans De Waal (Waal and Lanting 1997:1)\
***[Signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}***.
A message emitted by the nonverbal behavior, cries, markings, body
movements, or shapes of an organism of the kingdom Animalia (see
**[EFFERENT
CUE](efferen1.htm){tppabs="http://members.aol.com/doder1/efferen1.htm"
target="_top"}**).
*Usage*: Animals provide an endless source of inspiration for artists,
philosophers, photographers, and cinematographers. They are a major
source of companionship, entertainment, symbolism, and food for all
human beings.
*Word origin*. The word *animal* comes from the ancient Indo-European
root *ane-*, derivatives of which include *anima*, *equanimity*, and
*unanimous*.
*Anthropology I*. There is a curious ambivalence between *Homo sapiens*
and all other species. On the one hand, we find compelling similarities
between ourselves and beasts. Yet on the other, a cultural universal of
human thought is the postulate that people and animals are fundamentally
un-alike. Between the human and the animal lies an immense chasm.
*Anthropology II*. We find animals spiritually, intellectually, and
morally inferior to ourselves. Greek philosophers despised beasts for
their lack of reason. Today\'s Christians deny animals a soul, yet
portray the Holy Ghost as a winged member of the Columbidae family
(i.e., as a dove). Hindus believe all creatures are divine, but see
hoofed animals of the Bovidae family (i.e., sacred cattle) as more
divine than others. Muslims picture all animals as being lower than
humans. Buddhists think animals, as well as humans, are ultimately
unreal.
*Anthropology III*. We attribute animal characteristics to ourselves.
Zoomorphism is a popular theme of greeting cards, e.g., which liken
friends and family members to cuddly kittens, bunnies, and bears. The
Zuni Indians of New Mexico compare strong-willed men to black bears
(Cushing 1883).
*Anthropology IV*. The earliest animal art\--naturalistic renderings of
deer, horses, and bulls\--appears in the archaeological record ca.
30,000 years ago in western Europe. The Upper Paleolithic cave paintings
of Cro Magnon man reveal that hunter-gatherers incorporated animals into
their thought processes and rituals at least 30 millennia ago.
*Anthropology V*. We purchase an estimated 500,000 plastic pink flamingo
ornaments for our lawns each year (Conn and Silverman 1991:42).\
\
*Beauty*. While we overestimate the number of useful and attractive
birds, butterflies, and mammals on earth, we underestimate the much
larger population of unlovely insects, spiders, bats, bacteria, and
worms (May 1992:42).\
\
*Cats*. The first commercial software designed for nonhuman animals may
be a video game called \"CyberPounce.\" In Cyberpounce, virtual flies,
fish, and mice entice the paw-batting instincts of house cats, who
\"hunt\" for the video images on a screen. \"He \[CyberPounce creator,
Matt Wolf\] learned that cats can recognize activity on a television
screen or computer monitor, but most programming designed for humans
doesn\'t titillate them. Cats fixate on an object\'s color and movement
patterns rather than its shape, he said\" (Krane2001:A6).\
\
***[Courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}***. Courting couples of the 17th century carried flea
boxes, in which they collected the bodies of the dead arthropods they
had picked off each other\'s skin (Dean 1982).\
\
*Dislike*. According to the Nature Conservancy, our least-liked mammal
is the rat (Anonymous 1990).\
\
*Dogs*. We design exotic **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** for *Canis familiaris*. A 25-ounce bottle of Mon Chien,
e.g., contains water and ground-beef flavoring (for dogs who may turn up
their noses at drinking from *Homo sapiens\'s* toilet). At Fido\'s Fast
Food, a converted Fotomat drive-through in Toledo, Ohio, dogs may dine
on
**[crunchy](http://members.aol.com/nonverbal2/crunch.htm){target="_top"}**
\"cheeseburgers\" and peanut-butter bagels (Anonymous (1992C).\
\
***[Fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}***.
We fear wild animals more than \"safer\" domestic breeds. Yet while
millions are afraid of sharks, e.g., only six people in the U.S. have
been killed by sharks since 1988 (Conn and Silverman 1991:197). We fear
dogs less, even though half of all U.S. children will be bitten by a dog
by age 12 (Rovner 1992). (***N.B.***: Each year shying horses kill and
wound more humans than all wild animals combined.)
*Gorillas*. We are fascinated by \"humanlike\" mannerisms of gorillas
(*Gorilla gorilla*). Gorilla groupies, e.g., sit for hours patiently
watching lowland gorillas (*G. g. berengei*) at the National Zoo in
Washington, D.C. As one man remarked, watching gorillas \"is the
happiest thing I\'ve done with my spare time\" (Mundy 1992). The peak
experience of a gorilla groupie is sharing **[eye
contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}**
with the apes.\
\
***[Media](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}***.
**1.** The first TV star was not a human being but a doll-sized replica
of Felix the Cat, used in the 1920s as a test pattern (Marschall
1986:13). **2.** \"Body hair is a remnant of our primeval animal self
and, in evolutionary history, our human bodies are slowly losing their
hair as we move away from the animal realm where we were open to
nature\" (Camille Paglia quoted in the *Washington Post* \[Folliard
1995:E5\]).
*Size*. As large-bodied animals ourselves (i.e., as *megafauna*), we
consider much smaller creatures unworthy of humane treatment. The U.S.
Animal Welfare Act of 1971, e.g., does not apply to laboratory rats,
mice, or birds (Anonymous 1992D). As animals with backbones, we
discriminate against much smaller invertebrates. Few high-school teams,
e.g., choose insects as mascots, despite the fact that insects outweigh
all of earth\'s vertebrates combined, nine-to-one (Holden 1989:754).\
\
***[Speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}***. In the U.S., 90% of pet owners speak to their dogs,
cats, and birds (Wolkomir 1984). (***N.B.***: According a study at Utah
State University, 73% think their pets talk back \[Wolkomir 1984\].)\
\
*Neuro-notes*. According to PET imaging studies, animal picture
identification activates both the right and left occipital region
(specifically, right and left lingual gyrus and left fusiform gyrus
\[Perani et al. 1999\]).
([**Artifact**](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}
picture identification, on the other hand, activates only the left brain
hemisphere \[Perani et al. 1999\].)
See also **[TREE
SIGN](tree1.htm){tppabs="http://members.aol.com/doder1/tree1.htm"
target="_top"}**, [***WWW.Petsmart.com***](http://www.petsmart.com/).
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo (copyright Magín Berenguer)
|
ARM-SWING | https://ns1.omnitech.net/data/Nonverbal/swing.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>swing</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="ARM-SWING">ARM-SWING</A></STRONG></FONT>
<P><EM><FONT SIZE="-1">Like she's carrying invisible suitcases</FONT></EM><FONT SIZE="-1">. --Elaine (describing a woman who walked without swinging her arms; </FONT><EM><FONT SIZE="-1">Seinfeld</FONT></EM><FONT SIZE="-1">, April 14, 1999)</FONT><FONT SIZE="-1"></FONT></P>
</P>
<P><IMG BORDER="0" ALT="Arm-Swing" SRC="B18027.jpg" tppabs="http://members.aol.com/nonverbal3/objects/B18027.jpg" HEIGHT="35%" WIDTH="25%"><BR>
<BR>
<STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">Body movement</A></EM></STRONG>. To move the upper limbs back and forth rhythmically with the legs while
<STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walking</A></STRONG>.</P>
<P><EM>Usage</EM>: As a <EM>counterweight</EM>, the arm-swing helps balance our upright body while walking, jogging,
and running. In <STRONG><EM><A HREF="dance1.htm" tppabs="http://members.aol.com/doder1/dance1.htm" TARGET="_top">dances</A></EM></STRONG>, such as the locomotion, swim, and twist, vigorous arm-swinging gyrations express inner feelings
and moods in time to music's rock-'n-roll beat.</P>
<P><EM>Observation</EM>. Restless, back-and-forth motions of the arms above a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>, e.g., may reveal an
unconscious wish to "walk away" from meetings or discussion groups.</P>
<P><EM>Evolution</EM>. Spinal-cord <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> which govern the rhythmic, alternating movements of
arm-swinging evolved (in tandem with those of the legs) for <EM>locomotion</EM>. The act of swinging the
arms while walking--and of pumping them while running--is an evolutionary holdover from earlier
days, when the arms (used as forelimbs) participated with the legs in <EM>quadrupedal</EM>
locomotion.</P>
<P><EM>Infancy</EM>. At three months of age, we use our forearms and hands to raise our bodies off the floor
in preparation for <EM>crawling</EM>. As babies, we find moving pleasurable for its own sake (Chase and
Rubin 1979:153), and begin advancing one limb at a time--<EM>on all fours</EM>--between the 6th and 9th
months of life. In a gait typical of quadrupeds, <EM>our arms reach alternately forward</EM> as the opposite
hind limb crawls forward on the knee. (<STRONG><I>N.B.</I></STRONG>: Adults make surprisingly good quadrupeds, as well.
In 1988, e.g., a man crawled 28.5 miles around a level track without stopping, to prove it could be
done [McFarlan 1991:199]. From 1984-85, a man crawled 870 miles to please a Hindu goddess
[McFarlan 1991:199].)</P>
<P><EM>Neuro-notes</EM>. Paleocircuits for arm-swinging originated in the <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">aquatic brain</A></STRONG>. Today, arm-swinging is still mediated by the <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG>. Like walking itself, our vestigial arm movements
are unconscious and out of awareness. Motionless arms (and a shuffling gait), meanwhile, are
symptomatic of shortages of the neurotransmitter, <EM>dopamine</EM>, in the basal ganglia (as in
<EM>Parkinson's disease</EM>).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/handhips.htm" TARGET="_top">HANDS-ON-HIPS</A></STRONG>, <STRONG><A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top">REPTILIAN BRAIN</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> (David B. Givens/</FONT><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B><FONT SIZE="-1">Center for Nonverbal Studies</FONT></B></A><FONT SIZE="-1">)</FONT></P>
</BODY>
</HTML> | **[ARM-SWING]{#ARM-SWING}**
*Like she\'s carrying invisible suitcases*. \--Elaine (describing a
woman who walked without swinging her arms; *Seinfeld*, April 14, 1999)
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/B18027.jpg"
height="35%" width="25%"}\
\
***[Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. To move the upper limbs back and forth rhythmically
with the legs while
**[walking](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}**.
*Usage*: As a *counterweight*, the arm-swing helps balance our upright
body while walking, jogging, and running. In
***[dances](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.htm"
target="_top"}***, such as the locomotion, swim, and twist, vigorous
arm-swinging gyrations express inner feelings and moods in time to
music\'s rock-\'n-roll beat.
*Observation*. Restless, back-and-forth motions of the arms above a
**[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**, e.g., may reveal an unconscious wish to \"walk away\"
from meetings or discussion groups.
*Evolution*. Spinal-cord
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
which govern the rhythmic, alternating movements of arm-swinging evolved
(in tandem with those of the legs) for *locomotion*. The act of swinging
the arms while walking\--and of pumping them while running\--is an
evolutionary holdover from earlier days, when the arms (used as
forelimbs) participated with the legs in *quadrupedal* locomotion.
*Infancy*. At three months of age, we use our forearms and hands to
raise our bodies off the floor in preparation for *crawling*. As babies,
we find moving pleasurable for its own sake (Chase and Rubin 1979:153),
and begin advancing one limb at a time\--*on all fours*\--between the
6th and 9th months of life. In a gait typical of quadrupeds, *our arms
reach alternately forward* as the opposite hind limb crawls forward on
the knee. (***N.B.***: Adults make surprisingly good quadrupeds, as
well. In 1988, e.g., a man crawled 28.5 miles around a level track
without stopping, to prove it could be done \[McFarlan 1991:199\]. From
1984-85, a man crawled 870 miles to please a Hindu goddess \[McFarlan
1991:199\].)
*Neuro-notes*. Paleocircuits for arm-swinging originated in the
**[aquatic
brain](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**.
Today, arm-swinging is still mediated by the **[basal
ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}**.
Like walking itself, our vestigial arm movements are unconscious and out
of awareness. Motionless arms (and a shuffling gait), meanwhile, are
symptomatic of shortages of the neurotransmitter, *dopamine*, in the
basal ganglia (as in *Parkinson\'s disease*).
See also
**[HANDS-ON-HIPS](http://members.aol.com/nonverbal2/handhips.htm){target="_top"}**,
**[REPTILIAN
BRAIN](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
ART CUE | https://ns1.omnitech.net/data/Nonverbal/art1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>art</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">ART CUE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top"><IMG BORDER="0" ALT="Visually Elegant" SRC="art.jpg" tppabs="http://members.aol.com/doder1/objects/art.jpg" HEIGHT="50%" WIDTH="25%"></A><BR WP="BR1">
<BR WP="BR2">
<EM><FONT SIZE="-1"><FONT FACE="Times New Roman"><EM>I have always tried to render inner feelings through the <A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top"><B>mobility</B></A> of the muscles</EM> . . . --Auguste Rodin<SUP></SUP></FONT><BR>
<BR>
More often than not, [people] expect a painting to speak to them in terms other than visual,
preferably in <A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top"><B>words</B></A>, whereas when a painting or a sculpture needs to be supplemented and
explained by words it means either that it has not fulfilled its function or that the public is
deprived of vision</FONT></EM><FONT SIZE="-1">. --Naum Gabo</FONT><FONT SIZE="-1"></FONT></P>
<P><EM>Aesthetic signal</EM>. <STRONG>1.</STRONG> An aromatic, auditory, tactile, taste, vestibular, or visual sign designed by
human beings to affect the sense of beauty. <STRONG>2.</STRONG> Arrangements, combinations, contrasts, rhythms, or sequences of signs, designed as an <A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top"><B>emotional</B></A> language with which to bespeak elegance, grace, intensity, refinement, and truth.</P>
<P><EM>Usage</EM>: "I shall thus define the general function of art as a search for the constant, lasting,
essential, and enduring features of objects, surfaces, <A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top"><B>faces</B></A>, situations, and so on, which allows us
not only to acquire knowledge about the particular object, or face, or condition represented on the
canvas but to generalize, based on that, about many other objects and thus acquire knowledge
about a wide category of objects or faces" (Zeki
1998:71).<BR>
<BR>
<I>Anthropology I</I>. "All art then is utilitarian: the scepter, symbol of royal power, the bishop's crook, the love song, the patriotic anthem, the statue in which the power of the gods is cast in material form, the fresco that reminds churchgoers of the horrors of Hell, all undeniably meet a practical necessity" (Leroi-Gourhan 1964:364).<BR>
<BR>
<I>Anthropology II</I>. In Upper Paleolithic sculpture and cave art: "Women, <A HREF="animal1.htm" tppabs="http://members.aol.com/doder1/animal1.htm" TARGET="_top"><B>bisons, aurochs, horses</B></A>, are all executed according to the same convention whereby identifying attributes are attached to a central nucleus of the body. The result is that the head and limbs are often merely hinted at and, at best, are out of scale with the mass of the body" (Leroi-Gourhan 1993 [1964]:376).<BR>
<BR>
<I><B><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">Aromatic</A></B> art</I>. "On the deck [of Cleopatra's barge] would have stood a huge incense burner piled high with kyphi--the most expensive scented offering known to the Egyptians compounded from the roots of <I>Acorus</I> and <I>Andropogon</I> together with oils of cassia, cinnamon, peppermint, pistacia and <I>Convolvulus</I>, juniper, acacia, henna and cyprus; the whole mixture macerated in wine and added to honey, resins and myrrh. According to Plutarch it was made of 'those things which delight most in the night' adding that it also lulled one to sleep and brightened the dreams" (Stoddart 1990:142).</P>
<P><I>Cuisine</I>. <I>A dessert course without cheese is like a beautiful woman with only one eye</I>. --Jean Anthelme Brillat-Savarin (quoted in McGee 1990:271)<BR>
<BR>
<I>Form constants</I>. <B>1.</B> "What [Heinrich] Klüver [i.e., his hallucenogenic 'form constants'] showed was that there are a limited number of perceptual frameworks that appear to be built into the nervous system and that are probably part of our genetic endowment" (Cytowic 1993:125). <B>2.</B> "Klüver . . . identified four types of constant hallucinogenic images: (1) gratings and honeycombs, (2) cobwebs, (3) tunnels and cones, and (4) spirals" (Cytowic 1993:125). <B>3.</B> "In addition to form, there are also color and movement constants, such as pulsation, flicker, drift, rotation, and perspectives of advance-recede relative to the viewer" (Cytowic 1993:125). <B>4.</B> "Form constants can be found in many natural phenomena, from subjective experiences to works of art, including craft work and cave paintings of primitive cultures" (Cytowic 1993:125).<BR>
<BR>
<I>Golden section</I>. Human beings are most aesthetically pleased when a straight line is divided not in half (i.e., not in two equal segments), but rather, when the right-hand segment measures 62% of the left-hand segment (Young 1978). <BR>
<BR>
<I>Likes</I>. <B>1.</B> As human beings, we may be genetically predisposed to like bright <A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"><B>colors</B></A>, glitter, and sunshine; soft, tinkling, and rhythmic <A HREF="auditor1.htm" tppabs="http://members.aol.com/doder1/auditor1.htm" TARGET="_top"><B>sounds</B></A>; sweet, fruity, and nutty <A HREF="http://members.aol.com/nonverbal3/taste.htm" TARGET="_top"><B>tastes</B></A>; and <A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top"><B>touching</B></A> what is soft, smooth, and dry (Thorndike 1940). <B>2.</B> We like star-shaped better than blocky, rectangular-shaped polygons (Young 1978). <B>3.</B> Visually, we prefer "unified variety" in a picture, rather than seeing too much or too little variety (Young 1978). <BR>
<BR>
<EM>Mobiles</EM>. "Until Calder invented his mobiles, the generation of motion depended upon machines,
and machines did not seem beautiful or desirable works of art to everyone, not even to the
cynical Duchamp" (Zeki 1998:71).<BR>
<BR>
<I>Neanderthal art</I>. Among the few artistic <A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top"><B>artifacts</B></A> fabricated by <I>Homo sapiens neanderthalensis</I> are <B>a.</B> an engraved fossil from Tata, Hungary, with lines scratched in the shape of a cross; and <B>b.</B> a carved and polished mammoth's molar tooth, also from Tata (Scarre 1993:48).<BR>
<BR>
<I>Plato</I>. The Greek philosopher Plato reasoned that, as a medium of communication, art was removed from reality and therefore could not communicate knowledge or truth (Flew 1979:6).<BR>
<BR>
<I>Prehistory I</I>. <B>1.</B> The oldest human rock engravings, consisting of designs etched into stones in southern Australia, date back ca. 45,000 years ago (Scarre 1993). Known as <I>Panaramitee petroglyphs</I>, the engravings depict ". . . mazes, circles, dots, and arcs" (Scarre 1993:47; see above, <I>Form constants</I>). <B>2.</B> One of the oldest human decorations, consisting of zigzag "V" markings engraved in a bone from a cave at Bacho Kiro in central Bulgaria, appear to be deliberately incised rather than merely accidental (Scarre 1993:47). <BR>
<BR>
<I>Prehistory II</I>. "Picturing by drawing or painting on flat-surfaced sign vehicles (walls, ceilings, animal skins, sides of containers, clay tablets, etc. [see <A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top"><B>SIGN</B></A>, <I>Usage II</I>]) increased in quantity and sophistication with the arrival of urbanism and the full-time artist and scribe (ca. 6,000 B.P. [before present]). The painted signs themselves not only improved but became increasingly prolific, standardized, and <A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top"><B>information</B></A>-laden, and began to carry more of a narrative force than the pre-urban decorations. Egyptian funerary art (from 3,000 B.P.), for example, details complex social, political, and agricultural activities in graphic picturing sequences--scenes easily understood by the modern viewer. Another example is the Minoan fresco from Akrotiri (ca. 3,500 B.P.), 16 inches high and more than 20 feet long, which depicts an intricate naval battle sequenced horizontally in a flowing narrative order" (Givens 1982:162). </P>
<P><EM>Neuro-notes I</EM>: "Artists, without their being aware of it, have accurately described the function of
the brain through their definition of art. Just as artists select from varied visual information for
their representation of reality, so does the brain discriminate from varied stimuli to produce insight" (Zeki 1998:71).</P>
<P><EM>Neuro-notes II</EM>: "To be able to activate a cell in the visual brain, one must not only stimulate in
the correct place (i.e., stimulate the receptive field) but also stimulate the receptive field with the
correct visual stimulus, because cells in the visual brain are remarkably fussy about the kind of visual stimulus to which they will respond" (Zeki 1998:71).</P>
<P>See also <STRONG><A HREF="music11.htm" tppabs="http://members.aol.com/doder1/music11.htm" TARGET="_top">MUSIC</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 2000 (David B. Givens/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B>Center for Nonverbal Studies</B></A><B></B></FONT><EM><FONT SIZE="-1"></FONT></EM><FONT SIZE="-1">)<BR>
Detail of photograph of the 1884-86 sculpture, <I>The Burghers of Calais</I>, by Auguste Rodin (copyright 1994 by Benedikt Taschen Verlag GmbH) </FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **ART CUE**
[{border="0"
tppabs="http://members.aol.com/doder1/objects/art.jpg" height="50%"
width="25%"}](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}\
\
**I have always tried to render inner feelings through the
[**mobility**](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"} of the muscles* . . . \--Auguste Rodin\
\
More often than not, \[people\] expect a painting to speak to them in
terms other than visual, preferably in
[**words**](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}, whereas when a painting or a sculpture needs to be
supplemented and explained by words it means either that it has not
fulfilled its function or that the public is deprived of vision*.
\--Naum Gabo
*Aesthetic signal*. **1.** An aromatic, auditory, tactile, taste,
vestibular, or visual sign designed by human beings to affect the sense
of beauty. **2.** Arrangements, combinations, contrasts, rhythms, or
sequences of signs, designed as an
[**emotional**](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}
language with which to bespeak elegance, grace, intensity, refinement,
and truth.
*Usage*: \"I shall thus define the general function of art as a search
for the constant, lasting, essential, and enduring features of objects,
surfaces,
[**faces**](http://members.aol.com/nonverbal2/face.htm){target="_top"},
situations, and so on, which allows us not only to acquire knowledge
about the particular object, or face, or condition represented on the
canvas but to generalize, based on that, about many other objects and
thus acquire knowledge about a wide category of objects or faces\" (Zeki
1998:71).\
\
*Anthropology I*. \"All art then is utilitarian: the scepter, symbol of
royal power, the bishop\'s crook, the love song, the patriotic anthem,
the statue in which the power of the gods is cast in material form, the
fresco that reminds churchgoers of the horrors of Hell, all undeniably
meet a practical necessity\" (Leroi-Gourhan 1964:364).\
\
*Anthropology II*. In Upper Paleolithic sculpture and cave art: \"Women,
[**bisons, aurochs,
horses**](animal1.htm){tppabs="http://members.aol.com/doder1/animal1.htm"
target="_top"}, are all executed according to the same convention
whereby identifying attributes are attached to a central nucleus of the
body. The result is that the head and limbs are often merely hinted at
and, at best, are out of scale with the mass of the body\"
(Leroi-Gourhan 1993 \[1964\]:376).\
\
***[Aromatic](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}**
art*. \"On the deck \[of Cleopatra\'s barge\] would have stood a huge
incense burner piled high with kyphi\--the most expensive scented
offering known to the Egyptians compounded from the roots of *Acorus*
and *Andropogon* together with oils of cassia, cinnamon, peppermint,
pistacia and *Convolvulus*, juniper, acacia, henna and cyprus; the whole
mixture macerated in wine and added to honey, resins and myrrh.
According to Plutarch it was made of \'those things which delight most
in the night\' adding that it also lulled one to sleep and brightened
the dreams\" (Stoddart 1990:142).
*Cuisine*. *A dessert course without cheese is like a beautiful woman
with only one eye*. \--Jean Anthelme Brillat-Savarin (quoted in McGee
1990:271)\
\
*Form constants*. **1.** \"What \[Heinrich\] Klüver \[i.e., his
hallucenogenic \'form constants\'\] showed was that there are a limited
number of perceptual frameworks that appear to be built into the nervous
system and that are probably part of our genetic endowment\" (Cytowic
1993:125). **2.** \"Klüver . . . identified four types of constant
hallucinogenic images: (1) gratings and honeycombs, (2) cobwebs, (3)
tunnels and cones, and (4) spirals\" (Cytowic 1993:125). **3.** \"In
addition to form, there are also color and movement constants, such as
pulsation, flicker, drift, rotation, and perspectives of advance-recede
relative to the viewer\" (Cytowic 1993:125). **4.** \"Form constants can
be found in many natural phenomena, from subjective experiences to works
of art, including craft work and cave paintings of primitive cultures\"
(Cytowic 1993:125).\
\
*Golden section*. Human beings are most aesthetically pleased when a
straight line is divided not in half (i.e., not in two equal segments),
but rather, when the right-hand segment measures 62% of the left-hand
segment (Young 1978).\
\
*Likes*. **1.** As human beings, we may be genetically predisposed to
like bright
[**colors**](http://members.aol.com/nonverbal3/color.htm){target="_top"},
glitter, and sunshine; soft, tinkling, and rhythmic
[**sounds**](auditor1.htm){tppabs="http://members.aol.com/doder1/auditor1.htm"
target="_top"}; sweet, fruity, and nutty
[**tastes**](http://members.aol.com/nonverbal3/taste.htm){target="_top"};
and
[**touching**](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"} what is soft, smooth, and dry (Thorndike 1940). **2.** We
like star-shaped better than blocky, rectangular-shaped polygons (Young
1978). **3.** Visually, we prefer \"unified variety\" in a picture,
rather than seeing too much or too little variety (Young 1978).\
\
*Mobiles*. \"Until Calder invented his mobiles, the generation of motion
depended upon machines, and machines did not seem beautiful or desirable
works of art to everyone, not even to the cynical Duchamp\" (Zeki
1998:71).\
\
*Neanderthal art*. Among the few artistic
[**artifacts**](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}
fabricated by *Homo sapiens neanderthalensis* are **a.** an engraved
fossil from Tata, Hungary, with lines scratched in the shape of a cross;
and **b.** a carved and polished mammoth\'s molar tooth, also from Tata
(Scarre 1993:48).\
\
*Plato*. The Greek philosopher Plato reasoned that, as a medium of
communication, art was removed from reality and therefore could not
communicate knowledge or truth (Flew 1979:6).\
\
*Prehistory I*. **1.** The oldest human rock engravings, consisting of
designs etched into stones in southern Australia, date back ca. 45,000
years ago (Scarre 1993). Known as *Panaramitee petroglyphs*, the
engravings depict \". . . mazes, circles, dots, and arcs\" (Scarre
1993:47; see above, *Form constants*). **2.** One of the oldest human
decorations, consisting of zigzag \"V\" markings engraved in a bone from
a cave at Bacho Kiro in central Bulgaria, appear to be deliberately
incised rather than merely accidental (Scarre 1993:47).\
\
*Prehistory II*. \"Picturing by drawing or painting on flat-surfaced
sign vehicles (walls, ceilings, animal skins, sides of containers, clay
tablets, etc. \[see
[**SIGN**](http://members.aol.com/nonverbal2/sign.htm){target="_top"},
*Usage II*\]) increased in quantity and sophistication with the arrival
of urbanism and the full-time artist and scribe (ca. 6,000 B.P. \[before
present\]). The painted signs themselves not only improved but became
increasingly prolific, standardized, and
[**information**](http://members.aol.com/nonverbal2/info.htm){target="_top"}-laden,
and began to carry more of a narrative force than the pre-urban
decorations. Egyptian funerary art (from 3,000 B.P.), for example,
details complex social, political, and agricultural activities in
graphic picturing sequences\--scenes easily understood by the modern
viewer. Another example is the Minoan fresco from Akrotiri (ca. 3,500
B.P.), 16 inches high and more than 20 feet long, which depicts an
intricate naval battle sequenced horizontally in a flowing narrative
order\" (Givens 1982:162).
*Neuro-notes I*: \"Artists, without their being aware of it, have
accurately described the function of the brain through their definition
of art. Just as artists select from varied visual information for their
representation of reality, so does the brain discriminate from varied
stimuli to produce insight\" (Zeki 1998:71).
*Neuro-notes II*: \"To be able to activate a cell in the visual brain,
one must not only stimulate in the correct place (i.e., stimulate the
receptive field) but also stimulate the receptive field with the correct
visual stimulus, because cells in the visual brain are remarkably fussy
about the kind of visual stimulus to which they will respond\" (Zeki
1998:71).
See also
**[MUSIC](music11.htm){tppabs="http://members.aol.com/doder1/music11.htm"
target="_top"}**.
Copyright 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photograph of the 1884-86 sculpture, *The Burghers of Calais*,
by Auguste Rodin (copyright 1994 by Benedikt Taschen Verlag GmbH)
|
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<P><STRONG><FONT SIZE="+1">AUDITORY CUE</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Drum Signals" SRC="auditory.jpg" tppabs="http://members.aol.com/doder1/objects/auditory.jpg" HEIGHT="60%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<EM><FONT SIZE="-1">The voice of him that crieth in the wilderness</FONT></EM><FONT SIZE="-1">. --Old Testament, </FONT><EM><FONT SIZE="-1">Isaiah</FONT></EM><FONT SIZE="-1">, XL, 3</FONT><FONT SIZE="-1"></FONT><BR>
</P>
<P><EM>Sound <STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signal</A></STRONG></EM>. <STRONG>1.</STRONG> An <I>incoming </I><STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG> received through the ears, causing the brain to hear. <STRONG>2.</STRONG>
An <I>outgoing</I> sign produced by the vibration of physical objects (e.g., drum heads, reeds, and
strings) or body parts (e.g., the hands in <EM>clapping</EM>, and the larynx in <STRONG><EM><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speaking</A></EM></STRONG>).</P>
<P><EM>Usage I</EM>: Like <STRONG><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">touch cues</A></STRONG>, auditory cues are psychologically "real" (i.e., <EM>tangible</EM>) to human
beings. Because hearing evolved as a specialized form of touch, sounds share some properties of tactile signals. (<B><I>N.B.</I></B>: The telephone company's commercial jingle, "Reach out and touch someone," carries more than a figurative
ring of truth.)</P>
<P><EM>Usage II</EM>: Auditory cues may be used <STRONG>a.</STRONG> linguistically (in speech), as well as <STRONG>b. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotionally</A></STRONG>
(to transmit <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG> about attitudes, feelings, and moods; see
<STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">TONE OF VOICE</A></STRONG>).<BR>
<BR>
<I><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top"><B>Courtship</B></A></I>. In the speaking phase of courtship, auditory cues play a tactile role as they pave the way toward touching itself (see <B><A HREF="http://members.aol.com/nonverbal2/lovesig3.htm" TARGET="_top">LOVE SIGNALS III</A></B>).</P>
<P><EM>Biology</EM>. <I>Big-seeming</I> auditory cues (e.g., deep or loud cries) suggest--and may substitute for--physical
size itself (see <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">LOOM</A></STRONG>). Like the bullfrog's croaking, a man's deep voice may suggest greater size, authority, and strength.
</P>
<P><EM>Anatomy</EM>. Auditory cues are received, as vibrations, by specialized hair cells in the inner ear's <I>cochlea</I>. There, the vibrations are transformed (as electrical signals) in the auditory nerve,
which links to auditory modules of the midbrain (i.e., the inferior colliculi) and the forebrain (e.g., the primary auditory
cortex).</P>
<P><EM>Evolution I</EM>. <STRONG>1.</STRONG> "The visceral skeleton (splanchnocranium) of vertebrates consists of a series of
cartilages or bones arising in the embryonic visceral (<STRONG><A HREF="http://members.aol.com/nonverbal2/pharynx.htm" TARGET="_top">pharyngeal</A></STRONG>) arches" (Kent 1969:155). <STRONG>2.</STRONG>
"In lung-breathing tetrapods the visceral skeleton has been modified for transmission of sound
(malleus, incus, and stapes), for attachment of the muscles of the modified tongue, and for
support of the larynx (cricoid, thyroid, and arytenoid cartilages)" (Kent 1969:162).<FONT FACE="Times New Roman"></FONT><BR>
<BR>
<EM>Evolution II</EM>. <STRONG></STRONG>"When the first amphibia left the Silurian seas two or three hundred million years ago, with their heads resting on the ground, they relied entirely on bone conduction of vibration for hearing. The vibrations in the earth were transmitted from the bones of their lower jaws to the bone surrounding the inner ear. In order to hear, they probably kept their lower jaws touching the ground" (Nathan 1988:34).<BR>
<BR>
<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><I>Psychology</I>. Our aversion to sudden loud noises may be innate (Thorndike 1940).<BR>
<BR>
<I>Right brain, left brain</I>. <FONT FACE="Times New Roman"><FONT FACE="Times New Roman">Regarding auditory signals, the right-brain hemisphere is superior to the left when dealing with music, metaphorical and figurative speech, sequences of verbalized events, verbal stress and intonation patterns, and human non-speech sounds. The</FONT></FONT> left-brain hemisphere is superior in processing spoken words, numbers, and nonsense syllables. (See <A HREF="http://members.aol.com/nonverbal3/human.htm" TARGET="_top"><B>HUMAN BRAIN</B></A>, <I>Right brain, left brain</I>.)<BR>
<BR>
</FONT><EM>Neuro-notes I</EM></FONT>. The <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibian brain's</A></STRONG> inferior colliculi receive auditory cues from the lateral
lemniscus and control such auditory reflexes as flinching in response, e.g., to a karate master's
yell (see <FONT FACE="Times New Roman"><STRONG><A HREF="startle1.htm" tppabs="http://members.aol.com/doder1/startle1.htm" TARGET="_top">STARTLE REFLEX</A></STRONG></FONT>). Postural reflexes to loud sounds are triggered by
the inferior and superior colliculi, through brain-stem-cervical cord interneurons to anterior horn
motor neurons that are linked to spinal nerves in charge of muscle spindles.</P>
<P><FONT FACE="Times New Roman"><EM>Neuro-notes II</EM></FONT>. As in the visual neocortex, modules of auditory neocortex in the temporal lobe
have specialized functions, e.g., to decode information about the frequency, intensity, and timing
of sounds.<BR>
<BR>
<I>Neuro-notes III</I>. Movement of sounds is detected <B>a.</B> by dorsal premotor regions of the frontal eye fields, <B>b.</B> ventral premotor regions of primate areas for multimodal spatial analysis and motor planning, and <B>c.</B> right superior and inferior parietal cortex (Griffiths et al. 2000).</P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">CRY</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/laugh.htm" TARGET="_top">LAUGH</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
</FONT><FONT SIZE="-1">
Detail of photo by Dennis Stock (copyright Magnum)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **AUDITORY CUE**
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tppabs="http://members.aol.com/doder1/objects/auditory.jpg" height="60%"
width="25%"}\
\
*The voice of him that crieth in the wilderness*. \--Old Testament,
*Isaiah*, XL, 3\
*Sound
**[signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}***.
**1.** An *incoming*
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**
received through the ears, causing the brain to hear. **2.** An
*outgoing* sign produced by the vibration of physical objects (e.g.,
drum heads, reeds, and strings) or body parts (e.g., the hands in
*clapping*, and the larynx in
***[speaking](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}***).
*Usage I*: Like **[touch
cues](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}**, auditory cues are psychologically \"real\" (i.e.,
*tangible*) to human beings. Because hearing evolved as a specialized
form of touch, sounds share some properties of tactile signals.
(***N.B.***: The telephone company\'s commercial jingle, \"Reach out and
touch someone,\" carries more than a figurative ring of truth.)
*Usage II*: Auditory cues may be used **a.** linguistically (in speech),
as well as **b.**
**[emotionally](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
(to transmit
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**
about attitudes, feelings, and moods; see **[TONE OF
VOICE](http://members.aol.com/nonverbal2/tone.htm){target="_top"}**).\
\
*[**Courtship**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}*. In the speaking phase of courtship, auditory cues play
a tactile role as they pave the way toward touching itself (see **[LOVE
SIGNALS
III](http://members.aol.com/nonverbal2/lovesig3.htm){target="_top"}**).
*Biology*. *Big-seeming* auditory cues (e.g., deep or loud cries)
suggest\--and may substitute for\--physical size itself (see
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**). Like the bullfrog\'s croaking, a man\'s deep voice
may suggest greater size, authority, and strength.
*Anatomy*. Auditory cues are received, as vibrations, by specialized
hair cells in the inner ear\'s *cochlea*. There, the vibrations are
transformed (as electrical signals) in the auditory nerve, which links
to auditory modules of the midbrain (i.e., the inferior colliculi) and
the forebrain (e.g., the primary auditory cortex).
*Evolution I*. **1.** \"The visceral skeleton (splanchnocranium) of
vertebrates consists of a series of cartilages or bones arising in the
embryonic visceral
(**[pharyngeal](http://members.aol.com/nonverbal2/pharynx.htm){target="_top"}**)
arches\" (Kent 1969:155). **2.** \"In lung-breathing tetrapods the
visceral skeleton has been modified for transmission of sound (malleus,
incus, and stapes), for attachment of the muscles of the modified
tongue, and for support of the larynx (cricoid, thyroid, and arytenoid
cartilages)\" (Kent 1969:162).\
\
*Evolution II*. \"When the first amphibia left the Silurian seas two or
three hundred million years ago, with their heads resting on the ground,
they relied entirely on bone conduction of vibration for hearing. The
vibrations in the earth were transmitted from the bones of their lower
jaws to the bone surrounding the inner ear. In order to hear, they
probably kept their lower jaws touching the ground\" (Nathan 1988:34).\
\
*Psychology*. Our aversion to sudden loud noises may be innate
(Thorndike 1940).\
\
*Right brain, left brain*. Regarding auditory signals, the right-brain
hemisphere is superior to the left when dealing with music, metaphorical
and figurative speech, sequences of verbalized events, verbal stress and
intonation patterns, and human non-speech sounds. The left-brain
hemisphere is superior in processing spoken words, numbers, and nonsense
syllables. (See [**HUMAN
BRAIN**](http://members.aol.com/nonverbal3/human.htm){target="_top"},
*Right brain, left brain*.)\
\
*Neuro-notes I*. The **[amphibian
brain\'s](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**
inferior colliculi receive auditory cues from the lateral lemniscus and
control such auditory reflexes as flinching in response, e.g., to a
karate master\'s yell (see **[STARTLE
REFLEX](startle1.htm){tppabs="http://members.aol.com/doder1/startle1.htm"
target="_top"}**). Postural reflexes to loud sounds are triggered by the
inferior and superior colliculi, through brain-stem-cervical cord
interneurons to anterior horn motor neurons that are linked to spinal
nerves in charge of muscle spindles.
*Neuro-notes II*. As in the visual neocortex, modules of auditory
neocortex in the temporal lobe have specialized functions, e.g., to
decode information about the frequency, intensity, and timing of
sounds.\
\
*Neuro-notes III*. Movement of sounds is detected **a.** by dorsal
premotor regions of the frontal eye fields, **b.** ventral premotor
regions of primate areas for multimodal spatial analysis and motor
planning, and **c.** right superior and inferior parietal cortex
(Griffiths et al. 2000).
See also
**[CRY](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**,
**[LAUGH](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Dennis Stock (copyright Magnum)
|
AUTISM | https://ns1.omnitech.net/data/Nonverbal/autism1.htm | <HTML>
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<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>autism</TITLE>
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<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">AUTISM</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Without Expression" SRC="autism.jpg" tppabs="http://members.aol.com/doder1/objects/autism.jpg" HEIGHT="40%" WIDTH="25%"><BR>
<BR WP="BR2">
<I><FONT SIZE="-1">People talk to each other with their eyes, don't they? What are they saying?</FONT></I><FONT SIZE="-1"> --Asperger's syndrome subject (quoted in Carter 1998:141)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<BR>
<I>Communications disorder</I>. <STRONG>1.</STRONG> A related family of conditions, from producing repetitive body
movements to showing a special gift for drawing, music, or math, marked by a lack of empathy
and an extreme inability to send and receive normal <A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top"><B>nonverbal</B></A> cues. <B>2.</B> An autistic person may fail to use socially normal patterns of <A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top"><B>eye contact</B></A>, <A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top"><B>facial expressions</B></A>, and <A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top"><B>gestures</B></A>, and may be unable to use normal <A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top"><B>speech</B></A>. <STRONG>3.</STRONG> An autistic individual may
also display an intense interest in arranging, organizing, or hoarding a restricted range of physical <STRONG><A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top">objects</A></STRONG>.</P>
<P><EM>Usage</EM>: When kept from handling a favored object, an autistic person may yell, become aggressive, or engage in property destruction. ". . . more than anything, autism is a defect of communication--an inability to share
feelings, beliefs and knowledge with other people" (Carter 1998:141).<BR>
<BR>
<I>Asperger's Syndrome</I>. Like autism, AS includes problems in social behavior, along with abnormal responses to the environment. Unlike autism, however, cognitive and communicative skills may be relatively normal, and verbal skills are strong. AS individuals show an unusually restricted interest in specific artifacts, objects, or life forms, such as bus schedules, videotape cassettes, and frogs.</P>
<P><I>Behavior</I>. "Their language skills are often limited, and they find it difficult to initiate or sustain conversations. They also frequently exhibit
an intense preoccupation with a single subject, activity or gesture" (Rodier 2000:56).<BR>
<BR>
<EM>Embryology</EM>. In the first 20 to 24 days of gestation, a defect in the gene <EM>HOXA1</EM> may be responsible <B>a.</B> for the physical appearance of the mouth, lower jaw, and ears, and
<B>b.</B> for the brain stem anomalies (see below, <EM>Neuro-note</EM>) of autism (Rodier 2000:59).</P>
<P><EM>Physical appearance</EM>. <STRONG>1.</STRONG> Autistic children produce few facial expressions, though they may exhibit
<STRONG><A HREF="http://members.aol.com/nonverbal3/droop.htm" TARGET="_top">jaw-droop</A></STRONG>. <STRONG>2.</STRONG> People with autism ". . . have often been described not only as normal in
appearance but as unusually attractive [perhaps due to a diminutive lower jaw and chin; see <A HREF="http://members.aol.com/nonverbal3/beauty1.htm" TARGET="_top"><B>Facial Beauty</B></A>]. They are certainly normal in stature, with normal-to-large
heads" (Rodier 2000:60). <STRONG>3.</STRONG> "The corners of his mouth are low compared with the center of his
upper lip, and the top of his ears flop over [and are 'lower than normal' with 'an almost square
shape'] . . ." (Rodier 2000:59).<BR>
<BR>
<I>Psychiatry</I>. "a) marked impairments in the use of multiple nonverbal behaviors such as eye-to-eye gaze, facial expression, body posture, and gestures to regulate social interaction" (diagnostic criteria for 299.00 AUTISTIC DISORDER, <I>DSM IV</I>).</P>
<P><EM>Neuro-note</EM>. In an autistic person, the brain stem is shorter, the facial nucleus is smaller, and the
superior olive (an auditory relay station) may be missing entirely (Rodier 2000:58). </P>
<P>See also <STRONG><A HREF="nld1.htm" tppabs="http://members.aol.com/doder1/nld1.htm" TARGET="_top">NONVERBAL LEARNING DISORDER</A></STRONG>. </P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright <FONT SIZE="-1"><FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001 </FONT>(David B. Givens/</FONT><STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT FACE="Times New Roman" SIZE="-1">Center for Nonverbal Studies</FONT></A></STRONG><FONT FACE="Times New Roman" SIZE="-1">)</FONT><BR>
<FONT FACE="Times New Roman" SIZE="-1">Detail of photo by Justine Parsons (copyright 2000 by <EM>Scientific American</EM></FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **AUTISM**
{border="0"
tppabs="http://members.aol.com/doder1/objects/autism.jpg" height="40%"
width="25%"}\
\
*People talk to each other with their eyes, don\'t they? What are they
saying?* \--Asperger\'s syndrome subject (quoted in Carter 1998:141)\
\
\
*Communications disorder*. **1.** A related family of conditions, from
producing repetitive body movements to showing a special gift for
drawing, music, or math, marked by a lack of empathy and an extreme
inability to send and receive normal
[**nonverbal**](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"} cues. **2.** An autistic person may fail to use socially
normal patterns of [**eye
contact**](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"},
[**facial
expressions**](http://members.aol.com/nonverbal3/facialx.htm){target="_top"},
and
[**gestures**](http://members.aol.com/nonverbal2/gesture.htm){target="_top"},
and may be unable to use normal
[**speech**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}. **3.** An autistic individual may also display an
intense interest in arranging, organizing, or hoarding a restricted
range of physical
**[objects](http://members.aol.com/nonverbal2/object.htm){target="_top"}**.
*Usage*: When kept from handling a favored object, an autistic person
may yell, become aggressive, or engage in property destruction. \". . .
more than anything, autism is a defect of communication\--an inability
to share feelings, beliefs and knowledge with other people\" (Carter
1998:141).\
\
*Asperger\'s Syndrome*. Like autism, AS includes problems in social
behavior, along with abnormal responses to the environment. Unlike
autism, however, cognitive and communicative skills may be relatively
normal, and verbal skills are strong. AS individuals show an unusually
restricted interest in specific artifacts, objects, or life forms, such
as bus schedules, videotape cassettes, and frogs.
*Behavior*. \"Their language skills are often limited, and they find it
difficult to initiate or sustain conversations. They also frequently
exhibit an intense preoccupation with a single subject, activity or
gesture\" (Rodier 2000:56).\
\
*Embryology*. In the first 20 to 24 days of gestation, a defect in the
gene *HOXA1* may be responsible **a.** for the physical appearance of
the mouth, lower jaw, and ears, and **b.** for the brain stem anomalies
(see below, *Neuro-note*) of autism (Rodier 2000:59).
*Physical appearance*. **1.** Autistic children produce few facial
expressions, though they may exhibit
**[jaw-droop](http://members.aol.com/nonverbal3/droop.htm){target="_top"}**.
**2.** People with autism \". . . have often been described not only as
normal in appearance but as unusually attractive \[perhaps due to a
diminutive lower jaw and chin; see [**Facial
Beauty**](http://members.aol.com/nonverbal3/beauty1.htm){target="_top"}\].
They are certainly normal in stature, with normal-to-large heads\"
(Rodier 2000:60). **3.** \"The corners of his mouth are low compared
with the center of his upper lip, and the top of his ears flop over
\[and are \'lower than normal\' with \'an almost square shape\'\] . .
.\" (Rodier 2000:59).\
\
*Psychiatry*. \"a) marked impairments in the use of multiple nonverbal
behaviors such as eye-to-eye gaze, facial expression, body posture, and
gestures to regulate social interaction\" (diagnostic criteria for
299.00 AUTISTIC DISORDER, *DSM IV*).
*Neuro-note*. In an autistic person, the brain stem is shorter, the
facial nucleus is smaller, and the superior olive (an auditory relay
station) may be missing entirely (Rodier 2000:58).
See also **[NONVERBAL LEARNING
DISORDER](nld1.htm){tppabs="http://members.aol.com/doder1/nld1.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Justine Parsons (copyright 2000 by *Scientific
American*)
|
BALANCE CUE | https://ns1.omnitech.net/data/Nonverbal/balance1.htm | <HTML>
<HEAD>
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<TITLE>balance</TITLE>
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<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BALANCE CUE</FONT></STRONG></P>
<P><I><IMG BORDER="0" ALT="Fun Hog" SRC="funhog.jpg" tppabs="http://members.aol.com/doder1/objects/funhog.jpg" HEIGHT="50%" WIDTH="25%"><BR>
<BR>
Equilibrium<B> <A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signal</A></B></I>. <FONT FACE="Times New Roman"> An <B><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top">incoming <STRONG>s</STRONG></A></B><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top"><STRONG>ign</STRONG></A><STRONG></STRONG> received when the body's head is suddenly accelerated,
decelerated, or tilted.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: Though we instinctively keep our head stabilized, we enjoy accelerating, dropping, and
spinning it as well, e.g., in such sports as auto racing, skiing, sky diving, and surfing. Stimulation of
motion sensors in our inner ear is not only pleasurable, but diverts attention away from
today's concerns and tomorrow's fretful worries. In part, this is because older centers of the brain's <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG> and cerebellum are engaged, in which there
is no tomorrow, but only the present moment in time.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Anatomy</EM>. Stimulating <EM>accelerometers</EM> of the inner ear diverts our attention from anxiety and apprehension
about the future. The inner ear's utricle and saccule are sensitive to <EM>linear acceleration</EM> and to
<EM>gravity</EM>, while its three semicircular canals are sensitive to <EM>angular</EM> and <EM>rotational acceleration</EM>. Rotation upsets the normal circulation of fluid in the ear's balance loops to make us
feel dizzy (Pool 1987:69).<BR>
<BR>
</FONT>
<STRONG><EM><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer products</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM> I</EM>. <STRONG>1.</STRONG> We consider the illusion of speed thrilling, and find roller coasters
(which only kill one or two people a year in the U.S. [Poundstone 1990:124]) scarier than automobiles (which kill
50,000 a year [Wright 1990:263]). The fastest roller coaster in the world (which is in Gurnee, Illinois)
averages only one mile faster than 65 mph, the speed limit of some interstate highways. (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: The average
adult coaster has a top speed of only 38 mph <FONT FACE="Times New Roman"> [Poundstone 1990:</FONT>126].) <STRONG>2.</STRONG> We scream loudest in the initial
plunge, which triggers our innate fear-of-falling reflex, and grasp the bar in front of us tightly with
a <STRONG><A HREF="power1.htm" tppabs="http://members.aol.com/doder1/power1.htm" TARGET="_top">power grip</A></STRONG>. We enjoy Magic Mountain's Viper, in Santa Clarita, California, which, from its highest
point 188 feet above the earth, carries our head upside-down seven times at speeds up to 70 mph
(McFarlan 1990:92).</FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Consumer products II</EM>. To maximize our fear of falling, we may take our head aboard Magic
Mountain's FreeFall ride, where we may <A HREF="wait1.htm" tppabs="http://members.aol.com/doder1/wait1.htm" TARGET="_top"><B>wait</B></A> in line for up to 45 minutes, to drop it for 2.5 seconds 90
feet straight down a steel track <FONT FACE="Times New Roman">(Poundstone 1990</FONT>:131-32).<BR>
<BR>
<I>Consumer products III</I>. After rocking for 70 minutes in rocking chairs, nursing home patients diagnosed with dementia showed up to a one-third reduction in signs of anxiety and depression. According to University of Rochester geriatric nursing researcher, Nancy Watson, "You could see immediately by their faces that they were enjoying themselves."<BR>
<BR>
<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><I>Courtship</I>. Not only do we rock babies from side to side, but
also the adults whom we love, as well (see <A HREF="http://members.aol.com/nonverbal2/lovesig4.htm" TARGET="_top"><B>LOVE SIGNALS IV</B></A>, <I>Hugging</I>).</FONT><BR>
</FONT><BR>
<FONT FACE="Times New Roman"><I>Freewheeling</I>. Our enjoyment of free body movements through space may be innate (Thorndike 1940). </FONT> </FONT></P>
<P><FONT FACE="Times New Roman"><EM></EM><EM></EM>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">AROMA CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">COLOR CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">EMOTION CUE</A></STRONG>, <STRONG><A HREF="auditor1.htm" tppabs="http://members.aol.com/doder1/auditor1.htm" TARGET="_top">HEARING CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/taste.htm" TARGET="_top">TASTE CUE</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001 </FONT>(David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Detail of photo in <I>U.S. News & World Report</I> (August 23, 1999, <FONT FACE="Times New Roman" SIZE="-1">p. 16</FONT>; copyright by Hewlet Packard) </FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P>
<BR>
</BODY>
</HTML> | **BALANCE CUE**
*{border="0"
tppabs="http://members.aol.com/doder1/objects/funhog.jpg" height="50%"
width="25%"}\
\
Equilibrium
**[signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}***.
An **[incoming
**s**](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}**[**ign**](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}
received when the body\'s head is suddenly accelerated, decelerated, or
tilted.
*Usage*: Though we instinctively keep our head stabilized, we enjoy
accelerating, dropping, and spinning it as well, e.g., in such sports as
auto racing, skiing, sky diving, and surfing. Stimulation of motion
sensors in our inner ear is not only pleasurable, but diverts attention
away from today\'s concerns and tomorrow\'s fretful worries. In part,
this is because older centers of the brain\'s **[basal
ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}**
and cerebellum are engaged, in which there is no tomorrow, but only the
present moment in time.\
\
*Anatomy*. Stimulating *accelerometers* of the inner ear diverts our
attention from anxiety and apprehension about the future. The inner
ear\'s utricle and saccule are sensitive to *linear acceleration* and to
*gravity*, while its three semicircular canals are sensitive to
*angular* and *rotational acceleration*. Rotation upsets the normal
circulation of fluid in the ear\'s balance loops to make us feel dizzy
(Pool 1987:69).\
\
***[Consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}*** *I*. **1.** We consider the illusion of speed
thrilling, and find roller coasters (which only kill one or two people a
year in the U.S. \[Poundstone 1990:124\]) scarier than automobiles
(which kill 50,000 a year \[Wright 1990:263\]). The fastest roller
coaster in the world (which is in Gurnee, Illinois) averages only one
mile faster than 65 mph, the speed limit of some interstate highways.
(***N.B.***: The average adult coaster has a top speed of only 38 mph
\[Poundstone 1990:126\].) **2.** We scream loudest in the initial
plunge, which triggers our innate fear-of-falling reflex, and grasp the
bar in front of us tightly with a **[power
grip](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm"
target="_top"}**. We enjoy Magic Mountain\'s Viper, in Santa Clarita,
California, which, from its highest point 188 feet above the earth,
carries our head upside-down seven times at speeds up to 70 mph
(McFarlan 1990:92).
*Consumer products II*. To maximize our fear of falling, we may take our
head aboard Magic Mountain\'s FreeFall ride, where we may
[**wait**](wait1.htm){tppabs="http://members.aol.com/doder1/wait1.htm"
target="_top"} in line for up to 45 minutes, to drop it for 2.5 seconds
90 feet straight down a steel track (Poundstone 1990:131-32).\
\
*Consumer products III*. After rocking for 70 minutes in rocking chairs,
nursing home patients diagnosed with dementia showed up to a one-third
reduction in signs of anxiety and depression. According to University of
Rochester geriatric nursing researcher, Nancy Watson, \"You could see
immediately by their faces that they were enjoying themselves.\"\
\
*Courtship*. Not only do we rock babies from side to side, but also the
adults whom we love, as well (see [**LOVE SIGNALS
IV**](http://members.aol.com/nonverbal2/lovesig4.htm){target="_top"},
*Hugging*).\
\
*Freewheeling*. Our enjoyment of free body movements through space may
be innate (Thorndike 1940).
See also **[AROMA
CUE](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}**,
**[COLOR
CUE](http://members.aol.com/nonverbal3/color.htm){target="_top"}**,
**[EMOTION
CUE](http://members.aol.com/nonverbal3/color.htm){target="_top"}**,
**[HEARING
CUE](auditor1.htm){tppabs="http://members.aol.com/doder1/auditor1.htm"
target="_top"}**, **[TASTE
CUE](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo in *U.S. News & World Report* (August 23, 1999, p. 16;
copyright by Hewlet Packard)
\
|
BEND-AWAY | https://ns1.omnitech.net/data/Nonverbal/bendawa1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bendaway</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BEND-AWAY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Slip-Slidin' Away " SRC="bendaway.jpg" tppabs="http://members.aol.com/doder1/objects/bendaway.jpg" HEIGHT="35%" WIDTH="20%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">Posture</A></EM></STRONG><EM></EM>. To contract the muscles of the primitive <STRONG><A HREF="bodywal3.htm" tppabs="http://members.aol.com/doder1/bodywal3.htm" TARGET="_top">body wall</A></STRONG>, causing the spinal column to curve or
rotate sideward, away from standard <STRONG><A HREF="http://members.aol.com/nonverbal2/anatompo.htm" TARGET="_top">anatomical position</A></STRONG> (see <STRONG><A HREF="bend1.htm" tppabs="http://members.aol.com/doder1/bend1.htm" TARGET="_top">BODY-BEND</A></STRONG>).</P>
<P><EM>Usage</EM>: Psychiatrists and anthropologists have long known that the postures of our upper body reflect
social attitudes and key emotional states (Bateson and Mead 1942, Richmond et al. 1991).
<EM>Bending away</EM> and other gross postural shifts often reveal negative feelings (Mehrabian 1974).</P>
<P><EM>Anatomy</EM>. Flexing the spinal column sideward to increase the physical distance between two
people can be seen at meetings around a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>. Lateral flexion (bending)
and rotation (twisting) movements of the spine are made by contracting the deep muscles of the
back (e.g.,the <EM>erector spinae</EM> and <EM>transversospinalis</EM>), which influence our most basic body postures.</P>
<P><EM>Evolution</EM>. Among the oldest body movements were those for <EM>locomotion</EM>. Muscles of the body
wall contracted to produce rhythmic <EM>sideward bending</EM> motions. The earliest, oscillatory
swimming movements, which took animals toward food and mates, and away from harm, were
wired into <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of the <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">aquatic brain & spinal cord</A></STRONG>. Thus, bending away from a disliked person at a table is not unlike swimming away in the sea.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>, <STRONG><A HREF="shift1.htm" tppabs="http://members.aol.com/doder1/shift1.htm" TARGET="_top">BODY-SHIFT</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1999, 2000 (David B. Givens/</FONT><STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></STRONG><FONT SIZE="-1">)</FONT><BR>
<FONT SIZE="-1">
Detail of photo by Alfred Eisenstaedt (Copyright </FONT><I><FONT SIZE="-1">Life</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BEND-AWAY**
{border="0"
tppabs="http://members.aol.com/doder1/objects/bendaway.jpg" height="35%"
width="20%"}\
\
***[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. To contract the muscles of the primitive **[body
wall](bodywal3.htm){tppabs="http://members.aol.com/doder1/bodywal3.htm"
target="_top"}**, causing the spinal column to curve or rotate sideward,
away from standard **[anatomical
position](http://members.aol.com/nonverbal2/anatompo.htm){target="_top"}**
(see
**[BODY-BEND](bend1.htm){tppabs="http://members.aol.com/doder1/bend1.htm"
target="_top"}**).
*Usage*: Psychiatrists and anthropologists have long known that the
postures of our upper body reflect social attitudes and key emotional
states (Bateson and Mead 1942, Richmond et al. 1991). *Bending away* and
other gross postural shifts often reveal negative feelings (Mehrabian
1974).
*Anatomy*. Flexing the spinal column sideward to increase the physical
distance between two people can be seen at meetings around a
**[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**. Lateral flexion (bending) and rotation (twisting)
movements of the spine are made by contracting the deep muscles of the
back (e.g.,the *erector spinae* and *transversospinalis*), which
influence our most basic body postures.
*Evolution*. Among the oldest body movements were those for
*locomotion*. Muscles of the body wall contracted to produce rhythmic
*sideward bending* motions. The earliest, oscillatory swimming
movements, which took animals toward food and mates, and away from harm,
were wired into
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the **[aquatic brain & spinal
cord](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**.
Thus, bending away from a disliked person at a table is not unlike
swimming away in the sea.
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[BODY-SHIFT](shift1.htm){tppabs="http://members.aol.com/doder1/shift1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Alfred Eisenstaedt (Copyright *Life*)
|
BITE | https://ns1.omnitech.net/data/Nonverbal/bite1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bite</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BITE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top"><BR>
Body movement</A></EM></STRONG>. The act of closing one's jaws tightly to cut, grip, grasp, or tear with the teeth, as
in <STRONG>a.</STRONG> eating a <B><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">Big Mac</A>®</B> sandwich, <STRONG>b.</STRONG> clenching the jaws in frustration and anger, or <B>c.</B> inflicting pain.</P>
<P><EM>Usage</EM>: Our animal nature shows clearly in the eagerness with which we may bite our enemies.
In New York City, e.g., ca. 1,500 human beings report having been bitten by other humans each
year (Conn and Silverman 1991:86). (<STRONG><EM>N.B.</EM></STRONG>: This is five times greater than the reported figure for rat bites [Wurman 1989:177].)
In 1981, in Norfolk, Virginia, a traveling salesman was convicted of attacking a woman and
biting off her nose.<BR>
<BR>
<EM>Anatomy</EM>. The muscles of mastication are the <I>masseter</I> and <I>temporalis</I> (which close the mouth);
and the <I>lateral</I> and <I>medial pterygoids</I> and <I>anterior belly of the digastric</I> (which open the mouth).</P>
<P><I>Biology</I>. <B>1.</B> "As soon as a young mouse has its teeth, it will turn around and try to bite anything which pinches its tail" (Scott 1975:7). <B>2.</B> "Don't assume your dog won't bite. The most common statement from dog owners after a carrier has been bitten is, 'He's/She's never bitten anyone before!'" (flyer distributed in 2000 by the U.S. Post Office).<BR>
<BR>
<I>Evolution</I>. Along with their role in chewing and eating, our remote ancestors' jaws, jaw muscles, and teeth played a defensive role: the face was used as a weapon (as is dramatically the case today, e.g., in crocodiles, gorillas, and grizzly bears).<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. <B>1.</B> In their televised June 28, 1997 boxing rematch, challenger Mike Tyson committed a major foul by biting off a one-inch piece of Evander Holyfield’s ear and spitting it onto the floor of the ring. Two points were deducted from his score, but in the third round Tyson tried to bite Holyfield’s other ear and was disqualified from the competition. <B>2.</B> On June 9, 2001, <I>San Francisco Chronicle</I> executive editor Phil Bronstein (husband of actress Sharon Stone) was attacked and bitten on the foot at the Los Angeles Zoo by a Komodo dragon. "A zookeeper had asked Bronstein [who was on a private tour because he ". . . had always wanted to see a Komodo dragon up close."] to remove his <A HREF="sneaker.htm" tppabs="http://members.aol.com/nonverbal3/sneaker.htm" TARGET="_top"><B>white tennis shoes</B></A> to keep the 5-foot-long reptile from mistaking them for the white rats it is fed, Bronstein told the <I>Chronicle</I>" (Anonymous 2001G:A2).</P>
<P><EM>Neuro-notes</EM>. The muscles of biting are innervated by mandibular branches of the trigeminal
nerve (cranial V, an emotionally sensitive <A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top"><B>special visceral nerve</B></A>). Acting through the trigeminal's motor nucleus, emotional stimuli associated
, e.g., with <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, may cause the jaw muscles to contract in uncontrollable biting movements.</P>
<P>Antonym: <STRONG><A HREF="http://members.aol.com/nonverbal3/droop.htm" TARGET="_top">JAW-DROOP</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001 </FONT>(David B. Givens/</FONT><STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></STRONG><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BITE**
***[\
Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. The act of closing one\'s jaws tightly to cut, grip,
grasp, or tear with the teeth, as in **a.** eating a **[Big
Mac](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}®**
sandwich, **b.** clenching the jaws in frustration and anger, or **c.**
inflicting pain.
*Usage*: Our animal nature shows clearly in the eagerness with which we
may bite our enemies. In New York City, e.g., ca. 1,500 human beings
report having been bitten by other humans each year (Conn and Silverman
1991:86). (***N.B.***: This is five times greater than the reported
figure for rat bites \[Wurman 1989:177\].) In 1981, in Norfolk,
Virginia, a traveling salesman was convicted of attacking a woman and
biting off her nose.\
\
*Anatomy*. The muscles of mastication are the *masseter* and
*temporalis* (which close the mouth); and the *lateral* and *medial
pterygoids* and *anterior belly of the digastric* (which open the
mouth).
*Biology*. **1.** \"As soon as a young mouse has its teeth, it will turn
around and try to bite anything which pinches its tail\" (Scott 1975:7).
**2.** \"Don\'t assume your dog won\'t bite. The most common statement
from dog owners after a carrier has been bitten is, \'He\'s/She\'s never
bitten anyone before!\'\" (flyer distributed in 2000 by the U.S. Post
Office).\
\
*Evolution*. Along with their role in chewing and eating, our remote
ancestors\' jaws, jaw muscles, and teeth played a defensive role: the
face was used as a weapon (as is dramatically the case today, e.g., in
crocodiles, gorillas, and grizzly bears).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
**1.** In their televised June 28, 1997 boxing rematch, challenger Mike
Tyson committed a major foul by biting off a one-inch piece of Evander
Holyfield's ear and spitting it onto the floor of the ring. Two points
were deducted from his score, but in the third round Tyson tried to bite
Holyfield's other ear and was disqualified from the competition. **2.**
On June 9, 2001, *San Francisco Chronicle* executive editor Phil
Bronstein (husband of actress Sharon Stone) was attacked and bitten on
the foot at the Los Angeles Zoo by a Komodo dragon. \"A zookeeper had
asked Bronstein \[who was on a private tour because he \". . . had
always wanted to see a Komodo dragon up close.\"\] to remove his
[**white tennis
shoes**](sneaker.htm){tppabs="http://members.aol.com/nonverbal3/sneaker.htm"
target="_top"} to keep the 5-foot-long reptile from mistaking them for
the white rats it is fed, Bronstein told the *Chronicle*\" (Anonymous
2001G:A2).
*Neuro-notes*. The muscles of biting are innervated by mandibular
branches of the trigeminal nerve (cranial V, an emotionally sensitive
[**special visceral
nerve**](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}). Acting through the trigeminal\'s motor nucleus,
emotional stimuli associated , e.g., with
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
may cause the jaw muscles to contract in uncontrollable biting
movements.
Antonym:
**[JAW-DROOP](http://members.aol.com/nonverbal3/droop.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
BLUSHING | https://ns1.omnitech.net/data/Nonverbal/blush.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>blush</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="FACIAL FLUSHING">FACIAL FLUSHING<BR>
<BR>
<IMG BORDER="0" ALT="A Flush" SRC="blush.jpg" tppabs="http://members.aol.com/nonverbal3/objects/blush.jpg" HEIGHT="50%" WIDTH="25%"></A></STRONG></FONT></P>
<P><EM><FONT SIZE="-1">A flush stole over Miss Sutherland's face, and she picked nervously at the fringe of her jacket</FONT></EM><FONT SIZE="-1">. --Arthur Conan Doyle ("A Case of Identity")<BR>
<BR>
<I>Note whether she changes color while you are giving her my message</I> . . . --Don Quixote to Sancho Panza (Cervantes 1605:566)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><B><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">Emotion</A></B> cue</EM>. Becoming red or rosy in the <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></STRONG> from physical exercise, embarrassment, shyness, <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, or shame.</P>
<P><EM>Usage</EM>: Facial flushing or <EM>blushing</EM> is elicited by social stimuli, e.g., as one <STRONG>a.</STRONG> becomes the focus
of attention in a group, <STRONG>b.</STRONG> is asked to speak in public, or <STRONG>c.</STRONG> experiences <STRONG><A HREF="strange1.htm" tppabs="http://members.aol.com/doder1/strange1.htm" TARGET="_top">stranger anxiety</A></STRONG>. Suddenly the face, ears, and neck (and in extreme cases, the entire upper chest) redden,
causing further embarrassment still.<BR>
<BR>
<EM>Anatomy</EM>. Blushing is caused by sudden arousal of the <EM>sympathetic nervous system</EM>, which dilates
the small blood vessels of the face and body (see <A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top"><B>FIGHT-OR-FLIGHT</B></A>).<BR>
<BR>
<I>Ethology</I>. "Flushing, contrary to popular belief, is never seen in a purely aggressive individual; it is a sign of actual or possible defeat" (Brannigan and Humphries 1969:407).<BR>
<BR>
<EM>Medicine</EM>. Some people blush uncontrollably in almost any social situation, and suffer such
embarrassment that they undergo surgery to interrupt sympathetic nervous supply to their faces.
In a <EM>thorascopic sympathicotomy</EM>, an incision is made through the arm pit into the thoracic cavity to
sever a sympathetic nerve located close to the spine. (<STRONG><I>N.B.</I></STRONG>: Embarrassing <STRONG><A HREF="sweaty1.htm" tppabs="http://members.aol.com/doder1/sweaty1.htm" TARGET="_top">sweaty palms</A></STRONG>
may be controlled the same way.)</P>
<P><EM>Observation</EM>. One of the first signs of anger is an uncontrollable <EM>reddening of the ears</EM>.</P>
<P><STRONG></STRONG><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1. </STRONG>"In most cases the face, ears and neck are the sole parts which
redden; but many persons, whilst blushing intensely, feel that their whole bodies grow hot and
tingle. . ." (Darwin 1872:312). <STRONG>2.</STRONG> The <EM>red face</EM> (accompanied by overhand beating and
screaming) has been observed in nursery school children who were motivated to attack but did
not actually do so (i.e., they seemed "defeated"; Blurton Jones 1967:355). <STRONG>3.</STRONG> "[Michael] Lewis
suggests that embarrassment is first seen between the ages of two and two and a half" (Ekman
1998:311). <STRONG>4.</STRONG> "There is general agreement among contemporary researchers that attention to the
self is the cause of blushing" (Ekman 1998:324).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top">EYE-BLINK</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/flashbul.htm" TARGET="_top">FLASHBULB EYES</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1999, 2000 (David B. Givens/</FONT><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B><FONT SIZE="-1">Center for Nonverbal Studies</FONT></B></A><FONT SIZE="-1">)</FONT><BR>
<FONT SIZE="-1">
Detail of portrait </FONT><I><FONT SIZE="-1">Mr. S. Vaughan</FONT></I><FONT SIZE="-1"> (copyright 1845 by Sheldon Peck)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[FACIAL FLUSHING\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/blush.jpg"
height="50%" width="25%"}]{#FACIAL FLUSHING}**
*A flush stole over Miss Sutherland\'s face, and she picked nervously at
the fringe of her jacket*. \--Arthur Conan Doyle (\"A Case of
Identity\")\
\
*Note whether she changes color while you are giving her my message* . .
. \--Don Quixote to Sancho Panza (Cervantes 1605:566)\
\
***[Emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
cue*. Becoming red or rosy in the
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
from physical exercise, embarrassment, shyness,
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
or shame.
*Usage*: Facial flushing or *blushing* is elicited by social stimuli,
e.g., as one **a.** becomes the focus of attention in a group, **b.** is
asked to speak in public, or **c.** experiences **[stranger
anxiety](strange1.htm){tppabs="http://members.aol.com/doder1/strange1.htm"
target="_top"}**. Suddenly the face, ears, and neck (and in extreme
cases, the entire upper chest) redden, causing further embarrassment
still.\
\
*Anatomy*. Blushing is caused by sudden arousal of the *sympathetic
nervous system*, which dilates the small blood vessels of the face and
body (see
[**FIGHT-OR-FLIGHT**](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}).\
\
*Ethology*. \"Flushing, contrary to popular belief, is never seen in a
purely aggressive individual; it is a sign of actual or possible
defeat\" (Brannigan and Humphries 1969:407).\
\
*Medicine*. Some people blush uncontrollably in almost any social
situation, and suffer such embarrassment that they undergo surgery to
interrupt sympathetic nervous supply to their faces. In a *thorascopic
sympathicotomy*, an incision is made through the arm pit into the
thoracic cavity to sever a sympathetic nerve located close to the spine.
(***N.B.***: Embarrassing **[sweaty
palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}** may be controlled the same way.)
*Observation*. One of the first signs of anger is an uncontrollable
*reddening of the ears*.
***RESEARCH REPORTS***: **1.** \"In most cases the face, ears and neck
are the sole parts which redden; but many persons, whilst blushing
intensely, feel that their whole bodies grow hot and tingle. . .\"
(Darwin 1872:312). **2.** The *red face* (accompanied by overhand
beating and screaming) has been observed in nursery school children who
were motivated to attack but did not actually do so (i.e., they seemed
\"defeated\"; Blurton Jones 1967:355). **3.** \"\[Michael\] Lewis
suggests that embarrassment is first seen between the ages of two and
two and a half\" (Ekman 1998:311). **4.** \"There is general agreement
among contemporary researchers that attention to the self is the cause
of blushing\" (Ekman 1998:324).
See also
**[EYE-BLINK](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**[FLASHBULB
EYES](http://members.aol.com/nonverbal2/flashbul.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of portrait *Mr. S. Vaughan* (copyright 1845 by Sheldon Peck)
|
BODY ADORNMENT | https://ns1.omnitech.net/data/Nonverbal/adorn.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>adorn</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>BODY ADORNMENT</STRONG></FONT><STRONG></STRONG></P>
<P><EM><FONT SIZE="-1">A sweet disorder in the dress</FONT><BR>
<FONT SIZE="-1">
Kindles in clothes a wantonness</FONT></EM><FONT SIZE="-1">. --Herrick, </FONT><EM><FONT SIZE="-1">Delight in Disorder</FONT><FONT SIZE="-1"></FONT></EM></P>
<P><IMG BORDER="0" ALT="Leg Wrappings" SRC="adorn.jpg" tppabs="http://members.aol.com/doder1/objects/adorn.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT SIZE="-1">After its invention some 9,000 years ago: </FONT><I><FONT SIZE="-1">Cloth would soon become an essential part of society, as clothing and as adornment expressing self-awareness and communicating variations in social rank. For good reason, poets and anthropologists alike have employed cloth as a metaphor for society, something woven of many threads into a social fabric that is ever in danger of unraveling or being torn</FONT></I><FONT SIZE="-1">. --John Noble Wilford (1993:C1)<BR>
<BR>
<FONT FACE="Times New Roman" SIZE="-1"><I>Clothing should always move with your body. Fashion is an extension of body language. A new garment creates a new posture--and a new attitude--in its wearer</I>. --<FONT SIZE="-1">Véronique Vienne (1997:160)<BR>
</FONT></FONT></FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM>Wearable <A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top"><STRONG>sign</STRONG></A><STRONG></STRONG></EM>. <B>1.</B> The act of decorating the human frame to accent its grace, strength, beauty, and
presence, or to mask its less attractive features and traits. <B>2.</B> Visually distinctive patterns of body piercing, dress, scarification, and tattoos worn to express a personal or a social (e.g., an ethnic, military, or national) identity. </P>
<P><EM>Usage</EM>: <B>1.</B> What we place upon our bodies (e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/armshow.htm" TARGET="_top">clothing</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top">footwear</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/hat.htm" TARGET="_top">hats</A></STRONG>,
makeup, and tatoos) adds color, contrast, shape, size, and texture to our primate form. Each day,
myriad <STRONG><A HREF="http://members.aol.com/nonverbal2/message.htm" TARGET="_top">messages</A></STRONG> of adornment broadcast personal <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG>--in a <EM>continuous</EM> way (i.e., as
"frozen" gestures)--about our ethnicity, status, affiliation, and moods. <B>2.</B> We may use clothing cues as <B>a.</B> uniforms (or "clothing signs"), <B>b.</B> fashion statements ("clothing symbols"), <B>c.</B> membership badges ("tie-signs"), <B>d.</B> social-affiliation signs ("tie symbols"), <B>e.</B> personality signs ("personal dress," e.g., the bow tie), and <B>f.</B> socio-political-economic signs ("contemporary fashion"), according to a typology developed by SUNY Fashion Institute of Technology professor, Ruth P. Rubinstein (1994). <B>3.</B> "Social rank . . . has probably always been encoded through symbols in the material, design, color, and embellishment of the clothing" (Barber 1994:150). <BR>
<BR>
<EM>Anatomy</EM>. Before pants, skirts, and shoes, there was the unadorned primate body itself: eyes,
teeth, skin, hair, and nails, along with shapes formed of muscle, fat, and bone. Before adornment,
the <STRONG><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">nonverbal brain</A></STRONG> expressed feelings and attitudes through <STRONG><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movements</A></STRONG>,
<STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">postures</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial cues</A></STRONG>. But with the advent of clothing and shoes the body's nonverbal
vocabulary grew, as shoulders "widened," ankles "thinned," and feet stood up on tiptoes (see
<STRONG><A HREF="http://members.aol.com/nonverbal3/highheel.htm" TARGET="_top">HIGH HEEL</A></STRONG>). As "optical illusions," stripes, colors, buttons, and bows accented or concealed
natural signs, and drew attention to favored--while diverting eyes from less favored--body parts.<BR>
<BR>
<I>Bylaw</I>. "We recognize the essential wholesomeness of the human body and that life is enhanced by the naturalness of social nudity." --American Association of Nude Recreation bylaws<BR>
<BR>
<I>Law</I>. The nonverbal power of clothing may be revealed by its absence. "The United States Supreme Court holds that strip clubs whose exotic dancers wear G-strings and pasties won't lure as many drunks and criminals to the neighborhood as clubs that permit the last stitch of clothing to be dropped" (Auster 2000:16).<BR>
<BR>
<I><B><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></B></I>. <B>1.</B> According to the <I>New York Times</I>, the discovery by James Adovasio (Mercyhurst College) and Olga Soffer (University of Illinois at Urbana) of ancient weaving embedded in fired clay pushes the date of humankind's earliest cloth back to 27,000 years ago (Fowler 1995). <B>2.</B> <I>Forget that old hippie saying, you are what you eat. In the modern world, you are what you wear</I>. --Suzy Gershman (<I>Spokesman-Review</I>, Webster 2000). <BR>
<BR>
<I>Prehistory</I>. Early evidence for personal ornamentation consists of a European stone pendant with decorative grooves, and a tapered neck around which to tie a thong (Scarre 1993:43).<BR>
<BR>
<EM>Fur</EM>. As primates, we are also mammals for whom a dense matte of fur is an evolutionary
birthright. Anthropologists do not know when or why humans lost their body hair, but it is clear
that clothing originated as a <EM>fur substitute</EM> to cover the skin and genitalia. (<STRONG><I>N.B.</I></STRONG>: That we see
nude bodies in the workplace on but the rarest of occasions testifies to the power of clothing today.
Once fashion appeared in <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>, it never went out of style.)<BR>
<BR>
<EM>Beads</EM>. If a bear-skin robe made the body <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">loom</A></STRONG> large, decorating the garment with beads
attracted greater notice still. The elaborate beadwork of a man's fur clothing found at a
23,000 year old hunter's burial ground in Sungir, Russia, remained long after the furs themselves
had rotted away (Lambert 1987). As fashion media, however, leather and beads could go just so
far. Only after fabric replaced fur did clothing became truly expressive.</P>
<P><EM>Leather</EM>. Full body dress originated in Africa or Eurasia to protect the body and keep it warm.
The first clothes were made of prepared <EM>animal hides</EM>. Stone scraping tools from Neanderthal
sites in Europe provide indirect evidence for hide preparation, suggesting that cold-weather
clothing could be at least 200,000 years old (Lambert 1987).</P>
<P><EM>Flounce & weave</EM>. The earliest domesticated sheep, from Zawi Chemi Shanidar, Iraq, suggest that
<EM>wool clothing</EM> originated 10,500 years ago (Wenke 1990). Unwoven skirts and shawls made
of flounces of tufted wool or flax were worn by the ancient Sumerians 5,000 years ago (Rowland-Warne 1992), although one of the earliest known <EM>textiles</EM>--a linen-knit bag from Israel (found in Nahal Hemar cave)--is thought to be 8,500 years old (Barber 1994).<BR>
<BR>
<EM>Fiber & fabric</EM>. More recently, the invention of the flying shuttle (1733), the spinning jenny
(1764), and the 19th century power-loom made cotton fabrics available in ever greater quantities,
as <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG>. Mass produced clothing first appeared in 1851 with the
invention of the sewing machine, and increased in production with the use of <EM>synthetic fibers</EM> (e.g.,
Orlon in 1952). As the adornment medium became subject to greater control, the diversity and number of clothing cues burgeoned (see <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">MESSAGING FEATURE</A></STRONG>). (<B><I>N.B.</I></B>: In 1993 a Lands' End® Mesh Knit shirt contained <I>4.3 miles</I> of 18 singles cotton yarn [Anonymous 1993].)<BR>
<BR>
<I>Tattoo signals</I>. "[U.S.] Teenagers with tattoos are more likely than their peers to drink too much, have sex too early, get into fights and engage in other risky behavior, a University of Rochester study shows" (Anonymous 2001E).<BR>
<BR>
<I>The color purple</I>. With fabrics came dyes, and the ability to signal social status with <B><I><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"> color cues</A></I></B>. In ancient Rome, e.g., only the emperor was allowed to wear a robe dyed <I>royal purple</I> (Barber 1994:150).<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "I've called you before on other feature stories and you've been very helpful. Currently, I'm doing a story on teen fashion. I'm looking at what's going to be the prevailing trend for spring/summer (it's lots of loud color). I have a question: What, in general, are teens trying to accomplish with the fashion and sense of style they cultivate?</FONT><FONT SIZE="-1">" --J.W., </FONT><I><FONT SIZE="-1">Sun Chronicle</FONT></I><FONT SIZE="-1">, Attleboro, MA (3/17/00 11:57:54 AM Pacific Standard Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
</P>
<P><EM>Neuro-note</EM>. To the very visual <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">primate brain</A></STRONG>, fashion statements are
"real" because, neurologically, "seeing is believing."</P>
<P>See also <A HREF="http://members.aol.com/nonverbal2/armshow.htm" TARGET="_top"><B>ARM-SHOW</B></A>, <A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top"><B>BLUE JEANS</B></A>, <A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top"><B>BUSINESS SUIT</B></A>, <STRONG><A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top">HAIR CUE</A></STRONG>, <A HREF="http://members.aol.com/nonverbal2/neckwear.htm" TARGET="_top"><B>NECKWEAR</B></A>, <A HREF="http://www.bananarepublic.com/"><I><B>WWW.Bananarepublic.com</B></I></A>.
</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> (David B. Givens/</FONT><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B><FONT SIZE="-1">Center for Nonverbal Studies</FONT></B></A><FONT SIZE="-1">)</FONT><BR>
<FONT SIZE="-1">
Detail of photo (copyright Warner Bros., Inc.)</FONT><FONT SIZE="-1"></FONT><BR>
</P>
<BR>
</BODY>
</HTML> | **BODY ADORNMENT**
*A sweet disorder in the dress\
Kindles in clothes a wantonness*. \--Herrick, *Delight in Disorder*
{border="0"
tppabs="http://members.aol.com/doder1/objects/adorn.jpg" height="35%"
width="25%"}\
\
After its invention some 9,000 years ago: *Cloth would soon become an
essential part of society, as clothing and as adornment expressing
self-awareness and communicating variations in social rank. For good
reason, poets and anthropologists alike have employed cloth as a
metaphor for society, something woven of many threads into a social
fabric that is ever in danger of unraveling or being torn*. \--John
Noble Wilford (1993:C1)\
\
*Clothing should always move with your body. Fashion is an extension of
body language. A new garment creates a new posture\--and a new
attitude\--in its wearer*. \--Véronique Vienne (1997:160)\
\
\
*Wearable
[**sign**](http://members.aol.com/nonverbal2/sign.htm){target="_top"}*.
**1.** The act of decorating the human frame to accent its grace,
strength, beauty, and presence, or to mask its less attractive features
and traits. **2.** Visually distinctive patterns of body piercing,
dress, scarification, and tattoos worn to express a personal or a social
(e.g., an ethnic, military, or national) identity.
*Usage*: **1.** What we place upon our bodies (e.g.,
**[clothing](http://members.aol.com/nonverbal2/armshow.htm){target="_top"}**,
**[footwear](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**,
**[hats](http://members.aol.com/nonverbal2/hat.htm){target="_top"}**,
makeup, and tatoos) adds color, contrast, shape, size, and texture to
our primate form. Each day, myriad
**[messages](http://members.aol.com/nonverbal2/message.htm){target="_top"}**
of adornment broadcast personal
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**\--in
a *continuous* way (i.e., as \"frozen\" gestures)\--about our ethnicity,
status, affiliation, and moods. **2.** We may use clothing cues as
**a.** uniforms (or \"clothing signs\"), **b.** fashion statements
(\"clothing symbols\"), **c.** membership badges (\"tie-signs\"), **d.**
social-affiliation signs (\"tie symbols\"), **e.** personality signs
(\"personal dress,\" e.g., the bow tie), and **f.**
socio-political-economic signs (\"contemporary fashion\"), according to
a typology developed by SUNY Fashion Institute of Technology professor,
Ruth P. Rubinstein (1994). **3.** \"Social rank . . . has probably
always been encoded through symbols in the material, design, color, and
embellishment of the clothing\" (Barber 1994:150).\
\
*Anatomy*. Before pants, skirts, and shoes, there was the unadorned
primate body itself: eyes, teeth, skin, hair, and nails, along with
shapes formed of muscle, fat, and bone. Before adornment, the
**[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**
expressed feelings and attitudes through **[body
movements](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**,
**[postures](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, and **[facial
cues](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**.
But with the advent of clothing and shoes the body\'s nonverbal
vocabulary grew, as shoulders \"widened,\" ankles \"thinned,\" and feet
stood up on tiptoes (see **[HIGH
HEEL](http://members.aol.com/nonverbal3/highheel.htm){target="_top"}**).
As \"optical illusions,\" stripes, colors, buttons, and bows accented or
concealed natural signs, and drew attention to favored\--while diverting
eyes from less favored\--body parts.\
\
*Bylaw*. \"We recognize the essential wholesomeness of the human body
and that life is enhanced by the naturalness of social nudity.\"
\--American Association of Nude Recreation bylaws\
\
*Law*. The nonverbal power of clothing may be revealed by its absence.
\"The United States Supreme Court holds that strip clubs whose exotic
dancers wear G-strings and pasties won\'t lure as many drunks and
criminals to the neighborhood as clubs that permit the last stitch of
clothing to be dropped\" (Auster 2000:16).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
**1.** According to the *New York Times*, the discovery by James
Adovasio (Mercyhurst College) and Olga Soffer (University of Illinois at
Urbana) of ancient weaving embedded in fired clay pushes the date of
humankind\'s earliest cloth back to 27,000 years ago (Fowler 1995).
**2.** *Forget that old hippie saying, you are what you eat. In the
modern world, you are what you wear*. \--Suzy Gershman
(*Spokesman-Review*, Webster 2000).\
\
*Prehistory*. Early evidence for personal ornamentation consists of a
European stone pendant with decorative grooves, and a tapered neck
around which to tie a thong (Scarre 1993:43).\
\
*Fur*. As primates, we are also mammals for whom a dense matte of fur is
an evolutionary birthright. Anthropologists do not know when or why
humans lost their body hair, but it is clear that clothing originated as
a *fur substitute* to cover the skin and genitalia. (***N.B.***: That we
see nude bodies in the workplace on but the rarest of occasions
testifies to the power of clothing today. Once fashion appeared in
**[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**,
it never went out of style.)\
\
*Beads*. If a bear-skin robe made the body
**[loom](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}** large, decorating the garment with beads attracted
greater notice still. The elaborate beadwork of a man\'s fur clothing
found at a 23,000 year old hunter\'s burial ground in Sungir, Russia,
remained long after the furs themselves had rotted away (Lambert 1987).
As fashion media, however, leather and beads could go just so far. Only
after fabric replaced fur did clothing became truly expressive.
*Leather*. Full body dress originated in Africa or Eurasia to protect
the body and keep it warm. The first clothes were made of prepared
*animal hides*. Stone scraping tools from Neanderthal sites in Europe
provide indirect evidence for hide preparation, suggesting that
cold-weather clothing could be at least 200,000 years old (Lambert
1987).
*Flounce & weave*. The earliest domesticated sheep, from Zawi Chemi
Shanidar, Iraq, suggest that *wool clothing* originated 10,500 years ago
(Wenke 1990). Unwoven skirts and shawls made of flounces of tufted wool
or flax were worn by the ancient Sumerians 5,000 years ago
(Rowland-Warne 1992), although one of the earliest known *textiles*\--a
linen-knit bag from Israel (found in Nahal Hemar cave)\--is thought to
be 8,500 years old (Barber 1994).\
\
*Fiber & fabric*. More recently, the invention of the flying shuttle
(1733), the spinning jenny (1764), and the 19th century power-loom made
cotton fabrics available in ever greater quantities, as **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**. Mass produced clothing first appeared in 1851 with the
invention of the sewing machine, and increased in production with the
use of *synthetic fibers* (e.g., Orlon in 1952). As the adornment medium
became subject to greater control, the diversity and number of clothing
cues burgeoned (see **[MESSAGING
FEATURE](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**).
(***N.B.***: In 1993 a Lands\' End® Mesh Knit shirt contained *4.3
miles* of 18 singles cotton yarn \[Anonymous 1993\].)\
\
*Tattoo signals*. \"\[U.S.\] Teenagers with tattoos are more likely than
their peers to drink too much, have sex too early, get into fights and
engage in other risky behavior, a University of Rochester study shows\"
(Anonymous 2001E).\
\
*The color purple*. With fabrics came dyes, and the ability to signal
social status with ***[color
cues](http://members.aol.com/nonverbal3/color.htm){target="_top"}***. In
ancient Rome, e.g., only the emperor was allowed to wear a robe dyed
*royal purple* (Barber 1994:150).\
\
------------------------------------------------------------------------
***E-Commentary***: \"I\'ve called you before on other feature stories
and you\'ve been very helpful. Currently, I\'m doing a story on teen
fashion. I\'m looking at what\'s going to be the prevailing trend for
spring/summer (it\'s lots of loud color). I have a question: What, in
general, are teens trying to accomplish with the fashion and sense of
style they cultivate?\" \--J.W., *Sun Chronicle*, Attleboro, MA (3/17/00
11:57:54 AM Pacific Standard Time)\
------------------------------------------------------------------------
*Neuro-note*. To the very visual **[primate
brain](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**,
fashion statements are \"real\" because, neurologically, \"seeing is
believing.\"
See also
[**ARM-SHOW**](http://members.aol.com/nonverbal2/armshow.htm){target="_top"},
[**BLUE
JEANS**](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"},
[**BUSINESS
SUIT**](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"},
**[HAIR
CUE](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**,
[**NECKWEAR**](http://members.aol.com/nonverbal2/neckwear.htm){target="_top"},
[***WWW.Bananarepublic.com***](http://www.bananarepublic.com/).
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photo (copyright Warner Bros., Inc.)\
\
|
BODY ALIGNMENT | https://ns1.omnitech.net/data/Nonverbal/align1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>align</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BODY ALIGNMENT</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Showing Her Allegiance" SRC="align.jpg" tppabs="http://members.aol.com/doder1/objects/align.jpg" HEIGHT="45%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">Posture</A></EM></STRONG><EM></EM>. The degree of orientation <STRONG></STRONG>between a speaker's torso and
that of a listener (e.g., <EM>facing</EM> or <EM>angled away</EM>), as measured in
the <EM>coronal plane</EM> (which divides the body into front and back;
see <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>).</P>
<P><EM>Usage</EM>: We show agreement, liking, and loyalty by aligning the
upper body with that, e.g., of our boss. It is often possible to
identify the most powerful (i.e., highest status) person
seated at a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG> by the relative number of torsos aimed in his
or her direction. While the less influential may glance freely
about, and turn their heads toward colleagues as they speak, their
torsos remain loyally oriented to the individual they most
respect.<BR>
<BR>
<I>World politics</I>. "At summit, when [Ronald] Reagan and [Mikhail] Gorbachev faced each other with similar postures, they were likely to be in agreement, or close to agreement" (Blum 1988:6-6).<FONT SIZE="-1"></FONT><FONT SIZE="-1"></FONT></P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> Direct torso alignment in the <EM>face-to-face
body orientation</EM> presents a formal, businesslike posture
(Scheflen 1964). <STRONG>2.</STRONG> Aiming the upper body conveys greater
feelings of liking (i.e., of <STRONG><EM><A HREF="http://members.aol.com/nonverbal3/immediat.htm" TARGET="_top">immediacy</A></EM></STRONG>) than when the
body is angled away (Mehrabian 1969). <STRONG>3. </STRONG><EM>Lean-forward</EM> suggests
friendliness (Mehrabian 1974), while <EM>lean-backward</EM> expresses a
more negative pose (Mehrabian 1969). <STRONG>4.</STRONG> A non-aligned, <EM>parallel orientation</EM> discloses neutral or passive moods
which may grade into disliking or disagreement (Scheflen 1964,
Richmond et al. 1991).</P>
<P><STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">Courtship</A></STRONG>. Women (and men) unthinkingly "aim" their upper bodies
at partners they like--even while angling their faces and
eyes away. <EM>Squaring-up</EM> with the shoulders is a nonverbal
invitation to <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speak</A></STRONG>.</P>
<P>See also <STRONG><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">CUT-OFF</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1999, 2000 (David B. Givens/</FONT><STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></STRONG><FONT SIZE="-1">)</FONT><BR>
<FONT SIZE="-1">
Detail of photo by Fritz Neugass (copyright Fritz Neugass)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BODY ALIGNMENT**
{border="0"
tppabs="http://members.aol.com/doder1/objects/align.jpg" height="45%"
width="25%"}\
\
***[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. The degree of orientation between a speaker\'s torso
and that of a listener (e.g., *facing* or *angled away*), as measured in
the *coronal plane* (which divides the body into front and back; see
**[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**).
*Usage*: We show agreement, liking, and loyalty by aligning the upper
body with that, e.g., of our boss. It is often possible to identify the
most powerful (i.e., highest status) person seated at a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}** by the relative number of torsos aimed in his or her
direction. While the less influential may glance freely about, and turn
their heads toward colleagues as they speak, their torsos remain loyally
oriented to the individual they most respect.\
\
*World politics*. \"At summit, when \[Ronald\] Reagan and \[Mikhail\]
Gorbachev faced each other with similar postures, they were likely to be
in agreement, or close to agreement\" (Blum 1988:6-6).
***RESEARCH REPORTS***: **1.** Direct torso alignment in the
*face-to-face body orientation* presents a formal, businesslike posture
(Scheflen 1964). **2.** Aiming the upper body conveys greater feelings
of liking (i.e., of
***[immediacy](http://members.aol.com/nonverbal3/immediat.htm){target="_top"}***)
than when the body is angled away (Mehrabian 1969). **3.**
*Lean-forward* suggests friendliness (Mehrabian 1974), while
*lean-backward* expresses a more negative pose (Mehrabian 1969). **4.**
A non-aligned, *parallel orientation* discloses neutral or passive moods
which may grade into disliking or disagreement (Scheflen 1964, Richmond
et al. 1991).
**[Courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}**. Women (and men) unthinkingly \"aim\" their upper
bodies at partners they like\--even while angling their faces and eyes
away. *Squaring-up* with the shoulders is a nonverbal invitation to
**[speak](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}**.
See also
**[CUT-OFF](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Fritz Neugass (copyright Fritz Neugass)
|
BODY DYSMORPHIC DISORDER | https://ns1.omnitech.net/data/Nonverbal/dismorp1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>dismorph</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BODY DYSMORPHIC DISORDER</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><STRONG><EM><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">Nonverbal</A></EM></STRONG><EM> disability</EM>. <STRONG>1.</STRONG> An obsessive preoccupation with perceived bodily defects. <STRONG>2.</STRONG> Repetitive behaviors in response to this preoccupation.</P>
<P><EM></EM><EM>Neuro-notes</EM>. Clomipramine, a serotonin reuptake inhibitor, may better reduce symptoms of body dysmorphic disorder (which is likely related to obsessive-compulsive disorder) than
might desipramine, a selective norepinephrine reuptake inhibitor, according to a report in the November
1999 issue of the <EM>Archives of General Psychiatry</EM>.</P>
<P>See also <STRONG><A HREF="nld1.htm" tppabs="http://members.aol.com/doder1/nld1.htm" TARGET="_top">NONVERBAL LEARNING DISORDER</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1998, 1999, 2000 (David B. Givens/</FONT><STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></STRONG><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BODY DYSMORPHIC DISORDER**
***[Nonverbal](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}*** *disability*. **1.** An obsessive preoccupation with
perceived bodily defects. **2.** Repetitive behaviors in response to
this preoccupation.
*Neuro-notes*. Clomipramine, a serotonin reuptake inhibitor, may better
reduce symptoms of body dysmorphic disorder (which is likely related to
obsessive-compulsive disorder) than might desipramine, a selective
norepinephrine reuptake inhibitor, according to a report in the November
1999 issue of the *Archives of General Psychiatry*.
See also **[NONVERBAL LEARNING
DISORDER](nld1.htm){tppabs="http://members.aol.com/doder1/nld1.htm"
target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
BODY LANGUAGE | https://ns1.omnitech.net/data/Nonverbal/bodylan1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bodylang</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>BODY LANGUAGE</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Dust Jacket" SRC="bodylang.jpg" tppabs="http://members.aol.com/doder1/objects/bodylang.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><EM>Does his body say that he's an easy man <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">to beat</A></STRONG>? Does her body say that she's a <STRONG><A HREF="deceive.htm" tppabs="http://members.aol.com/nonverbal3/deceive.htm" TARGET="_top">phoney</A></STRONG>?</EM></FONT><FONT FACE="Times New Roman" SIZE="-1"> --Book jacket of <EM>Body Language</EM> (1970)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT><BR>
</P>
<P><FONT FACE="Times New Roman"><EM>Anatomical <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">signs</A></STRONG></EM></FONT><FONT FACE="Times New Roman">. </FONT><FONT FACE="Times New Roman"><STRONG>1.</STRONG> "The bodily gestures, postures, and facial expressions by which a person
communicates <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbally</A></STRONG> with others" (Soukhanov 1992:211). <STRONG>2.</STRONG> "Body language and
<STRONG><A HREF="kinesic1.htm" tppabs="http://members.aol.com/doder1/kinesic1.htm" TARGET="_top">kinesics</A></STRONG> are based on the behavioral patterns of nonverbal communication, but kinesics is still so
new as a science that its authorities can be counted on the fingers of one hand" (Fast 1970:9).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: "Body language," the lay term for "nonverbal communication," was popularized in 1970
with the publication of <EM>Body Language</EM> by Julius Fast. Though college textbooks (e.g., Burgoon
et al. 1989) omit references to the book and its author, Julius Fast--more than any academic--brought
public attention to the expressive force of gestures and body-motion cues.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>The negative</EM>. On the downside, Fast oversold body language to the public by suggesting
(on the book's dust cover) that kinesic cues could be used to tell if one was "loose" (i.e., too sexually
receptive), "hung-up," "lonely," or "a manipulator." And, despite Fast's repeated warnings to use
caution when interpreting body-language, <STRONG><A HREF="http://members.aol.com/nonverbal2/armcross.htm" TARGET="_top">arm-crossing</A></STRONG>, leg-crossing, and other nonverbal signs
came to be overly meaningful signals in popular magazine and newspaper articles (i.e., as negative,
defensive "barriers" to rapport).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>The positive</EM>. On the upside, body language has entered the lexicon as a phrase with which to label a key
channel of human communication apart from spoken and printed words. <EM>Body Language</EM> has
gone through dozens of printings, and is still available in bookstores today. Moreover, thanks to
research completed during the 1990-2000 Decade of the Brain, many of the nonverbal signs and
cues Fast wrote about in 1970 now have meanings backed by neuroscience (see, e.g.,
<STRONG><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">NONVERBAL BRAIN</A></STRONG>).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>The promise</EM>. "The science of kinesics has added a new dimension to human understanding.
BODY LANGUAGE can make you a more perceptive human being, and it may influence your
approach to every relationship in which you are involved" (dust jacket of <EM>Body Language</EM>, by
Julius Fast).</FONT></P>
<P><FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. "The dynamic personality [i.e., the body language] of Humphrey Bogart dominates the
whole picture, and his playing in the leading role is a fine example of the value of dramatic
under-emphasis and intelligent modulations in voice and expression" (<EM>Today's Cinema</EM> review of
1947 movie, <EM>Dead Reckoning</EM> [Columbia; cited in Frank 1982:49]).<BR>
<BR>
<HR>
</FONT><FONT FACE="Times New Roman" SIZE="-1"><B><I>E-Commentary</I></B>: "I am writing to you from the British Broadcasting Corporation, in England. We are developing an idea for a television documentary on body language--how to read it, and how to modify your own body language in order to control the impression you give other people. We are particularly interested in how public figures and celebrities are increasingly aware of the importance of their own body language in preserving a positive public image.<BR>
<BR>
"Our proposed documentary will be for Discovery Channel USA, and will feature a well known British zoologist-turned-presenter with an expertise in body language. We are looking for contributors with an expertise in reading body language. I would very much like to know more about your research and the Center for Nonverbal Studies." Susie Painter (<FONT FACE="Times New Roman" SIZE="-1">4/2/01 9:59:44 AM Pacific Daylight Time)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT><FONT><BR>
<FONT FACE="Times New Roman">
<HR>
</FONT><BR>
</FONT>See also <STRONG><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">BODY MOVEMENT</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright<FONT SIZE="-1"><FONT SIZE="-1"><FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001 </FONT></FONT> (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Illustration detail from <EM>Body Language</EM> (1970; 4<SUP>th</SUP> printing)</FONT></P>
<BR WP="BR1">
<BR WP="BR2">
</BODY>
</HTML> | **BODY LANGUAGE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/bodylang.jpg" height="35%"
width="25%"}\
\
*Does his body say that he\'s an easy man **[to
beat](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**?
Does her body say that she\'s a
**[phoney](deceive.htm){tppabs="http://members.aol.com/nonverbal3/deceive.htm"
target="_top"}**?* \--Book jacket of *Body Language* (1970)\
*Anatomical
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}***.
**1.** \"The bodily gestures, postures, and facial expressions by which
a person communicates
**[nonverbally](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** with others\" (Soukhanov 1992:211). **2.** \"Body
language and
**[kinesics](kinesic1.htm){tppabs="http://members.aol.com/doder1/kinesic1.htm"
target="_top"}** are based on the behavioral patterns of nonverbal
communication, but kinesics is still so new as a science that its
authorities can be counted on the fingers of one hand\" (Fast 1970:9).
*Usage*: \"Body language,\" the lay term for \"nonverbal
communication,\" was popularized in 1970 with the publication of *Body
Language* by Julius Fast. Though college textbooks (e.g., Burgoon et al.
1989) omit references to the book and its author, Julius Fast\--more
than any academic\--brought public attention to the expressive force of
gestures and body-motion cues.
*The negative*. On the downside, Fast oversold body language to the
public by suggesting (on the book\'s dust cover) that kinesic cues could
be used to tell if one was \"loose\" (i.e., too sexually receptive),
\"hung-up,\" \"lonely,\" or \"a manipulator.\" And, despite Fast\'s
repeated warnings to use caution when interpreting body-language,
**[arm-crossing](http://members.aol.com/nonverbal2/armcross.htm){target="_top"}**,
leg-crossing, and other nonverbal signs came to be overly meaningful
signals in popular magazine and newspaper articles (i.e., as negative,
defensive \"barriers\" to rapport).
*The positive*. On the upside, body language has entered the lexicon as
a phrase with which to label a key channel of human communication apart
from spoken and printed words. *Body Language* has gone through dozens
of printings, and is still available in bookstores today. Moreover,
thanks to research completed during the 1990-2000 Decade of the Brain,
many of the nonverbal signs and cues Fast wrote about in 1970 now have
meanings backed by neuroscience (see, e.g., **[NONVERBAL
BRAIN](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**).
*The promise*. \"The science of kinesics has added a new dimension to
human understanding. BODY LANGUAGE can make you a more perceptive human
being, and it may influence your approach to every relationship in which
you are involved\" (dust jacket of *Body Language*, by Julius Fast).
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
\"The dynamic personality \[i.e., the body language\] of Humphrey Bogart
dominates the whole picture, and his playing in the leading role is a
fine example of the value of dramatic under-emphasis and intelligent
modulations in voice and expression\" (*Today\'s Cinema* review of 1947
movie, *Dead Reckoning* \[Columbia; cited in Frank 1982:49\]).\
\
------------------------------------------------------------------------
***E-Commentary***: \"I am writing to you from the British Broadcasting
Corporation, in England. We are developing an idea for a television
documentary on body language\--how to read it, and how to modify your
own body language in order to control the impression you give other
people. We are particularly interested in how public figures and
celebrities are increasingly aware of the importance of their own body
language in preserving a positive public image.\
\
\"Our proposed documentary will be for Discovery Channel USA, and will
feature a well known British zoologist-turned-presenter with an
expertise in body language. We are looking for contributors with an
expertise in reading body language. I would very much like to know more
about your research and the Center for Nonverbal Studies.\" Susie
Painter (4/2/01 9:59:44 AM Pacific Daylight Time)\
------------------------------------------------------------------------
\
See also **[BODY
MOVEMENT](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**.
Copyright**©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Illustration detail from *Body Language* (1970; 4^th^ printing)
\
\
|
BODY MOVEMENT | https://ns1.omnitech.net/data/Nonverbal/bodymov1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bodymove</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>BODY MOVEMENT</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Tumbling Torsos" SRC="bodymove.jpg" tppabs="http://members.aol.com/doder1/objects/bodymove.jpg" HEIGHT="50%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><EM>I have always tried to render inner feelings through the mobility of the muscles</EM> . . . --Auguste Rodin<BR>
<BR>
<I>As an actor, Jimmy was tremendously sensitive, what they used to call an instrument. You could see through his feelings. His body was very graphic; it was almost writhing in pain sometimes. He was very twisted, almost like a cripple or a spastic of some kind</I><I><FONT SIZE="-1"></FONT></I><FONT SIZE="-1">. --Elia Kazan, commenting on actor James Dean (Dalton 1984:53)</FONT></FONT></P>
<P><FONT FACE="Times New Roman"><EM>Concept</EM>. Any of several changes in the physical location, place, or position of the material parts
of the human form (e.g., of the <STRONG><A HREF="http://members.aol.com/nonverbal2/blink.htm" TARGET="_top">eyelids</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>, or <STRONG><A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top">shoulders</A></STRONG>).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: The <STRONG><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">nonverbal brain</A></STRONG> expresses itself through diverse motions of our body parts (see,
e.g., <STRONG><A HREF="bodylan1.htm" tppabs="http://members.aol.com/doder1/bodylan1.htm" TARGET="_top">BODY LANGUAGE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">GESTURE</A></STRONG>). That body movement is central to our expressiveness is reflected in
the ancient Indo-European root, <STRONG>meue-</STRONG> ("mobile"), for the English <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">word</A></STRONG>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>.<BR>
<BR>
<I><B><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></B></I>. In movies of the 1950s, such as <I>Monkey Business</I> (1952) and <I>Jailhouse Rock</I> (1957), motions of the pelvic girdles of Marilyn Monroe and Elvis Presley, respectively, had a powerful influence on American popular culture.<BR>
<BR>
<EM>Anatomy</EM>. Our body consists of a jointed skeleton moved by <EM>muscles</EM>. Muscles also move our
internal organs, the areas of skin around our <A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top"><STRONG>face</STRONG></A><STRONG></STRONG> and neck, and our bodily hairs. (When we are
frightened, e.g., stiff, tiny muscles stand our hairs on end.) The nonverbal brain gives voice to all
its feelings, moods, and concepts through the contraction of muscles: <EM>without muscles to move its parts,
our body would be nearly silent</EM>.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anthropology</EM>. Stricken with a progressive spinal-cord illness, the late anthropologist, Robert F.
Murphy described his personal journey into paralysis in his last book, <EM>The Body Silent</EM>. As he lost
muscle control, Murphy noticed "curious shifts and nuances" in his social world (e.g., students
". . . often would touch my arm or shoulder lightly when taking leave of me, something they never
did in my walking days, and I found this pleasant" [Murphy 1987:126]).<BR>
<BR>
<B><I>RESEARCH REPORT</I></B>: "A nonverbal act is defined as a movement within any single body area (head, face, shoulders, hands, or feet) or across multiple body areas, which has visual integrity and is visually distinct from another act" (Ekman and Friesen 1968:193-94).<BR>
<BR>
<FONT FACE="Times New Roman"><I>Salesmanship</I>. "Your walk, entering and exiting, should be brisk and businesslike, yes. But once you are in position, slow your arms and legs down" (Delmar 1984:48).<BR>
<BR>
<HR>
</FONT><FONT FACE="Times New Roman" SIZE="-1"><B><I>E-Commentary</I></B>: "<FONT FACE="Times New Roman"><FONT FACE="Times New Roman" SIZE="-1">I am searching for the piece of influential advice that will help one of my employees to communicate in a positive way nonverbally. Her boredom and impatience are so evident. She <I>shifts in her seat</I>, rolls her eyes, and sighs during meetings. It is disturbing to her co-workers and bad for morale. I have explained to her it is not appropriate. She replies she can't hide the way she feels. On the other hand, she wants to keep her job. So what can I do to get through to her before she loses her job?</FONT></FONT>" --T., USA (4/17/00 8:40:04 PM Pacific Daylight Time)</FONT><FONT FACE="Times New Roman"><BR>
<HR>
</FONT><BR>
<EM>Neuro-notes</EM>. Many nonverbal signals arise from ancient patterns of muscle contraction laid
down hundreds of millions of years ago in <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of the spinal cord, brain stem, and
forebrain. </FONT></P>
<P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">FACIAL EXPRESSION</A></STRONG>, <A HREF="intent1.htm" tppabs="http://members.aol.com/doder1/intent1.htm"><B>INTENTION CUE</B></A>, <STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">POSTURE</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
</FONT><FONT SIZE="-1">
Detail of photo by Heinz Kluetmeier (Soviet gymnasts; copyright 1980 by Heinz Kluetmeier)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BODY MOVEMENT**
{border="0"
tppabs="http://members.aol.com/doder1/objects/bodymove.jpg" height="50%"
width="25%"}\
\
*I have always tried to render inner feelings through the mobility of
the muscles* . . . \--Auguste Rodin\
\
*As an actor, Jimmy was tremendously sensitive, what they used to call
an instrument. You could see through his feelings. His body was very
graphic; it was almost writhing in pain sometimes. He was very twisted,
almost like a cripple or a spastic of some kind*. \--Elia Kazan,
commenting on actor James Dean (Dalton 1984:53)
*Concept*. Any of several changes in the physical location, place, or
position of the material parts of the human form (e.g., of the
**[eyelids](http://members.aol.com/nonverbal2/blink.htm){target="_top"}**,
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
or
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**).
*Usage*: The **[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**
expresses itself through diverse motions of our body parts (see, e.g.,
**[BODY
LANGUAGE](bodylan1.htm){tppabs="http://members.aol.com/doder1/bodylan1.htm"
target="_top"}**,
**[GESTURE](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**).
That body movement is central to our expressiveness is reflected in the
ancient Indo-European root, **meue-** (\"mobile\"), for the English
**[word](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**,
***[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}***.\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
In movies of the 1950s, such as *Monkey Business* (1952) and *Jailhouse
Rock* (1957), motions of the pelvic girdles of Marilyn Monroe and Elvis
Presley, respectively, had a powerful influence on American popular
culture.\
\
*Anatomy*. Our body consists of a jointed skeleton moved by *muscles*.
Muscles also move our internal organs, the areas of skin around our
[**face**](http://members.aol.com/nonverbal2/face.htm){target="_top"}
and neck, and our bodily hairs. (When we are frightened, e.g., stiff,
tiny muscles stand our hairs on end.) The nonverbal brain gives voice to
all its feelings, moods, and concepts through the contraction of
muscles: *without muscles to move its parts, our body would be nearly
silent*.
*Anthropology*. Stricken with a progressive spinal-cord illness, the
late anthropologist, Robert F. Murphy described his personal journey
into paralysis in his last book, *The Body Silent*. As he lost muscle
control, Murphy noticed \"curious shifts and nuances\" in his social
world (e.g., students \". . . often would touch my arm or shoulder
lightly when taking leave of me, something they never did in my walking
days, and I found this pleasant\" \[Murphy 1987:126\]).\
\
***RESEARCH REPORT***: \"A nonverbal act is defined as a movement within
any single body area (head, face, shoulders, hands, or feet) or across
multiple body areas, which has visual integrity and is visually distinct
from another act\" (Ekman and Friesen 1968:193-94).\
\
*Salesmanship*. \"Your walk, entering and exiting, should be brisk and
businesslike, yes. But once you are in position, slow your arms and legs
down\" (Delmar 1984:48).\
\
------------------------------------------------------------------------
***E-Commentary***: \"I am searching for the piece of influential advice
that will help one of my employees to communicate in a positive way
nonverbally. Her boredom and impatience are so evident. She *shifts in
her seat*, rolls her eyes, and sighs during meetings. It is disturbing
to her co-workers and bad for morale. I have explained to her it is not
appropriate. She replies she can\'t hide the way she feels. On the other
hand, she wants to keep her job. So what can I do to get through to her
before she loses her job?\" \--T., USA (4/17/00 8:40:04 PM Pacific
Daylight Time)\
------------------------------------------------------------------------
\
*Neuro-notes*. Many nonverbal signals arise from ancient patterns of
muscle contraction laid down hundreds of millions of years ago in
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the spinal cord, brain stem, and forebrain.
See also **[FACIAL
EXPRESSION](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
[**INTENTION
CUE**](intent1.htm){tppabs="http://members.aol.com/doder1/intent1.htm"},
**[POSTURE](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Heinz Kluetmeier (Soviet gymnasts; copyright 1980 by
Heinz Kluetmeier)
|
BODY WALL | https://ns1.omnitech.net/data/Nonverbal/bodywal3.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bodywall</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BODY WALL</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Body Wall and Nerves" SRC="bodywall.jpg" tppabs="http://members.aol.com/doder1/objects/bodywall.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<EM>Ancient body part</EM>. <STRONG>1.</STRONG> Nonverbally, an expressive unit consisting of the head and trunk (without the
face, shoulders, arms, hands, legs, or feet). <STRONG>2.</STRONG> Those muscles connecting the skull, spine, and ribs. <STRONG>3.</STRONG> The "primal body," resembling the primordial <EM>feeding tube</EM>, from
which the human form evolved ca. 500 m.y.a.</P>
<P><EM>Usage</EM>: Movements and postures of the body wall (see, e.g., <STRONG><A HREF="bend1.htm" tppabs="http://members.aol.com/doder1/bend1.htm" TARGET="_top">BODY-BEND</A></STRONG>,
<STRONG><A HREF="shift1.htm" tppabs="http://members.aol.com/doder1/shift1.htm" TARGET="_top">BODY-SHIFT</A></STRONG>, and <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">BOW</A></STRONG>) are <STRONG>a.</STRONG> more basic, <STRONG>b.</STRONG> more trustworthy as <STRONG><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">cues</A></STRONG>, and <STRONG>c.</STRONG> less subject to
conscious manipulation or control than are other body movements (e.g., of the fingers, hands, legs, and feet) and postures. The muscles, nerves, and
movements of the body wall resemble those of the first vertebrates ever to swim in <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal
World</A></STRONG>, the jawless fishes (see <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">AQUATIC BRAIN & SPINAL CORD</A></STRONG>).<BR>
<BR>
<EM>Anatomy</EM>. On the basis of function (rather than mere convention), anatomists divide the
human skeleton into <EM>primary</EM> and <EM>secondary elements</EM> (Horne 1995). The basic
distinction between an <EM>axial</EM> (i.e., skull, spine, and ribs) and <EM>appendicular</EM> (i.e., pectoral and
pelvic girdles, and limbs) skeleton is reflected in our nonverbal communication, as well. As expressive
cues, movements of the body wall are more fundamental as mood signs than are our hand, arm, and leg
motions.</P>
<P><EM>Evolution</EM>. Before faces and limbs, there was the body wall. Its skeletal muscles were designed to
move the body from one place to another. Sinuous waves of contraction bent the body wall,
producing the swimming motions that took animals <STRONG>a.</STRONG> toward food and mates, and <STRONG>b.</STRONG> away
from enemies. Undulations moved from the head to the tail, and laterally from <EM>side-to-side</EM>.
(<I><B>N.B.</B></I>: The ancient body wall bent the backbone <EM>forward</EM> [ventral flexion], and <EM>backward</EM> [dorsal flexion] as
well [Kent 1969].)</P>
<P><EM>Observation</EM>. In a business meeting (where feelings run high), the most truthful gestures come
not from the limbs but from the torso. Isolating on unconscious <EM>locomotion</EM> movements (i.e.,
on sideward, forward, and backward <EM>bending</EM> motions), as bodies unwittingly align,
approach, avoid, or repel one another, reveals where colleagues truly "stand" around the <A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top"><B>conference table</B></A>. From the jawless fishes of
Ordovician seas to the predatory sharks of Wall Street, messages of the body wall are much the same.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>. <STRONG>1.</STRONG> <EM>Epaxial muscles</EM>, which extend from the base of the head to the tip of
the tail, dorsal to the transverse processes, include the <I>longissimus</I>, <I>iliocostalis</I>, and
<I>transversospinalis</I> groups, and the intervertebral muscles. "Epaxial muscles in tetrapods perform
the same primary function as in fishes--side-to-side and dorsoventral flexion of the vertebral
column" (Kent 1969:218). (Epaxial muscles also help to move the head.) <STRONG>2.</STRONG> Regarding <EM>hypaxial
muscles</EM>: ". . . in the majority of tetrapods the muscles of the body wall are used chiefly to compress
the viscera and to operate the ribs for respiration" (Kent 1969:220).<FONT FACE="Courier"></FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman">See also<STRONG> <A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">PALEOCIRCUIT</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)</FONT></P>
</BODY>
</HTML> | **BODY WALL**
{border="0"
tppabs="http://members.aol.com/doder1/objects/bodywall.jpg" height="35%"
width="25%"}\
\
*Ancient body part*. **1.** Nonverbally, an expressive unit consisting
of the head and trunk (without the face, shoulders, arms, hands, legs,
or feet). **2.** Those muscles connecting the skull, spine, and ribs.
**3.** The \"primal body,\" resembling the primordial *feeding tube*,
from which the human form evolved ca. 500 m.y.a.
*Usage*: Movements and postures of the body wall (see, e.g.,
**[BODY-BEND](bend1.htm){tppabs="http://members.aol.com/doder1/bend1.htm"
target="_top"}**,
**[BODY-SHIFT](shift1.htm){tppabs="http://members.aol.com/doder1/shift1.htm"
target="_top"}**, and
**[BOW](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}**) are **a.** more basic, **b.** more trustworthy as
**[cues](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**,
and **c.** less subject to conscious manipulation or control than are
other body movements (e.g., of the fingers, hands, legs, and feet) and
postures. The muscles, nerves, and movements of the body wall resemble
those of the first vertebrates ever to swim in **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**,
the jawless fishes (see **[AQUATIC BRAIN & SPINAL
CORD](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**).\
\
*Anatomy*. On the basis of function (rather than mere convention),
anatomists divide the human skeleton into *primary* and *secondary
elements* (Horne 1995). The basic distinction between an *axial* (i.e.,
skull, spine, and ribs) and *appendicular* (i.e., pectoral and pelvic
girdles, and limbs) skeleton is reflected in our nonverbal
communication, as well. As expressive cues, movements of the body wall
are more fundamental as mood signs than are our hand, arm, and leg
motions.
*Evolution*. Before faces and limbs, there was the body wall. Its
skeletal muscles were designed to move the body from one place to
another. Sinuous waves of contraction bent the body wall, producing the
swimming motions that took animals **a.** toward food and mates, and
**b.** away from enemies. Undulations moved from the head to the tail,
and laterally from *side-to-side*. (***N.B.***: The ancient body wall
bent the backbone *forward* \[ventral flexion\], and *backward* \[dorsal
flexion\] as well \[Kent 1969\].)
*Observation*. In a business meeting (where feelings run high), the most
truthful gestures come not from the limbs but from the torso. Isolating
on unconscious *locomotion* movements (i.e., on sideward, forward, and
backward *bending* motions), as bodies unwittingly align, approach,
avoid, or repel one another, reveals where colleagues truly \"stand\"
around the [**conference
table**](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}. From the jawless fishes of Ordovician seas to the
predatory sharks of Wall Street, messages of the body wall are much the
same.
***RESEARCH REPORTS***. **1.** *Epaxial muscles*, which extend from the
base of the head to the tip of the tail, dorsal to the transverse
processes, include the *longissimus*, *iliocostalis*, and
*transversospinalis* groups, and the intervertebral muscles. \"Epaxial
muscles in tetrapods perform the same primary function as in
fishes\--side-to-side and dorsoventral flexion of the vertebral column\"
(Kent 1969:218). (Epaxial muscles also help to move the head.) **2.**
Regarding *hypaxial muscles*: \". . . in the majority of tetrapods the
muscles of the body wall are used chiefly to compress the viscera and to
operate the ribs for respiration\" (Kent 1969:220).
See also
**[PALEOCIRCUIT](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
BODY-BEND | https://ns1.omnitech.net/data/Nonverbal/bend1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bend</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>BODY-BEND</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Bent Spine" SRC="bend.jpg" tppabs="http://members.aol.com/doder1/objects/bend.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">Posture</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. To contract muscles of the primitive <STRONG><A HREF="bodywal3.htm" tppabs="http://members.aol.com/doder1/bodywal3.htm" TARGET="_top">body wall</A></STRONG>, causing the spinal column to tip
forward, sideward, or backward from standard <STRONG><A HREF="http://members.aol.com/nonverbal2/anatompo.htm" TARGET="_top">anatomical position</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Usage</EM>:</FONT><FONT FACE="Times New Roman"> As expressive <STRONG><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">cues</A></STRONG>, body-bend (i.e., axial-skeleton) postures are more fundamental as
mood signs than are leg and arm (i.e., appendicular) postures. Bending the spinal column away
from the person seated beside oneself at a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>, e.g., is a reliable--and wholly
unconscious--sign of <EM>disagreement</EM>, <I>disliking</I></FONT><FONT FACE="Times New Roman"><EM></EM>, or <I>shyness</I></FONT><FONT FACE="Times New Roman"><EM></EM>. (See <B><A HREF="shift1.htm" tppabs="http://members.aol.com/doder1/shift1.htm" TARGET="_top">BODY SHIFT</A></B>.)<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Anatomy</EM>. Bending motions of the head and trunk are neurologically "simple" as signs.
Unaffected, unintended, and unconscious, they are among the most reliable indicators of mood.
<STRONG><EM><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">Bowing</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>, for instance--flexing the spinal column forward (<EM>ventrally</EM>)--is a protective response which
also shows <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissiveness</A></STRONG> and lowered social status. (<STRONG><I>N.B.</I></STRONG>: Even without a formal tradition of
bowing [e.g., such as that of the Japanese] we may still tip our head and bend our spinal column
forward when entering a superior's office doorway. <EM>Rearing</EM>, on the other hand--extending the spine
backward [<EM>dorsally</EM>]--conveys arrogance and disdain [see <STRONG><A HREF="headbac1.htm" tppabs="http://members.aol.com/doder1/headbac1.htm" TARGET="_top">HEAD-TILT-BACK</A></STRONG>].)</FONT><BR>
<BR>
<I>Culture</I>. In southern Italy, the <I>buttocks thrust</I>--in which the stiffened (extended) upper body bends forward and the buttocks thrust backward, toward another person--is a sign of "obscene disdain" (Morris 1994:16). According to Morris, "This simple gesture is essentially an excretory insult, with the message 'I defecate on you'" (1994:16).<BR>
<BR>
<EM>Evolution</EM>. Our body began as a simple tube, with a mouth at the front end to take in food, and a
vent at the rear to eliminate waste products. Among the oldest body movements were those for
<EM>locomotion</EM>. Muscles of the body wall contracted to produce rhythmic <EM>sideward bending</EM>
motions. These oscillatory swimming movements took animals toward food or mates, and away
from harm.</FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Neuro-notes</EM>. The first side-to-side oscillations were wired into <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of the <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">aquatic
brain & spinal cord</A></STRONG>. They appeared as <EM>alternating movements</EM> of the body's right and
left sides. Extremely primitive, the same spinal circuits enable us to <STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walk</A></STRONG>, swim, and
<STRONG><A HREF="dance1.htm" tppabs="http://members.aol.com/doder1/dance1.htm" TARGET="_top">dance</A></STRONG> today.</FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Detail of drawing (Peck 1951:32; copyright Oxford University Press<EM></EM></FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BODY-BEND**
{border="0"
tppabs="http://members.aol.com/doder1/objects/bend.jpg" height="35%"
width="30%"}\
\
***[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. To contract muscles of the primitive **[body
wall](bodywal3.htm){tppabs="http://members.aol.com/doder1/bodywal3.htm"
target="_top"}**, causing the spinal column to tip forward, sideward, or
backward from standard **[anatomical
position](http://members.aol.com/nonverbal2/anatompo.htm){target="_top"}**.
*Usage*: As expressive
**[cues](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**,
body-bend (i.e., axial-skeleton) postures are more fundamental as mood
signs than are leg and arm (i.e., appendicular) postures. Bending the
spinal column away from the person seated beside oneself at a
**[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**, e.g., is a reliable\--and wholly unconscious\--sign of
*disagreement*, *disliking*, or *shyness*. (See **[BODY
SHIFT](shift1.htm){tppabs="http://members.aol.com/doder1/shift1.htm"
target="_top"}**.)\
\
*Anatomy*. Bending motions of the head and trunk are neurologically
\"simple\" as signs. Unaffected, unintended, and unconscious, they are
among the most reliable indicators of mood.
***[Bowing](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}***, for instance\--flexing the spinal column forward
(*ventrally*)\--is a protective response which also shows
**[submissiveness](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**
and lowered social status. (***N.B.***: Even without a formal tradition
of bowing \[e.g., such as that of the Japanese\] we may still tip our
head and bend our spinal column forward when entering a superior\'s
office doorway. *Rearing*, on the other hand\--extending the spine
backward \[*dorsally*\]\--conveys arrogance and disdain \[see
**[HEAD-TILT-BACK](headbac1.htm){tppabs="http://members.aol.com/doder1/headbac1.htm"
target="_top"}**\].)\
\
*Culture*. In southern Italy, the *buttocks thrust*\--in which the
stiffened (extended) upper body bends forward and the buttocks thrust
backward, toward another person\--is a sign of \"obscene disdain\"
(Morris 1994:16). According to Morris, \"This simple gesture is
essentially an excretory insult, with the message \'I defecate on
you\'\" (1994:16).\
\
*Evolution*. Our body began as a simple tube, with a mouth at the front
end to take in food, and a vent at the rear to eliminate waste products.
Among the oldest body movements were those for *locomotion*. Muscles of
the body wall contracted to produce rhythmic *sideward bending* motions.
These oscillatory swimming movements took animals toward food or mates,
and away from harm.
*Neuro-notes*. The first side-to-side oscillations were wired into
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the **[aquatic brain & spinal
cord](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**.
They appeared as *alternating movements* of the body\'s right and left
sides. Extremely primitive, the same spinal circuits enable us to
**[walk](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}**, swim, and
**[dance](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.htm"
target="_top"}** today.
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of drawing (Peck 1951:32; copyright Oxford University Press)
|
BODY-SHIFT | https://ns1.omnitech.net/data/Nonverbal/shift1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>shift</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BODY-SHIFT</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Aversive Shift" SRC="shift.jpg" tppabs="http://members.aol.com/doder1/objects/shift.jpg" HEIGHT="46%" WIDTH="20%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">Postural</A></EM></STRONG><EM> cue</EM>. A slight or substantial change in body position, e.g., <STRONG>a.</STRONG> shifting one's weight in a chair, or
<STRONG>b.</STRONG> angling one's torso to a new direction at a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/angdis.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>).</P>
<P><EM>Usage</EM>: A sudden body-shift may telegraph an unspoken feeling, mood, or opinion, and thus offer
a <STRONG><A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top">probing point</A></STRONG>.<BR>
<BR>
<I>Salesmanship</I>. <I>One signal of a prospect's skepticism</I>: "A sudden shift in posture" (Delmar 1984:46).</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "Slight postural shifts and the direction of visual focus
are [in monkeys] two extremely subtle movements that communicate a potentially changing emotional state
and an awareness of surrounding activity or tension" (Dolhinow 1972:231). <STRONG>2.</STRONG> "Gross changes in
body position, such as shifting in the chair, may show negative feelings toward the person one is
talking to" (Mehrabian 1974:90).</P>
<P><EM>Neuro-notes</EM>. Because they are supplied by <EM>segmental spinal nerves</EM> directly--rather than by the
more elaborate <EM>nerve plexuses</EM> which govern limb movements--trunk-bending and body-shifting
represent a simpler, more straightforward venue for the expression of emotion. This is
because, unlike our arm's tangled brachial-nerve plexus (an intricate, evolutionary add-on designed to coordinate the arm's
dexterity and movement), our segmental spinal nerves have retained their more primitive
role in the control of posture. Thus, governed by <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of the <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG> and brain stem,
gross body-shifts may reveal anger, disagreement, and disliking more directly.</P>
<P>See also <STRONG><A HREF="bend1.htm" tppabs="http://members.aol.com/doder1/bend1.htm" TARGET="_top">BODY-BEND</A></STRONG>, <STRONG><A HREF="bodywal3.htm" tppabs="http://members.aol.com/doder1/bodywal3.htm" TARGET="_top">BODY WALL</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1999, 2000 (David B. Givens/</FONT><STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></STRONG><FONT SIZE="-1">)</FONT><BR>
<FONT SIZE="-1">
Detail of photo by Otto Hagel (copyright </FONT><I><FONT SIZE="-1">Fortune</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><FONT FACE="Courier"></FONT></P>
</BODY>
</HTML> | **BODY-SHIFT**
{border="0"
tppabs="http://members.aol.com/doder1/objects/shift.jpg" height="46%"
width="20%"}\
\
***[Postural](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}*** *cue*. A slight or substantial change in body
position, e.g., **a.** shifting one\'s weight in a chair, or **b.**
angling one\'s torso to a new direction at a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}** (see **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angdis.htm){target="_top"}**).
*Usage*: A sudden body-shift may telegraph an unspoken feeling, mood, or
opinion, and thus offer a **[probing
point](http://members.aol.com/nonverbal2/probe.htm){target="_top"}**.\
\
*Salesmanship*. *One signal of a prospect\'s skepticism*: \"A sudden
shift in posture\" (Delmar 1984:46).
***RESEARCH REPORTS***: **1.** \"Slight postural shifts and the
direction of visual focus are \[in monkeys\] two extremely subtle
movements that communicate a potentially changing emotional state and an
awareness of surrounding activity or tension\" (Dolhinow 1972:231).
**2.** \"Gross changes in body position, such as shifting in the chair,
may show negative feelings toward the person one is talking to\"
(Mehrabian 1974:90).
*Neuro-notes*. Because they are supplied by *segmental spinal nerves*
directly\--rather than by the more elaborate *nerve plexuses* which
govern limb movements\--trunk-bending and body-shifting represent a
simpler, more straightforward venue for the expression of emotion. This
is because, unlike our arm\'s tangled brachial-nerve plexus (an
intricate, evolutionary add-on designed to coordinate the arm\'s
dexterity and movement), our segmental spinal nerves have retained their
more primitive role in the control of posture. Thus, governed by
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the **[basal
ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}**
and brain stem, gross body-shifts may reveal anger, disagreement, and
disliking more directly.
See also
**[BODY-BEND](bend1.htm){tppabs="http://members.aol.com/doder1/bend1.htm"
target="_top"}**, **[BODY
WALL](bodywal3.htm){tppabs="http://members.aol.com/doder1/bodywal3.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Otto Hagel (copyright *Fortune*)
|
BOOT | https://ns1.omnitech.net/data/Nonverbal/boot1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>boot</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>BOOT</STRONG></FONT></P>
<P><I><FONT SIZE="-1">Boots--boots--boots--boots--movin' up and down again!</FONT></I><FONT SIZE="-1"> --Kipling, </FONT><I><FONT SIZE="-1">Boots</FONT></I></P>
<P><EM><B><IMG BORDER="0" SRC="B43976.jpg" tppabs="http://members.aol.com/nonverbal3/objects/B43976.jpg" ALT="Cool Boots" HEIGHT="35%" WIDTH="25%"><BR>
<BR>
</B></EM><I><FONT SIZE="-1">I had a driving interest in footwear and the artistic possibilities of making boots. A saddle is a saddle, you just see brown leather. But boots . . . you see red, yellow, fuchsia, and chartreuse</FONT></I><FONT SIZE="-1">. --D.W. Frommer, bootmaker (Hadley 1993; see </FONT><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"><B><FONT SIZE="-1">COLOR CUE</FONT></B></A><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT> <BR>
<BR>
<EM><B><A HREF="adorn.htm" tppabs="http://members.aol.com/doder1/adorn.htm" TARGET="_top">Clothing cue</A></B></EM>. <STRONG>1.</STRONG> A usually heavy, protective covering for the <STRONG><A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top">foot</A></STRONG>, made of leather, rubber, or
<STRONG><A HREF="http://members.aol.com/nonverbal2/vinyl.htm" TARGET="_top">vinyl</A></STRONG>. <STRONG>2.</STRONG> A conspicuous <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG> of authority and power designed to accent the foot's ability to stomp.</P>
<P><EM>Usage</EM>: Nonverbally, boots suggest strength by adding <STRONG>a. </STRONG><EM>stature</EM> (i.e., increasing a wearer's
vertical height; see <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">LOOM</A></STRONG>) and <STRONG>b.</STRONG><EM> stability</EM> (i.e., giving steadiness to stance; see
<STRONG><A HREF="antigrav.htm" tppabs="http://members.aol.com/nonverbal3/antigrav.htm" TARGET="_top">ANTIGRAVITY SIGN</A></STRONG>). <BR>
<BR>
<EM>Anatomy</EM>. Boots give us a more powerful gait and commanding stance. The boot-shaft's
snug contact with pressure-sensitive <EM>Pacinian corpuscles</EM> of the lower leg provides tactile
reassurance, while supporting the long tendons that drop into our feet from muscles above.
Boots also stabilize the ankle joint. By adapting to the physical needs of our feet (and to the psychic
needs of our <A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top"><B>reptilian brain</B></A>) Doc Martens® helped young men and women of the 1990s feel secure on the
streets.</P>
<P><EM>Cowboy boots</EM>. Fashion trainer John Molloy found that women consider men in cowboy boots
more attractive than men in ordinary shoes. (<STRONG><I>N.B.</I></STRONG>: Standing on tiptoes shifts the body's center of
gravity forward, causing cowboy-boot wearers to compensate by leaning forward as well. This
makes the human derrière--already prominent by primate standards--protrude an additional
25% [see <STRONG><A HREF="http://members.aol.com/nonverbal3/highheel.htm" TARGET="_top">HIGH HEEL</A></STRONG>]). Originally adapted from the moderately high <EM>Cuban heel</EM>, American
cowboy boots add ca. two inches to standing height. (<STRONG><I>N.B.</I></STRONG>: A man's business shoe has only a
1/2-to-3/4 inch upper base of polyethylene, and a 1/2 inch layer of rubber attached below, called a
<EM>heel lift</EM>, which works as a shock absorber.)</P>
<P><EM></EM><EM>Evolution</EM>. Boots evolved from leather sandals, as straps grew longer and thicker to support a
human's congenitally weak ankles. Sandals reaching above the ankle (the oldest status symbol for
feet yet discovered) were worn exclusively by Roman army officers. Gradually, the leather pieces
widened until they enclosed the entire foot.</P>
<P><EM>Media</EM>. By popularizing thick, buckled <EM>motorcycle boots</EM>, Marlon Brando (<EM>The Wild
One</EM> 1954) and Peter Fonda (<EM>Easy Rider</EM> 1969) furthered the role of footwear as a fashion
statement designed to figuratively "stomp" the establishment's powers-that-be.</P>
<P><I>Psychology</I>. Blind-and-deaf-born children stamp their feet in anger (Eibl-Eibesfeldt 1971:12). <BR>
<BR>
<I>Stamping</I>. "In man, stamping the feet in anger seems also to be a ritualized attack movement" (Eibl-Eibesfeldt 1970:96). </P>
<P>
See also <STRONG><A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top">BLUE JEANS</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/goose.htm" TARGET="_top">GOOSE-STEP</A></STRONG>, <STRONG><A HREF="legwear1.htm" tppabs="http://members.aol.com/doder1/legwear1.htm" TARGET="_top">LEG WEAR</A></STRONG>, <STRONG><A HREF="mens.htm" tppabs="http://members.aol.com/nonverbal3/mens.htm" TARGET="_top">MEN'S SHOES</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> (David B. Givens/</FONT><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B><FONT SIZE="-1">Center for Nonverbal Studies</FONT></B></A><FONT SIZE="-1">)</FONT></P>
</BODY>
</HTML> | **BOOT**
*Boots\--boots\--boots\--boots\--movin\' up and down again!* \--Kipling,
*Boots*
***{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/B43976.jpg"
height="35%" width="25%"}\
\
**I had a driving interest in footwear and the artistic possibilities of
making boots. A saddle is a saddle, you just see brown leather. But
boots . . . you see red, yellow, fuchsia, and chartreuse*. \--D.W.
Frommer, bootmaker (Hadley 1993; see [**COLOR
CUE**](http://members.aol.com/nonverbal3/color.htm){target="_top"})\
\
***[Clothing
cue](adorn.htm){tppabs="http://members.aol.com/doder1/adorn.htm"
target="_top"}***. **1.** A usually heavy, protective covering for the
**[foot](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm"
target="_top"}**, made of leather, rubber, or
**[vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}**.
**2.** A conspicuous
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}** of
authority and power designed to accent the foot\'s ability to stomp.
*Usage*: Nonverbally, boots suggest strength by adding **a.** *stature*
(i.e., increasing a wearer\'s vertical height; see
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**) and **b.** *stability* (i.e., giving steadiness to
stance; see **[ANTIGRAVITY
SIGN](antigrav.htm){tppabs="http://members.aol.com/nonverbal3/antigrav.htm"
target="_top"}**).\
\
*Anatomy*. Boots give us a more powerful gait and commanding stance. The
boot-shaft\'s snug contact with pressure-sensitive *Pacinian corpuscles*
of the lower leg provides tactile reassurance, while supporting the long
tendons that drop into our feet from muscles above. Boots also stabilize
the ankle joint. By adapting to the physical needs of our feet (and to
the psychic needs of our [**reptilian
brain**](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}) Doc Martens® helped young men and women of the 1990s
feel secure on the streets.
*Cowboy boots*. Fashion trainer John Molloy found that women consider
men in cowboy boots more attractive than men in ordinary shoes.
(***N.B.***: Standing on tiptoes shifts the body\'s center of gravity
forward, causing cowboy-boot wearers to compensate by leaning forward as
well. This makes the human derrière\--already prominent by primate
standards\--protrude an additional 25% \[see **[HIGH
HEEL](http://members.aol.com/nonverbal3/highheel.htm){target="_top"}**\]).
Originally adapted from the moderately high *Cuban heel*, American
cowboy boots add ca. two inches to standing height. (***N.B.***: A
man\'s business shoe has only a 1/2-to-3/4 inch upper base of
polyethylene, and a 1/2 inch layer of rubber attached below, called a
*heel lift*, which works as a shock absorber.)
*Evolution*. Boots evolved from leather sandals, as straps grew longer
and thicker to support a human\'s congenitally weak ankles. Sandals
reaching above the ankle (the oldest status symbol for feet yet
discovered) were worn exclusively by Roman army officers. Gradually, the
leather pieces widened until they enclosed the entire foot.
*Media*. By popularizing thick, buckled *motorcycle boots*, Marlon
Brando (*The Wild One* 1954) and Peter Fonda (*Easy Rider* 1969)
furthered the role of footwear as a fashion statement designed to
figuratively \"stomp\" the establishment\'s powers-that-be.
*Psychology*. Blind-and-deaf-born children stamp their feet in anger
(Eibl-Eibesfeldt 1971:12).\
\
*Stamping*. \"In man, stamping the feet in anger seems also to be a
ritualized attack movement\" (Eibl-Eibesfeldt 1970:96).
See also **[BLUE
JEANS](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"}**,
**[GOOSE-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}**,
**[LEG
WEAR](legwear1.htm){tppabs="http://members.aol.com/doder1/legwear1.htm"
target="_top"}**, **[MEN\'S
SHOES](mens.htm){tppabs="http://members.aol.com/nonverbal3/mens.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
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