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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"})
|
BOW | https://ns1.omnitech.net/data/Nonverbal/bow1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>bow</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">BOW<BR>
<BR>
<IMG BORDER="0" ALT="Polite Bow" SRC="bow.jpg" tppabs="http://members.aol.com/doder1/objects/bow.jpg" HEIGHT="35%" WIDTH="25%"></FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><FONT SIZE="-1">If you come up too quickly, it won't seem like you are really apologizing. --Yamagishi (Sugawara</FONT><FONT SIZE="-1"> 1996)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">Posture</A></STRONG></EM><STRONG></STRONG>. To bend, curl, or curve the upper body and head forward.</P>
<P><I>Usage</I>: Around the world, people bow <STRONG>a.</STRONG> to greet, <STRONG>b.</STRONG> to defer, <STRONG>c.</STRONG> to show courtesy, and <B>d.</B> to pray.
In some cultures the bow is a formal gesture, as in Japan, e.g., where people are judged by their bows. A
casual hello to Japanese colleagues is a quick bend to a 15-degree angle; a respectful greeting to customers
or superiors is a 30-degree bow; a formal apology involves a quick bend to a 45-degree angle,
held to a count of three, with a slow return to upright posture.<BR>
<BR>
<EM>Anatomy</EM>. Bowing the trunk forward starts with flexor muscles of the stomach's <EM>recti abdominis</EM>,
assisted by the backbone's <EM>erector spinae</EM>. These muscle groups are supplied directly by spinal
nerves rather than by more evolved nerve plexuses. The bow's submissive tone stems from the
role these muscles and nerves originally played in curling the head and trunk forward into a
protective <STRONG><EM><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">crouch</A></EM></STRONG>. (Sudden <EM>head-lowering</EM> and <EM>back-rounding</EM> in response to an employer's
remarks thus reveals weak or "spineless" resignation.)</P>
<P><I>Baseball</I>. In Japanese baseball, pitchers remove their <A HREF="http://members.aol.com/nonverbal2/hat.htm" TARGET="_top"><B>caps</B></A> and bow toward home plate after hitting a batter with a ball.<BR>
<BR>
<I>Culture</I>. <B>1.</B> In Japan, the forwardness of one's bow reflects status; e.g., those higher in status bow less deeply to those lower in status. It is considered bad form for westerners to bow too deeply to lower status Japanese. <B>2.</B> Among the Mossi of Burkina Faso, the most servile gesture is the <I>poussi-poussi</I>. "To poussi-poussi, Collett [1983] explains, one takes off shoes and headgear (which add height), sits with the legs 'tucked to one side,' lowers the body, and beats on the ground. (Historically, men also threw dust on their heads.)" (Givens 1986:155 ). <B>3.</B> "In the Muslim world, the <I>body kowtow</I>--in which one kneels down and touches the ground with the forehead--is used in prayer to show humility before the deity (Morris 1994:11). <BR>
<BR>
<I>Humility</I>. The English word <I>humble</I> means being "close to the ground." It comes via Old French's <I>umble</I> from Latin's <I>humilis</I>, "low, lowly." The word derives from Latin's <I>humus</I>, "earth," and is related to the English word <I>human</I>. In its original sense, being human meant being an "earthly being," as opposed to being an ethereal, immortal god in the sky (Ayto 1990). The Indo-European root for <I>man</I> is *dhghom, for <I>on the ground</I> is *dhghm, and for <I>earth</I> is *dhghom-o (Susan N. Skomal, personal communication).<BR>
<BR>
<STRONG><EM><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">Submission</A></EM></STRONG><EM>. </EM>Bowing at the boss's door is a common act inspired by the <STRONG><A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top">reptilian brain</A></STRONG>. Before
entering a superior's inner sanctum, American workers may <EM>pause</EM>, <EM>bend at the waist</EM>, <EM>flex their
necks forward,</EM> and <EM>lower their heads</EM> to peek in. Though without a formal tradition of bowing,
they ritually lower themselves at the boss's door, as if doing so were written into the job
description.</P>
<P>
<STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> Bonnet macaques <EM>bow heads</EM> in extreme fear (Rahaman and
Parthasarathy 1968). <STRONG>2. </STRONG><EM>Bowing</EM> (Eibl-Eibesfeldt 1970),<EM> bent-forward</EM> (Scheflen 1972), and <EM>body-kowtow</EM> (Morris 1994) postures involve forward <EM>bending</EM> (ventral flexion) of the spinal column;
each of these nonverbal cues makes its submissive appeal by showing <EM>harmlessness</EM>.</P>
<P><FONT FACE="Times New Roman"><I>Antonyms</I>--<STRONG><A HREF="http://members.aol.com/nonverbal2/antigrav.htm" TARGET="_top">ANTIGRAVITY SIGN</A></STRONG>, <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">HIGH-STAND DISPLAY</A></STRONG>. See also <STRONG><A HREF="bodywal3.htm" tppabs="http://members.aol.com/doder1/bodywal3.htm" TARGET="_top">BODY WALL</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><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **BOW\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/bow.jpg" height="35%"
width="25%"}**
If you come up too quickly, it won\'t seem like you are really
apologizing. \--Yamagishi (Sugawara 1996)\
\
***[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. To bend, curl, or curve the upper body and head
forward.
*Usage*: Around the world, people bow **a.** to greet, **b.** to defer,
**c.** to show courtesy, and **d.** to pray. In some cultures the bow is
a formal gesture, as in Japan, e.g., where people are judged by their
bows. A casual hello to Japanese colleagues is a quick bend to a
15-degree angle; a respectful greeting to customers or superiors is a
30-degree bow; a formal apology involves a quick bend to a 45-degree
angle, held to a count of three, with a slow return to upright posture.\
\
*Anatomy*. Bowing the trunk forward starts with flexor muscles of the
stomach\'s *recti abdominis*, assisted by the backbone\'s *erector
spinae*. These muscle groups are supplied directly by spinal nerves
rather than by more evolved nerve plexuses. The bow\'s submissive tone
stems from the role these muscles and nerves originally played in
curling the head and trunk forward into a protective
***[crouch](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm"
target="_top"}***. (Sudden *head-lowering* and *back-rounding* in
response to an employer\'s remarks thus reveals weak or \"spineless\"
resignation.)
*Baseball*. In Japanese baseball, pitchers remove their
[**caps**](http://members.aol.com/nonverbal2/hat.htm){target="_top"} and
bow toward home plate after hitting a batter with a ball.\
\
*Culture*. **1.** In Japan, the forwardness of one\'s bow reflects
status; e.g., those higher in status bow less deeply to those lower in
status. It is considered bad form for westerners to bow too deeply to
lower status Japanese. **2.** Among the Mossi of Burkina Faso, the most
servile gesture is the *poussi-poussi*. \"To poussi-poussi, Collett
\[1983\] explains, one takes off shoes and headgear (which add height),
sits with the legs \'tucked to one side,\' lowers the body, and beats on
the ground. (Historically, men also threw dust on their heads.)\"
(Givens 1986:155 ). **3.** \"In the Muslim world, the *body kowtow*\--in
which one kneels down and touches the ground with the forehead\--is used
in prayer to show humility before the deity (Morris 1994:11).\
\
*Humility*. The English word *humble* means being \"close to the
ground.\" It comes via Old French\'s *umble* from Latin\'s *humilis*,
\"low, lowly.\" The word derives from Latin\'s *humus*, \"earth,\" and
is related to the English word *human*. In its original sense, being
human meant being an \"earthly being,\" as opposed to being an ethereal,
immortal god in the sky (Ayto 1990). The Indo-European root for *man* is
\*dhghom, for *on the ground* is \*dhghm, and for *earth* is \*dhghom-o
(Susan N. Skomal, personal communication).\
\
***[Submission](http://members.aol.com/nonverbal2/submit.htm){target="_top"}****.*
Bowing at the boss\'s door is a common act inspired by the **[reptilian
brain](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}**. Before entering a superior\'s inner sanctum, American
workers may *pause*, *bend at the waist*, *flex their necks forward,*
and *lower their heads* to peek in. Though without a formal tradition of
bowing, they ritually lower themselves at the boss\'s door, as if doing
so were written into the job description.
***RESEARCH REPORTS***: **1.** Bonnet macaques *bow heads* in extreme
fear (Rahaman and Parthasarathy 1968). **2.** *Bowing* (Eibl-Eibesfeldt
1970), *bent-forward* (Scheflen 1972), and *body-kowtow* (Morris 1994)
postures involve forward *bending* (ventral flexion) of the spinal
column; each of these nonverbal cues makes its submissive appeal by
showing *harmlessness*.
*Antonyms*\--**[ANTIGRAVITY
SIGN](http://members.aol.com/nonverbal2/antigrav.htm){target="_top"}**,
**[HIGH-STAND
DISPLAY](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**. See also **[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"}**)
|
CANDY | https://ns1.omnitech.net/data/Nonverbal/candy1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>candy</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">CANDY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Designed for Primates" SRC="candy.jpg" tppabs="http://members.aol.com/doder1/objects/candy.jpg" HEIGHT="35%" WIDTH="38%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="fruit1.htm" tppabs="http://members.aol.com/doder1/fruit1.htm" TARGET="_top">Fruit substitute</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> A rich confection, such as a strawberry sucker or a chocolate mint, designed
to communicate with our taste buds for sweetness and, secondarily, with our receptors for sour,
bitter, or salty tastes. <STRONG>2.</STRONG> A food product designed to mimic the usually sweet taste of ripe
fruit.</P>
<P><EM>Usage</EM>: In U.S. supermarkets, the three best-selling candy bars--<EM>M&M's</EM>®, <EM>Snickers</EM>®, and <EM>Reese's
Peanut Butter Cup</EM>® (Krantz 1991)--contain nuts, and are crunchy rather than merely soft. The
top three successfully combine sweetness and nuttiness in a proven evolutionary formula for
primates. So tasty are these and other candy bars that, according to the Hershey company, two-thirds are eaten immediately upon purchase.<BR>
<BR>
<I>M&M's</I>. Colorful, nut-sized M&M's® are among the most popular fruit substitutes of all time.
Their crisp, candy coatings encase milk chocolate mixed with finely ground peanut powder. On
average, U.S. citizens swallow 11,000 M&M's in a lifetime (Heyman 1992), liking the orange ones
least. (<I><B>N.B.</B></I>: The <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">primate brain</A></STRONG> decodes orange as a <EM>warning</EM> (or <EM>aposematic</EM>)
<EM>coloration sign</EM>, often associated with poisonous snakes, insects, and berries.)</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/cocacola.htm" TARGET="_top">COCA-COLA</A>®</STRONG>, <B><A HREF="http://members.aol.com/nonverbal2/crunch.htm" TARGET="_top">EXISTENTIAL CRUNCH</A></B>, <B><A HREF="nut1.htm" tppabs="http://members.aol.com/doder1/nut1.htm" TARGET="_top">NUT SUBSTITUTE</A></B>.</P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000, 2001 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
</FONT><FONT FACE="Times New Roman" SIZE="-1">
Snickers wrapper (copyright 1999 by Mars, Inc.)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P>
</BODY>
</HTML> | **CANDY**
{border="0"
tppabs="http://members.aol.com/doder1/objects/candy.jpg" height="35%"
width="38%"}\
\
***[Fruit
substitute](fruit1.htm){tppabs="http://members.aol.com/doder1/fruit1.htm"
target="_top"}***. **1.** A rich confection, such as a strawberry sucker
or a chocolate mint, designed to communicate with our taste buds for
sweetness and, secondarily, with our receptors for sour, bitter, or
salty tastes. **2.** A food product designed to mimic the usually sweet
taste of ripe fruit.
*Usage*: In U.S. supermarkets, the three best-selling candy
bars\--*M&M\'s*®, *Snickers*®, and *Reese\'s Peanut Butter Cup*® (Krantz
1991)\--contain nuts, and are crunchy rather than merely soft. The top
three successfully combine sweetness and nuttiness in a proven
evolutionary formula for primates. So tasty are these and other candy
bars that, according to the Hershey company, two-thirds are eaten
immediately upon purchase.\
\
*M&M\'s*. Colorful, nut-sized M&M\'s® are among the most popular fruit
substitutes of all time. Their crisp, candy coatings encase milk
chocolate mixed with finely ground peanut powder. On average, U.S.
citizens swallow 11,000 M&M\'s in a lifetime (Heyman 1992), liking the
orange ones least. (***N.B.***: The **[primate
brain](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**
decodes orange as a *warning* (or *aposematic*) *coloration sign*, often
associated with poisonous snakes, insects, and berries.)
See also
**[COCA-COLA](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}®**,
**[EXISTENTIAL
CRUNCH](http://members.aol.com/nonverbal2/crunch.htm){target="_top"}**,
**[NUT
SUBSTITUTE](nut1.htm){tppabs="http://members.aol.com/doder1/nut1.htm"
target="_top"}**.
Copyright 1999, 2000, 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Snickers wrapper (copyright 1999 by Mars, Inc.)
|
CHAIR | https://ns1.omnitech.net/data/Nonverbal/chair1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>chair</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">CHAIR</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Garden Chair, White" SRC="chair.jpg" tppabs="http://members.aol.com/doder1/objects/chair.jpg" HEIGHT="50%" WIDTH="22%"><BR>
<BR WP="BR1">
<I><FONT SIZE="-1">The human race spends a great deal of time sitting down, whether working in an office, studying in a library, commuting by bus, car, or airplane, or eating in a restaurant. Some seats are far more comfortable than others</FONT></I><FONT SIZE="-1">. --Barry H. Kantowitz and Robert D. Sorkin (<I>Human Factors</I>, 1983)<BR>
<BR>
<I>I quit following straight lines and work with the natural lines that are there</I>. --Warren Schulze (Taggart 2001:B3; see below, <I>Woodworking impressionist</I>)<BR>
</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<STRONG><EM><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer product</A></EM></STRONG><EM></EM>.
<B>1.</B> A piece of furniture with a horizontal seat, quadrupedal
legs, an upright back, and horizontal arms, usually designed to be occupied by a single person. <B>2. </B><I>Homo sapiens's</I> most diversely styled furniture item.</P>
<P><EM>Usage</EM>: Office workers spend the majority of their working days seated in ergonomic swivel chairs. "Office seating has been extensively studied" (Kantowitz and Sorkin 1983:480). </P>
<P><EM>Word origin</EM>. The word <EM>chair</EM> comes from Greek kathedra, "seat," from the 7,000 year old Indo-European root, <STRONG>sed-</STRONG>, "to sit."<BR>
<BR>
<I>Anatomy</I>. "The main weight of the body should be carried by the bony protuberances of the buttocks, more technically known as the ischial tuberosities" (Kantowitz and Sorkin 1983:478). </P>
<P><STRONG><EM><A HREF="animal1.htm" tppabs="http://members.aol.com/doder1/animal1.htm" TARGET="_top">Animals</A></EM></STRONG>. The legs of ancient Egyptian and Greek chairs were often carved to mimic the feet of
beasts. The legs of ancient Assyrian backless chairs were carved to depict lion claws or the
hooves of bulls.</P>
<P><EM>History</EM>. ". . . this familiar piece of furniture was not common anywhere in the world until just
300 years ago!" (Manchester 1982:69). Before the widespread use of chairs, people sat on benches, logs,
mats, stools, and storage chests. The earliest chairs served as symbols for high-status aristocrats, clan elders, religious leaders, and royalty. Today, the leader of a group seated
around a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG> is called "the chair."<BR>
<BR>
<I>Psychology</I>. Asking someone to "please sit down" reduces an opponent's standing height, and thus diminishes effects of the <A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top"><B>high-stand</B></A> display. Sitting in a slightly higher chair confers a subtle but powerful psychological advantage in bargaining and negotiations. Through the nonverbal principle of <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">isopraxism</A></STRONG> a chair suggests sitting down, because it, itself,
appears to be seated.<BR>
<BR>
<I>Rocking chair</I>. The soothing effect of rocking in a chair is due to the vestibular sense (see <A HREF="balance1.htm" tppabs="http://members.aol.com/doder1/balance1.htm" TARGET="_top"><B>BALANCE CUE</B></A>).<BR>
<BR>
<I>Symbolism</I>. More than any other type of furniture, chairs have been elaborately carved, ornamented, and bedecked with symbols of heraldry, power, and wealth. They have become the everyday totems of status and rank.<BR>
<BR>
<I>Woodworking impressionist</I>. <B>1.</B> "'I had a need to create things with my hands,' Warren [Schulze, former attorney, now chair designer in Rathdrum, Idaho], 41, says, believing forces out of his control pulled him from the mainstream. 'I had to take something from natural materials and create something'" (Taggart 2001:B3). <B>2.</B> Schulze makes trees with natural branches and twigs (see <A HREF="http://members.aol.com/nonverbal2/branch.htm" TARGET="_top"><B>BRANCH SUBSTITUTE</B></A>). "The backs of his chairs reach toward the ceiling like arms stretching for an escaping balloon. His table legs bend with the natural grace of windblown branches. His benches grip the floor with duck-like feet" (Taggart 2001:B3). <BR>
<BR>
<IMG BORDER="0" ALT="Posture Mold" SRC="seat.jpg" tppabs="http://members.aol.com/doder1/objects/seat.jpg" HEIGHT="35%" WIDTH="35%"><BR>
<BR>
<I>Toilet seating</I>. "The Posture Mold seat designed by architect Alexander Kira is contoured and provides proper support for the thighs. This seat was selected for the design study collection of the Museum of Modern <A HREF="art1.htm" tppabs="http://members.aol.com/doder1/art1.htm" TARGET="_top"><B>Art</B></A> showing that good human factors can be esthetically as well as functionally attractive" (Kantowitz and Sorkin 1983:482).<BR>
<BR>
<STRONG><EM><A HREF="tree1.htm" tppabs="http://members.aol.com/doder1/tree1.htm" TARGET="_top">Trees</A></EM></STRONG><EM></EM>. "Until the middle of the 17<SUP>th</SUP> century, the majority of chairs in all European countries
were made of oak, without upholstery or other cushioning" (Manchester 1982:72).<BR>
<BR>
<I>Vehicular seating I</I>. "Layout of most vehicle cabs begins from a theoretical design eye point. This is an imaginary point in space from which lines of sight are calculated" (Kantowitz and Sorkin 1983:483).<BR>
<BR>
<I>Vehicular seating II</I>. "Anthropometric data also can determine side-by-side seat spacing, that is, how many seats will fit in each row. The crucial dimension is called shoulder breadth. If your shoulders fit, so will your hips" [however, this '. . . does not guarantee you will have much room to move your elbows.'] (Kantowitz and Sorkin 1983:487).<BR>
<BR>
<FONT FACE="Times New Roman"></FONT><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></FONT><FONT FACE="Times New Roman" SIZE="-1">)<BR>
Detail of photo of Posture Mold toilet seat (copyright by Forbes Wright, Church Products)</FONT></P>
<BR>
</BODY>
</HTML> | **CHAIR**
{border="0"
tppabs="http://members.aol.com/doder1/objects/chair.jpg" height="50%"
width="22%"}\
\
*The human race spends a great deal of time sitting down, whether
working in an office, studying in a library, commuting by bus, car, or
airplane, or eating in a restaurant. Some seats are far more comfortable
than others*. \--Barry H. Kantowitz and Robert D. Sorkin (*Human
Factors*, 1983)\
\
*I quit following straight lines and work with the natural lines that
are there*. \--Warren Schulze (Taggart 2001:B3; see below, *Woodworking
impressionist*)\
\
\
***[Consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. **1.** A piece of furniture with a horizontal seat,
quadrupedal legs, an upright back, and horizontal arms, usually designed
to be occupied by a single person. **2.** *Homo sapiens\'s* most
diversely styled furniture item.
*Usage*: Office workers spend the majority of their working days seated
in ergonomic swivel chairs. \"Office seating has been extensively
studied\" (Kantowitz and Sorkin 1983:480).
*Word origin*. The word *chair* comes from Greek kathedra, \"seat,\"
from the 7,000 year old Indo-European root, **sed-**, \"to sit.\"\
\
*Anatomy*. \"The main weight of the body should be carried by the bony
protuberances of the buttocks, more technically known as the ischial
tuberosities\" (Kantowitz and Sorkin 1983:478).
***[Animals](animal1.htm){tppabs="http://members.aol.com/doder1/animal1.htm"
target="_top"}***. The legs of ancient Egyptian and Greek chairs were
often carved to mimic the feet of beasts. The legs of ancient Assyrian
backless chairs were carved to depict lion claws or the hooves of bulls.
*History*. \". . . this familiar piece of furniture was not common
anywhere in the world until just 300 years ago!\" (Manchester 1982:69).
Before the widespread use of chairs, people sat on benches, logs, mats,
stools, and storage chests. The earliest chairs served as symbols for
high-status aristocrats, clan elders, religious leaders, and royalty.
Today, the leader of a group seated around a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}** is called \"the chair.\"\
\
*Psychology*. Asking someone to \"please sit down\" reduces an
opponent\'s standing height, and thus diminishes effects of the
[**high-stand**](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"} display. Sitting in a slightly higher chair confers a
subtle but powerful psychological advantage in bargaining and
negotiations. Through the nonverbal principle of
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**
a chair suggests sitting down, because it, itself, appears to be
seated.\
\
*Rocking chair*. The soothing effect of rocking in a chair is due to the
vestibular sense (see [**BALANCE
CUE**](balance1.htm){tppabs="http://members.aol.com/doder1/balance1.htm"
target="_top"}).\
\
*Symbolism*. More than any other type of furniture, chairs have been
elaborately carved, ornamented, and bedecked with symbols of heraldry,
power, and wealth. They have become the everyday totems of status and
rank.\
\
*Woodworking impressionist*. **1.** \"\'I had a need to create things
with my hands,\' Warren \[Schulze, former attorney, now chair designer
in Rathdrum, Idaho\], 41, says, believing forces out of his control
pulled him from the mainstream. \'I had to take something from natural
materials and create something\'\" (Taggart 2001:B3). **2.** Schulze
makes trees with natural branches and twigs (see [**BRANCH
SUBSTITUTE**](http://members.aol.com/nonverbal2/branch.htm){target="_top"}).
\"The backs of his chairs reach toward the ceiling like arms stretching
for an escaping balloon. His table legs bend with the natural grace of
windblown branches. His benches grip the floor with duck-like feet\"
(Taggart 2001:B3).\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/seat.jpg" height="35%"
width="35%"}\
\
*Toilet seating*. \"The Posture Mold seat designed by architect
Alexander Kira is contoured and provides proper support for the thighs.
This seat was selected for the design study collection of the Museum of
Modern
[**Art**](art1.htm){tppabs="http://members.aol.com/doder1/art1.htm"
target="_top"} showing that good human factors can be esthetically as
well as functionally attractive\" (Kantowitz and Sorkin 1983:482).\
\
***[Trees](tree1.htm){tppabs="http://members.aol.com/doder1/tree1.htm"
target="_top"}***. \"Until the middle of the 17^th^ century, the
majority of chairs in all European countries were made of oak, without
upholstery or other cushioning\" (Manchester 1982:72).\
\
*Vehicular seating I*. \"Layout of most vehicle cabs begins from a
theoretical design eye point. This is an imaginary point in space from
which lines of sight are calculated\" (Kantowitz and Sorkin 1983:483).\
\
*Vehicular seating II*. \"Anthropometric data also can determine
side-by-side seat spacing, that is, how many seats will fit in each row.
The crucial dimension is called shoulder breadth. If your shoulders fit,
so will your hips\" \[however, this \'. . . does not guarantee you will
have much room to move your elbows.\'\] (Kantowitz and Sorkin
1983:487).\
\
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo of Posture Mold toilet seat (copyright by Forbes Wright,
Church Products)
\
|
CHIN JUT | https://ns1.omnitech.net/data/Nonverbal/headbac1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>headback</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>HEAD-TILT-BACK</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Who's the Boss?" SRC="headback.jpg" tppabs="http://members.aol.com/doder1/objects/headback.jpg" HEIGHT="39%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. Lifting the chin and leaning the head backward (dorsally, i.e., toward the shoulder blades or scapula bones).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: Lifting the chin and looking down the nose are used throughout the world as nonverbal
signs of superiority, arrogance, and disdain (Eibl-Eibesfeldt 1970, Hass 1970).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anatomy</EM>. The prime mover of head-tilt-back (i.e., of extending the spine) is the <EM>erector spinae</EM> muscle group,
components of which reach to the skull's occipital bone to produce extension movements of the
head as well. These deep muscles of the back and neck are basic <A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top"><B>postural</B></A> muscles which are
innervated by the spinal nerves directly, without relay through the cervical plexus or brachial plexus.
Thus, we have less voluntary control of our haughty head-and-trunk postures than we have, e.g., of
our hand-and-arm gestures. (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Gross postural shifts which involve <EM>back-extension</EM> and <EM>head-raising</EM> may express unconscious attitudes of power and <STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominance</A></STRONG>.)<BR>
<BR>
<I>Culture</I>. <B>1.</B> In Greece and Saudi Arabia, a sudden head-tilt-back movement means "No," and may originate from the infantile head-tilt-back used to refuse food (Morris 1994:145; see also <A HREF="headshak.htm" tppabs="http://members.aol.com/nonverbal3/headshak.htm" TARGET="_top"><B>HEAD-SHAKE</B></A>). <B>2.</B> In Ethiopia, the same gesture means "Yes," and may originate from the backward head movment used as a greeting (Morris 1994:146).</FONT><BR>
<BR>
<FONT FACE="Times New Roman"><EM>Origin</EM>. In its "superior" sense, head-tilt-back is a constituent of the primeval <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">high-stand display</A></STRONG>.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Politics</EM>. Political leaders who used the head-tilt-back gesture in public speeches include Al Gore, <FONT FACE="Times New Roman"><FONT FACE="Times New Roman">Benito
Mussolini</FONT></FONT>, Franklin D. Roosevelt, and George Corley Wallace.<BR>
<BR>
<B><I>RESEARCH REPORT</I></B>: Head-tilt-back may be accompanied by "contempt-scorn" cues: one eyebrow lifts higher than the other, the eye openings narrow, the mouth corners depress, the lower lip raises and slightly protrudes, and one side of the upper lip may curl up in a sneer (Izard 1971:245). </FONT></FONT><BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "I was reading through the online </FONT><I><FONT SIZE="-1">Nonverbal Dictionary</FONT></I><FONT SIZE="-1"> and I believe they've left out an entry on 'chin thrusts.' I don't know how you all get the entries for the Dictionary but I figured I would comment on that one. I am finding the </FONT><I><FONT SIZE="-1">Dictionary</FONT></I><FONT SIZE="-1"> to be very informative and one of the best web resources on kinesics so far in my searches." --J.P., USA (4/16/00 12:12:54 AM Pacific Daylight Time</FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
</P>
<P><I>Chin jut</I>. A derivative gesture of head-tilt-back is the "chin jut," described by Desmond Morris (1994:30 ["The chin is thrust towards the companion"]) as an "'intention movement' of forward attack," which has become a worldwide sign of threat. The world's most exaggerated chin jut was that of <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman">the Italian dictator, Benito
Mussolini</FONT></FONT></FONT></FONT><BR>
<BR>
<B><I>
<HR>
<FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "Have you come across any research regarding a rapid multiple </FONT><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top"><B><FONT SIZE="-1">eye blink</FONT></B></A><FONT SIZE="-1"> that looks almost as if the person is rolling their eyes back in their head? It often is accompanied by a <I>head tilt back</I>. I have a client who does this, and have encountered others who do this, and am not sure the source of such a gesture, or what it might suggest nonverbally. My gut tells me it makes the guy look arrogant and a bit supercilious. Am I totally off base in thinking this may be a problem. Any suggestions? I'd be glad to send you a copy of videotape showing what I'm talking about." --L.G., Senior Communications Consultant, USA (9/30/99 12:24:16 PM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
<FONT FACE="Times New Roman">See also <A HREF="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top"><B>EYEBROW-RAISE</B></A>.</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 photo sequence by Ruth Orkin (copyright Ruth Orkin)</FONT></P>
<BR WP="BR1">
<BR WP="BR2">
<BR WP="BR1">
<BR WP="BR2">
<BR WP="BR1">
<BR WP="BR2">
</BODY>
</HTML> | **HEAD-TILT-BACK**
{border="0"
tppabs="http://members.aol.com/doder1/objects/headback.jpg" height="39%"
width="25%"}\
\
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
Lifting the chin and leaning the head backward (dorsally, i.e., toward
the shoulder blades or scapula bones).
*Usage*: Lifting the chin and looking down the nose are used throughout
the world as nonverbal signs of superiority, arrogance, and disdain
(Eibl-Eibesfeldt 1970, Hass 1970).
*Anatomy*. The prime mover of head-tilt-back (i.e., of extending the
spine) is the *erector spinae* muscle group, components of which reach
to the skull\'s occipital bone to produce extension movements of the
head as well. These deep muscles of the back and neck are basic
[**postural**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"} muscles which are innervated by the spinal nerves
directly, without relay through the cervical plexus or brachial plexus.
Thus, we have less voluntary control of our haughty head-and-trunk
postures than we have, e.g., of our hand-and-arm gestures. (***N.B.***:
Gross postural shifts which involve *back-extension* and *head-raising*
may express unconscious attitudes of power and
**[dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**.)\
\
*Culture*. **1.** In Greece and Saudi Arabia, a sudden head-tilt-back
movement means \"No,\" and may originate from the infantile
head-tilt-back used to refuse food (Morris 1994:145; see also
[**HEAD-SHAKE**](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}). **2.** In Ethiopia, the same gesture means \"Yes,\" and
may originate from the backward head movment used as a greeting (Morris
1994:146).\
\
*Origin*. In its \"superior\" sense, head-tilt-back is a constituent of
the primeval **[high-stand
display](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**.\
\
*Politics*. Political leaders who used the head-tilt-back gesture in
public speeches include Al Gore, Benito Mussolini, Franklin D.
Roosevelt, and George Corley Wallace.\
\
***RESEARCH REPORT***: Head-tilt-back may be accompanied by
\"contempt-scorn\" cues: one eyebrow lifts higher than the other, the
eye openings narrow, the mouth corners depress, the lower lip raises and
slightly protrudes, and one side of the upper lip may curl up in a sneer
(Izard 1971:245).\
\
------------------------------------------------------------------------
***E-Commentary***: \"I was reading through the online *Nonverbal
Dictionary* and I believe they\'ve left out an entry on \'chin
thrusts.\' I don\'t know how you all get the entries for the Dictionary
but I figured I would comment on that one. I am finding the *Dictionary*
to be very informative and one of the best web resources on kinesics so
far in my searches.\" \--J.P., USA (4/16/00 12:12:54 AM Pacific Daylight
Time)\
------------------------------------------------------------------------
*Chin jut*. A derivative gesture of head-tilt-back is the \"chin jut,\"
described by Desmond Morris (1994:30 \[\"The chin is thrust towards the
companion\"\]) as an \"\'intention movement\' of forward attack,\" which
has become a worldwide sign of threat. The world\'s most exaggerated
chin jut was that of the Italian dictator, Benito Mussolini\
\
****
------------------------------------------------------------------------
E-Commentary: \"Have you come across any research regarding a rapid
multiple [**eye
blink**](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}
that looks almost as if the person is rolling their eyes back in their
head? It often is accompanied by a *head tilt back*. I have a client who
does this, and have encountered others who do this, and am not sure the
source of such a gesture, or what it might suggest nonverbally. My gut
tells me it makes the guy look arrogant and a bit supercilious. Am I
totally off base in thinking this may be a problem. Any suggestions?
I\'d be glad to send you a copy of videotape showing what I\'m talking
about.\" \--L.G., Senior Communications Consultant, USA (9/30/99
12:24:16 PM Pacific Daylight Time)\
------------------------------------------------------------------------
\
See also
[**EYEBROW-RAISE**](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.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 sequence by Ruth Orkin (copyright Ruth Orkin)
\
\
\
\
\
\
|
CINGULATE GYRUS | https://ns1.omnitech.net/data/Nonverbal/cingulat.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>cingulat</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="CINGULATE GYRUS">CINGULATE GYRUS</A><BR>
<BR>
<IMG BORDER="0" ALT="Anterior Cingulate Cortex (Yellow)" SRC="cingulat.jpg" tppabs="http://members.aol.com/nonverbal3/objects/cingulat.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P>
<P><EM><B><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">Brain</A></B></EM>. <STRONG>1.</STRONG> The evolutionary new wing of the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG>, in charge of grooming,
<EM>nuzzling</EM>, and <EM>cuddle</EM> cues. <STRONG>2.</STRONG> The newest part of the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG>, responsible for
<EM>maternal caring</EM>, <EM>play</EM>, and <EM>audiovocal</EM> signals (Hooper 1986:48).</P>
<P><EM>Usage</EM>: As the brain's maternal and childcare center, the cingulate gyrus mediates many of the
<STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal cues</A></STRONG> we give <STRONG>a.</STRONG> to babies, <STRONG>b.</STRONG> to small children, and <STRONG>c.</STRONG> to adults for
whom we truly care (see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>) and care for.<BR>
<BR>
<I>Anatomy</I>. Located on the medial surface of the cerebral cortex (in the frontal and parietal lobes, above the corpus callosum), the cingulate gyrus receives <B>a.</B> subcortical signals from the thalamus (anterior nucleus) and <B>b.</B> cortical signals from modules of the cerebral cortex as well. It sends signals to the parahippocampal gyrus through a broad-band fiberlink called the <I>cingulum</I>.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "The posterior superior part of the cingulate gyrus is related to
sexual behavior" and is also linked to OCD (obsessive-compulsive disorder; Diamond, Scheibel,
and Elson 1985:5, 30). <STRONG>2.</STRONG> "It is of interest that stimulation and ablation of the cingulate gyrus
result in a diverse range of emotional experiences corresponding to those described . . . for the
<STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> and septum. It can be assumed that the cingulate gyrus acts as an intermediary to the
prefrontal cortex and orbital cortices . . ." (Eccles 1989:106). <STRONG>3.</STRONG> "Emotion-related movement
[see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top">SMILE</A></STRONG>], then, is controlled from the anterior cingulate region, from other limbic
cortices (in the medial temporal lobe), and from the <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG> . . ." (Damasio 1994:140-41).
<STRONG>4.</STRONG> "We cannot mimic easily what the anterior cingulate can achieve effortlessly . . ." (Damasio
1994:141-42). <B>5.</B> "Its location makes the cingulate cortex an excellent candidate for the brain's emotional control centre, which is what it seems to be" (Carter 1998:101). </P>
<P><EM>Neuro-notes</EM>. <B>1.</B> The cingulate gyrus is less tied to smell than is any other part of the limbic system,
according to Paul MacLean, and has no counterpart in the <STRONG><A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top">reptilian brain</A></STRONG>. <B>2.</B> The <EM>anterior</EM>
cingulate gyrus communicates between the <EM>prefrontal cortex</EM> and subcortical areas of the limbic
system; bilateral destruction ". . . releases the rage centers of the septum and hypothalamus from any
prefrontal inhibitory influence" (Guyton 1996:759). <B>3.</B> "We suggest that cells in the rostral cingulate motor area, one of
the higher order motor areas in the cortex, play a part in processing the
reward information for motor selection" ("Role for Cingulate Motor Area Cells in Voluntary Movement
Selection Based on Reward," Keisetsu Shima and Jun Tanji, <I>Science</I>, Nov. 13, 1998, vol. 282, p. 1335). <B>4.</B> "Anatomical studies have revealed
prominent afferent input to the CMAs [cingulate motor areas] from the limbic structures and the
prefrontal cortex, which can send information about motivation and the
internal state of subjects, as well as cognitive evaluation of the environment" (Shima and Tanji1998:1335). <B>5.</B> "When a person with a hand-washing compulsion is told to imagine themselves [sic] in some filthy place their caudate nucleus and orbital frontal cortex fire away like mad. An area in the middle of the brain--the cingulate cortex--also responds strongly. This is the part of the brain that registers conscious emotion, and its involvement demonstrates the emotional discomfort generated by OCD" (Carter 1998:61).</P>
<P>See also <A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top"><B>CRY</B></A>, <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">HYPOTHALAMUS</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 illustration (copyright 1998 by Weidenfeld & Nicolson)</FONT></P>
</BODY>
</HTML> | **[CINGULATE GYRUS]{#CINGULATE GYRUS}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/cingulat.jpg"
height="35%" width="25%"}**
***[Brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}***.
**1.** The evolutionary new wing of the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**, in charge of grooming, *nuzzling*, and *cuddle* cues.
**2.** The newest part of the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**, responsible for *maternal caring*, *play*, and
*audiovocal* signals (Hooper 1986:48).
*Usage*: As the brain\'s maternal and childcare center, the cingulate
gyrus mediates many of the **[nonverbal
cues](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** we give **a.** to babies, **b.** to small children, and
**c.** to adults for whom we truly care (see **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**)
and care for.\
\
*Anatomy*. Located on the medial surface of the cerebral cortex (in the
frontal and parietal lobes, above the corpus callosum), the cingulate
gyrus receives **a.** subcortical signals from the thalamus (anterior
nucleus) and **b.** cortical signals from modules of the cerebral cortex
as well. It sends signals to the parahippocampal gyrus through a
broad-band fiberlink called the *cingulum*.
***RESEARCH REPORTS***: **1.** \"The posterior superior part of the
cingulate gyrus is related to sexual behavior\" and is also linked to
OCD (obsessive-compulsive disorder; Diamond, Scheibel, and Elson 1985:5,
30). **2.** \"It is of interest that stimulation and ablation of the
cingulate gyrus result in a diverse range of emotional experiences
corresponding to those described . . . for the
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
and septum. It can be assumed that the cingulate gyrus acts as an
intermediary to the prefrontal cortex and orbital cortices . . .\"
(Eccles 1989:106). **3.** \"Emotion-related movement \[see, e.g.,
**[SMILE](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}**\],
then, is controlled from the anterior cingulate region, from other
limbic cortices (in the medial temporal lobe), and from the **[basal
ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}** .
. .\" (Damasio 1994:140-41). **4.** \"We cannot mimic easily what the
anterior cingulate can achieve effortlessly . . .\" (Damasio
1994:141-42). **5.** \"Its location makes the cingulate cortex an
excellent candidate for the brain\'s emotional control centre, which is
what it seems to be\" (Carter 1998:101).
*Neuro-notes*. **1.** The cingulate gyrus is less tied to smell than is
any other part of the limbic system, according to Paul MacLean, and has
no counterpart in the **[reptilian
brain](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}**. **2.** The *anterior* cingulate gyrus communicates
between the *prefrontal cortex* and subcortical areas of the limbic
system; bilateral destruction \". . . releases the rage centers of the
septum and hypothalamus from any prefrontal inhibitory influence\"
(Guyton 1996:759). **3.** \"We suggest that cells in the rostral
cingulate motor area, one of the higher order motor areas in the cortex,
play a part in processing the reward information for motor selection\"
(\"Role for Cingulate Motor Area Cells in Voluntary Movement Selection
Based on Reward,\" Keisetsu Shima and Jun Tanji, *Science*, Nov. 13,
1998, vol. 282, p. 1335). **4.** \"Anatomical studies have revealed
prominent afferent input to the CMAs \[cingulate motor areas\] from the
limbic structures and the prefrontal cortex, which can send information
about motivation and the internal state of subjects, as well as
cognitive evaluation of the environment\" (Shima and Tanji1998:1335).
**5.** \"When a person with a hand-washing compulsion is told to imagine
themselves \[sic\] in some filthy place their caudate nucleus and
orbital frontal cortex fire away like mad. An area in the middle of the
brain\--the cingulate cortex\--also responds strongly. This is the part
of the brain that registers conscious emotion, and its involvement
demonstrates the emotional discomfort generated by OCD\" (Carter
1998:61).
See also
[**CRY**](http://members.aol.com/nonverbal3/cry.htm){target="_top"},
**[HYPOTHALAMUS](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of illustration (copyright 1998 by Weidenfeld & Nicolson)
|
CLEM | https://ns1.omnitech.net/data/Nonverbal/clem1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>clem</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">CLEM</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Eyes Right" SRC="clem.jpg" tppabs="http://members.aol.com/doder1/objects/clem.jpg" HEIGHT="35%" WIDTH="35%"><BR WP="BR1">
<BR WP="BR2">
<I><BR>
Gaze direction</I>. <STRONG>1.</STRONG> An acronym for "<EM>conjugate lateral </EM><STRONG><A HREF="http://members.aol.com/nonverbal2/eyes.htm" TARGET="_top">eye</A></STRONG> movement." <STRONG>2.</STRONG> A nonverbal response,
often to a verbal question, in which the eyes move sideward (to the right or left) in tandem.<BR>
<BR>
<EM>Usage</EM>: CLEMs--involuntary eye movements to the right or left--signal information processing,
reflection, and thought. Because they reflect unvoiced <B><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">doubt</A></B>, as well, CLEMs may used as <B><A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top">probing points</A></B>.<BR>
<BR>
<I>Saccades</I>. In a classic study by Harnad (1972) of the lateral eye movements of mathematicians during mental reflection, it was noted that rightward movement associated with symbolic thinking, while leftward movement associated with visual thinking. Left-movers were thought to be more creative.<BR WP="BR1">
<BR WP="BR2">
<STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <B>1.</B> Conjugate lateral eye movements are an index of brain-hemispheric activation (Gur 1975). <STRONG>2</STRONG> "People can be categorized as either 'right lookers' or 'left lookers'
because approximately 75 percent of an individual's conjugatelateral eye movements are in one
direction" (Richmond et al. 1991:89).<STRONG> 2.</STRONG> "CLEM is usually quite prominent when someone is
working on a task that requires them [sic] to think or reflect" (Richmond et al. 1991:89). </P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/gazedown.htm" TARGET="_top">GAZE-DOWN</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/mimecue.htm" TARGET="_top">MIME CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/steeple.htm" TARGET="_top">STEEPLE</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><BR>
<FONT SIZE="-1">
Detail of photo (copyright Warner Bros., Inc.)</FONT></P>
</BODY>
</HTML> | **CLEM**
{border="0"
tppabs="http://members.aol.com/doder1/objects/clem.jpg" height="35%"
width="35%"}\
\
*\
Gaze direction*. **1.** An acronym for \"*conjugate lateral*
**[eye](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**
movement.\" **2.** A nonverbal response, often to a verbal question, in
which the eyes move sideward (to the right or left) in tandem.\
\
*Usage*: CLEMs\--involuntary eye movements to the right or left\--signal
information processing, reflection, and thought. Because they reflect
unvoiced
**[doubt](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**,
as well, CLEMs may used as **[probing
points](http://members.aol.com/nonverbal2/probe.htm){target="_top"}**.\
\
*Saccades*. In a classic study by Harnad (1972) of the lateral eye
movements of mathematicians during mental reflection, it was noted that
rightward movement associated with symbolic thinking, while leftward
movement associated with visual thinking. Left-movers were thought to be
more creative.\
\
***RESEARCH REPORTS***: **1.** Conjugate lateral eye movements are an
index of brain-hemispheric activation (Gur 1975). **2** \"People can be
categorized as either \'right lookers\' or \'left lookers\' because
approximately 75 percent of an individual\'s conjugatelateral eye
movements are in one direction\" (Richmond et al. 1991:89). **2.**
\"CLEM is usually quite prominent when someone is working on a task that
requires them \[sic\] to think or reflect\" (Richmond et al. 1991:89).
See also
**[GAZE-DOWN](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"}**,
**[MIME
CUE](http://members.aol.com/nonverbal2/mimecue.htm){target="_top"}**,
**[STEEPLE](http://members.aol.com/nonverbal2/steeple.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 (copyright Warner Bros., Inc.)
|
CLEVER HANS PHENOMENON | https://ns1.omnitech.net/data/Nonverbal/expect1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>expect</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">EXPECTANCY THEORY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><EM>Conceptual model</EM>. The hypothesis--also known as <EM>expectancy communication</EM> or <EM>interpersonal expectancy effects</EM>--that a person's nonverbal communication unwittingly
scripts a recipient's behavior, deportment, or performance in the manner of a <EM>self-fulfilling
prophecy</EM>.</P>
<P><EM>Usage I</EM>: Displayed nonverbally, a teacher's positive expectancies for certain chosen students
encourages them to work harder and get better grades.</P>
<P><EM>Usage II</EM>: A judge's <STRONG><A HREF="bodylan1.htm" tppabs="http://members.aol.com/doder1/bodylan1.htm" TARGET="_top">body language</A></STRONG> can transmit negative signals (e.g., <EM>gaze </EM><STRONG><EM><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">cut-off</A></EM></STRONG>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">tense-mouth</A></EM></STRONG>, and <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/tonguesh.htm" TARGET="_top">tongue-show</A></EM></STRONG><EM></EM>), which may inadvertently influence jurors to decide against a defense
attorney's case.</P>
<P><I>Salesmanship</I>. "As in most areas concerning the sales confrontation, the salesperson will be viewed and treated largely according to <I>how he expects to be treated</I>" (Delmar 1984:31). <BR>
<BR>
<EM>Clever Hans</EM>. As <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">primates</A></STRONG> we are highly responsive to nonverbal cues, and thus susceptible to
the "Clever Hans" phenomenon (Pfungst 1911):</P>
<BLOCKQUOTE>
<P><FONT SIZE="-1">Once upon a 19</FONT><SUP><FONT SIZE="-1">th</FONT></SUP><FONT SIZE="-1">-century time, there lived a world-famous horse named Clever Hans,
who displayed amazing mathematical ability. If somebody asked him to add, say, five
plus seven, Hans would faithfully stomp 12 times, astounding all present. For years,
puzzled scientists were baffled by how the animal could add and subtract. One Oskar
Pfungst solved the riddle at last. According to Pfungst, Clever Hans looked closely at his
human audience for subtle body cues [e.g., of the eyes and head] telling him when to stop tapping his hoof. Tiny
</FONT><STRONG><A HREF="kinesic1.htm" tppabs="http://members.aol.com/doder1/kinesic1.htm" TARGET="_top"><FONT SIZE="-1">kinesic</FONT></A></STRONG><FONT SIZE="-1"> signs alone sufficed (Givens 1981:56).</FONT></P>
</BLOCKQUOTE>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> Research has shown that "nonverbal cues play an enormous role in
signaling interpersonal expectations, often within the first 30 seconds of an interaction" (Burgoon
et al. 1989:448). <STRONG>2.</STRONG> Relaxed postures, dominance displays, leg movements, <B><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">head-nodding</A></B>,
smiling, and "interested" facial expressions may show positive expectations; while <B><A HREF="headshak.htm" tppabs="http://members.aol.com/nonverbal3/headshak.htm" TARGET="_top">head-shaking</A></B>,
eyebrow-raising, looking surprised or disappointed, and tapping a pencil may show negative
expectations (Burgoon et al. 1989).</P>
<P>See also <A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top"><B>ISOPRAXISM</B></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><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> | **EXPECTANCY THEORY**
*Conceptual model*. The hypothesis\--also known as *expectancy
communication* or *interpersonal expectancy effects*\--that a person\'s
nonverbal communication unwittingly scripts a recipient\'s behavior,
deportment, or performance in the manner of a *self-fulfilling
prophecy*.
*Usage I*: Displayed nonverbally, a teacher\'s positive expectancies for
certain chosen students encourages them to work harder and get better
grades.
*Usage II*: A judge\'s **[body
language](bodylan1.htm){tppabs="http://members.aol.com/doder1/bodylan1.htm"
target="_top"}** can transmit negative signals (e.g., *gaze*
***[cut-off](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}***,
***[tense-mouth](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}***,
and
***[tongue-show](http://members.aol.com/nonverbal2/tonguesh.htm){target="_top"}***),
which may inadvertently influence jurors to decide against a defense
attorney\'s case.
*Salesmanship*. \"As in most areas concerning the sales confrontation,
the salesperson will be viewed and treated largely according to *how he
expects to be treated*\" (Delmar 1984:31).\
\
*Clever Hans*. As
**[primates](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**
we are highly responsive to nonverbal cues, and thus susceptible to the
\"Clever Hans\" phenomenon (Pfungst 1911):
> Once upon a 19^th^-century time, there lived a world-famous horse
> named Clever Hans, who displayed amazing mathematical ability. If
> somebody asked him to add, say, five plus seven, Hans would faithfully
> stomp 12 times, astounding all present. For years, puzzled scientists
> were baffled by how the animal could add and subtract. One Oskar
> Pfungst solved the riddle at last. According to Pfungst, Clever Hans
> looked closely at his human audience for subtle body cues \[e.g., of
> the eyes and head\] telling him when to stop tapping his hoof. Tiny
> **[kinesic](kinesic1.htm){tppabs="http://members.aol.com/doder1/kinesic1.htm"
> target="_top"}** signs alone sufficed (Givens 1981:56).
***RESEARCH REPORTS***: **1.** Research has shown that \"nonverbal cues
play an enormous role in signaling interpersonal expectations, often
within the first 30 seconds of an interaction\" (Burgoon et al.
1989:448). **2.** Relaxed postures, dominance displays, leg movements,
**[head-nodding](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}**, smiling, and \"interested\" facial expressions may
show positive expectations; while
**[head-shaking](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}**, eyebrow-raising, looking surprised or disappointed,
and tapping a pencil may show negative expectations (Burgoon et al.
1989).
See also
[**ISOPRAXISM**](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
CLOTHING CUE | 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.)\
\
|
CONFERENCE TABLE | https://ns1.omnitech.net/data/Nonverbal/table.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>table</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>CONFERENCE TABLE<BR>
<BR>
<IMG BORDER="0" ALT="Level Playing Field" SRC="table.jpg" tppabs="http://members.aol.com/doder1/objects/table.jpg" HEIGHT="35%" WIDTH="25%"><BR>
<BR>
</STRONG></FONT><I><FONT SIZE="-1">If you are really looking for control, spread your notebooks, pens, manuals, and anything else you brought along over as broad an area as possible--without bursting anyone else's [territorial] bubble. This will give you further claim to the territory</FONT></I><FONT SIZE="-1">. --Susan Bixler (</FONT><I><FONT SIZE="-1">The Professional Image</FONT></I><FONT SIZE="-1">, p. 236)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><B><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer Product</A></B></EM>. <STRONG>1.</STRONG> A flat, smooth piece of furniture designed as a stage to dramatize face-to-face meetings.
<STRONG>2.</STRONG> A corporate "level playing field" upon which speakers may address colleagues on matters of business. <STRONG>3.</STRONG> A horizontal flatland, or <I>territory</I>, in which to send defensive and offensive <STRONG><A HREF="http://members.aol.com/nonverbal2/message.htm" TARGET="_top">messages</A></STRONG> with the <STRONG><A HREF="http://members.aol.com/nonverbal2/eyes.htm" TARGET="_top">eyes</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>, and
<STRONG><A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top">shoulders</A></STRONG>.</P>
<P><EM>Usage</EM>: Nonverbally, conference tables showcase the upper body's <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">signs</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signals</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">cues</A></STRONG>. The
table's shape, size, and seating plan <STRONG>a.</STRONG> influence group dynamics, and <STRONG>b.</STRONG> may also affect the
emotional tone and outcome of discussions. (<STRONG><I>N.B.</I></STRONG>: Because <EM>torso height</EM> varies less than standing
height, people seated around conference tables appear to be roughly the same size; thus, conference
tables neutralize physical advantages of <I>stature</I> [see <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">LOOM</A></STRONG>].) Meanwhile, the lower body's features are
securely masked below the tabletop, and do not compete for notice with heads, hands, or eyes. A conference table may symbolize corporate status and power in business, politics, and military affairs.<BR>
<BR>
<HR>
<B><FONT SIZE="-1">E-Commentary</FONT></B><FONT SIZE="-1">: "I am a graduate student at the Univesity of Arkansas. I am working on my Master of Accountancy. I have chosen to take a graduate course called Communications and Conflict. I am required to do a summary of nonverbal conflict research between 1989 and the present. Can you point me in the right direction as to recent research on the topic? I am an accountant and this sort of research is not an everyday thing for me." --J.A. (10/3/99 8:31:32 AM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
<EM>Observation</EM>. The conference table is a nonverbal battlefield. <STRONG>1.</STRONG> To promote key points, speakers should <I>lean forward</I> over the table and use
<STRONG><A HREF="http://members.aol.com/nonverbal2/palmdown.htm" TARGET="_top">palm-down</A></STRONG> gestures. (<STRONG><I>N.B.</I></STRONG>: Leaning backward, away from the table and <STRONG><A HREF="http://members.aol.com/nonverbal2/palmup.htm" TARGET="_top">palm-up</A></STRONG>
gestures may suggest <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissiveness</A></STRONG>, i.e., lack of conviction.) <STRONG>2. </STRONG><I>Cuffs</I>, <I>bracelets</I>, and <I>wristwatches</I> add visibility to hand gestures. <B>3.</B> Nonverbal
impacts of <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">angular distance</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/armwear.htm" TARGET="_top">arm wear</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top">business suits</A></STRONG>, <STRONG><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">cut-off</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top">hairstyles</A></STRONG>,
and <STRONG><A HREF="http://members.aol.com/nonverbal2/neckwear.htm" TARGET="_top">neckwear</A></STRONG> are exaggerated by close-quarters interaction at the conference table.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">Dominant</A></STRONG> individuals choose central seats and do most of the
talking (Hare and Bales 1973). <STRONG>2.</STRONG> Leadership and "central" seating positions (i.e., "opposite the most
others") "go hand in hand" (Burgoon et al. 1989:389). <B>3.</B> Competence across a boardroom table shows in a well-moderated voice tone, rapid speech, few verbal disfluencies or hesitations, fluid gestures, and eye contact. Listeners respond negatively to dominance cues, on the other hand, such as a loud voice, <A HREF="browlow1.htm" tppabs="http://members.aol.com/doder1/browlow1.htm" TARGET="_top"><B>eyebrow-lowering</B></A>, staring, postures stiff with muscle tension, and <A HREF="http://members.aol.com/nonverbal2/point.htm" TARGET="_top"><B>pointing</B></A> (Driskell and Salas 1993). </P>
<P>See also <STRONG><A HREF="steinzor.htm" tppabs="http://members.aol.com/nonverbal3/steinzor.htm" TARGET="_top">STEINZOR EFFECT</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></P>
</BODY>
</HTML> | **CONFERENCE TABLE\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/table.jpg" height="35%"
width="25%"}\
\
***If you are really looking for control, spread your notebooks, pens,
manuals, and anything else you brought along over as broad an area as
possible\--without bursting anyone else\'s \[territorial\] bubble. This
will give you further claim to the territory*. \--Susan Bixler (*The
Professional Image*, p. 236)\
\
***[Consumer
Product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. **1.** A flat, smooth piece of furniture designed as
a stage to dramatize face-to-face meetings. **2.** A corporate \"level
playing field\" upon which speakers may address colleagues on matters of
business. **3.** A horizontal flatland, or *territory*, in which to send
defensive and offensive
**[messages](http://members.aol.com/nonverbal2/message.htm){target="_top"}**
with the
**[eyes](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**,
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**,
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
and
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**.
*Usage*: Nonverbally, conference tables showcase the upper body\'s
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**,
**[signals](http://members.aol.com/nonverbal2/signal.htm){target="_top"}**,
and
**[cues](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**.
The table\'s shape, size, and seating plan **a.** influence group
dynamics, and **b.** may also affect the emotional tone and outcome of
discussions. (***N.B.***: Because *torso height* varies less than
standing height, people seated around conference tables appear to be
roughly the same size; thus, conference tables neutralize physical
advantages of *stature* \[see
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**\].) Meanwhile, the lower body\'s features are securely
masked below the tabletop, and do not compete for notice with heads,
hands, or eyes. A conference table may symbolize corporate status and
power in business, politics, and military affairs.\
\
------------------------------------------------------------------------
**E-Commentary**: \"I am a graduate student at the Univesity of
Arkansas. I am working on my Master of Accountancy. I have chosen to
take a graduate course called Communications and Conflict. I am required
to do a summary of nonverbal conflict research between 1989 and the
present. Can you point me in the right direction as to recent research
on the topic? I am an accountant and this sort of research is not an
everyday thing for me.\" \--J.A. (10/3/99 8:31:32 AM Pacific Daylight
Time)\
------------------------------------------------------------------------
\
*Observation*. The conference table is a nonverbal battlefield. **1.**
To promote key points, speakers should *lean forward* over the table and
use
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
gestures. (***N.B.***: Leaning backward, away from the table and
**[palm-up](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**
gestures may suggest
**[submissiveness](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**,
i.e., lack of conviction.) **2.** *Cuffs*, *bracelets*, and
*wristwatches* add visibility to hand gestures. **3.** Nonverbal impacts
of **[angular
distance](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[arm
wear](http://members.aol.com/nonverbal2/armwear.htm){target="_top"}**,
**[business
suits](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"}**,
**[cut-off](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**,
**[hairstyles](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**,
and
**[neckwear](http://members.aol.com/nonverbal2/neckwear.htm){target="_top"}**
are exaggerated by close-quarters interaction at the conference table.
***RESEARCH REPORTS***: **1.**
**[Dominant](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**
individuals choose central seats and do most of the talking (Hare and
Bales 1973). **2.** Leadership and \"central\" seating positions (i.e.,
\"opposite the most others\") \"go hand in hand\" (Burgoon et al.
1989:389). **3.** Competence across a boardroom table shows in a
well-moderated voice tone, rapid speech, few verbal disfluencies or
hesitations, fluid gestures, and eye contact. Listeners respond
negatively to dominance cues, on the other hand, such as a loud voice,
[**eyebrow-lowering**](browlow1.htm){tppabs="http://members.aol.com/doder1/browlow1.htm"
target="_top"}, staring, postures stiff with muscle tension, and
[**pointing**](http://members.aol.com/nonverbal2/point.htm){target="_top"}
(Driskell and Salas 1993).
See also **[STEINZOR
EFFECT](steinzor.htm){tppabs="http://members.aol.com/nonverbal3/steinzor.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
CONSUMER PRODUCT | https://ns1.omnitech.net/data/Nonverbal/consprod.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>consprod</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="CONSUMER PRODUCT">CONSUMER PRODUCT</A></STRONG></FONT></P>
<P><EM><B><A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top"><IMG BORDER="0" ALT="Products "Speak"" SRC="B30375.jpg" tppabs="http://members.aol.com/nonverbal2/objects/B30375.jpg" HEIGHT="35%" WIDTH="25%"><BR>
<BR>
</A></B></EM><I><FONT SIZE="-1">Thus there exists a dictionary situation for everyone: designers design, manufacturers manufacture, and diverse consumers consume diversity</FONT></I><FONT SIZE="-1">. --Henry Petroski (</FONT><I><FONT SIZE="-1">The Evolution of Useful Things</FONT></I><FONT SIZE="-1">, 1992)<BR>
<BR>
<I>We look to nature for products because natural selection has had an incredible amount of time to optimize substances for varied purposes</I>. --Scott Rapoport (2000:E-2)<BR>
<BR>
<I>Rubbermaid products evolve according to Darwinian laws</I>. --Jay Mathews (1995B:H4)<BR>
<BR>
<I>Like computing, genetic science is evolving into a consumer technology</I>. --John Rennie (2000:6 [Author's Note: Our own bodies have become consumer products.])</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><B><A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top">Artifact</A></B></EM>. <STRONG>1.</STRONG> A material object deliberately fabricated for mass consumption and use. <STRONG>2.</STRONG> An edible,
wearable, drinkable (i.e., <EM>usable</EM>) commodity exhibiting a standardized design. <STRONG>3.</STRONG> An artifact
bearing a <EM>brand name</EM> (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">BIG MAC</A>®</STRONG>) promoted in the <STRONG><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">media</A></STRONG>.</P>
<P><EM>Usage</EM>: Like <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/gesture.htm">gestures</A></STRONG>, consumer products are informative, provocative, and highly
<EM>communicative</EM>. <EM>Shoes</EM>, <EM>hats</EM>, and <EM>wrist watches</EM>, e.g., have a great deal to "say" about gender,
identity, and status. The make, model, and color of a <EM>new car</EM> reflect a buyer's personal tastes,
moods, and individuality.<BR>
<BR>
<I>Clutter</I>. <B>1.</B> "She [Marilyn Vondra, an opera singer] telephoned her clutter-support person a week later [after attending a 'Letting Go of Clutter' workshop] to say that, for the first time in some years, she had glimpsed the top of the coffee table. 'It's glass,' she said" (Dullea 1992:C1). <B>2.</B> ". . . as experts will tell you, attachments to objects are emotional, never logical" (Dullea 1992:C6). </P>
<P><EM>Design</EM>. Consumer goods "speak" via <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging features</A></STRONG>--expressive emblems,
insignia, and signs placed to stand out against more functional elements of a product's design.
The mouth-shape of a <STRONG><A HREF="http://members.aol.com/nonverbal2/vegrille.htm" TARGET="_top">vehicular grille</A></STRONG>, e.g., which suggests an alert, <A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top"><B>angry</B></A>, or <A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top"><B>tense face</B></A>, has little bearing on automobile reliability, safety, or speed. The tiny
flag-shaped <EM>tag</EM> on the derrière of Levi's® <STRONG><A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top">blue jeans</A></STRONG>, too, adds <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/info.htm">information</A></STRONG> rather
than durability to the product. (<EM><B>N.B.</B></EM>: Messaging features resemble the aromatic <EM>secondary
products</EM> of <STRONG><A HREF="http://members.aol.com/nonverbal2/herb.htm" TARGET="_top">herbs & spices</A></STRONG>, which evolved to communicate apart from the practical needs
of plant metabolism, growth, and reproduction.)</P>
<P><EM>Evolution</EM>. The earliest known products (dated to ca. 2.5 m.y.a.) are intentionally flaked <EM>Oldowan
pebble tools</EM> from Ethiopia, produced by our oldest-known human ancestor, <EM>Homo habilis</EM>. By
ca. 1.6 m.y.a., a more eloquent, fist-sized <EM>hand-axe</EM>, bearing a standardized, symmetrical, leaf-shaped design, was chipped in East Africa by <EM>Homo erectus</EM>. Since the Stone Age, the number of
products invented and used by our species, <EM>Homo sapiens</EM>--from <EM>Silly Putty®</EM> to <EM>interstate
highways</EM>--has increased at a rate three times greater than biological evolution (Basalla 1988). As
the brain and body were shaped by <EM>natural selection</EM>, consumer goods adapted to the mind
through a parallel process of <I>product selection</I>, which has rendered them ever more
fluent, expressive, and fascinating to our senses.<BR>
<BR>
<I>Materialism</I>. "The Gallup Organization revealed today the firsst scientific national poll of the world's most populous country, revealing a billion Chinese ambitious to become rich and buy millions of televisions, washing machines, refrigerators and videocassette recorders" (Mathews 1995:A13). </P>
<P><EM>Media</EM>. Product selection in the modern age is shaped, intensified, and sped by electronic media
through an ancient, imitative principle know as <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">isopraxism</A></STRONG>. On January 31, 1993, e.g., broadcast
images of contented human beings gulping carbonated <EM>soft drinks</EM> reached an estimated 120
million viewers of Super Bowl XXVII, many of whom later purchased products seen on TV.<BR>
<BR>
<I>Packaging I</I>. "A study by the DuPont Corporation showed that 78 percent of supermarket purchases were made as a result of package design and eye appeal" (Vargas 1986:143; note that packages are consumer products, as well).<BR>
<BR>
<I>Packaging II</I>. A singularly effective package is the Betty Crocker<EM>®</EM> cake mix box, introduced in 1954. "A close-up photo of the prepared cake, ideally colored, provides the background for an oval red spoon containing the logo. Ovals are more pleasing to the subconscious mind than shapes with sharp angles [by 1956, sales of Betty Crocker cake mixes had quadrupled]" (Vargas 1986:144).<BR>
<BR>
<I>Shopping</I>. "In places like Poland and Hungary, the huge stores that have replaced drab, poorly stocked shops of the communist days are the busiest places in town on Sundays. Thousands of cars fill parking lots and couples with children, many dressed in their Sunday best, push carts filled with groceries, clothing, even appliances" (Stylinski 1998:A8).<BR>
<BR>
<I>Speech I</I>. There is an evolutionary link between material artifacts and spoken language: "Evidence that 'archaic' <I>Homo sapiens</I> did indeed have cognitive control of hierarchically structured composite [speech] units comes from their tool technology. For the first time, hafted tools appear. These are composite tools, made from individual pieces put together and functioning as a whole" (Foley 1997:72; see <A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top"><B>MEDIA</B></A>, <I>Images and words</I>; and <A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top"><B>SPEECH</B></A>, <I>Evolution I & II</I>). <BR>
<BR>
<I>Speech II</I>. Just as our species combines words into sentences, human beings also combine materials into products. The first known use of glue (a heat-treated asphalt) to join stone tools to wooden handles, e.g., dates back ca. 30,000 years to a Syrian archaeological site between the Palmyra and Euphrates rivers (Weiss 1996).
</P>
<P><I>Writing</I>. An evolutionary link between artifacts and writing exists as well: "Writing was invented [around 3300 B.C. in Sumer, in ancient Mesopotamia] to keep track of the storage or disbursement of commodities, and for several centuries it was used only for accounting purposes" (Anonymous 1992).<BR>
<BR>
<STRONG><EM>RESEARCH REPORT</EM></STRONG>: The number of everyday artifacts encountered in our lives has been
estimated at between 20,000 and 30,000 manufactured objects (Petroski 1992).<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "In watching the impeachment hearings last week, I was struck by the role of gifts in the Clinton-Lewinsky relationship. There seems to have been a compulsion to give gifts--she gave him 40, he gave her 24--even though they carried some risk. Indeed, the disposition of those very gifts forms the basis of the obstruction of justice impeachment charge. It all made me think: What is the deal with gifts? Why do they loom so large in <A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top"><B>courtship</B></A>?" K.O'B., <I>The Newark Star-Ledger</I> (99-01-21 10:19:41 EST</FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
</P>
<P><EM>Neuro notes I</EM>. We eagerly covet, collect, and consume material goods, which beckon to us
as "gestures" from billboards, catalogues, and discount store shelves. <STRONG><A HREF="juice1.htm" tppabs="http://members.aol.com/doder1/juice1.htm" TARGET="_top">Juice substitutes</A></STRONG>, <STRONG><A HREF="womens.htm" tppabs="http://members.aol.com/nonverbal3/womens.htm" TARGET="_top">women's shoes</A></STRONG>, and
<STRONG><A HREF="newcar.htm" tppabs="http://members.aol.com/doder1/newcar.htm" TARGET="_top">new car smell</A></STRONG>, e.g., engage diverse areas of our brain to which they "speak." PET
studies show that we process <EM>object knowledge</EM> (i.e., the verbal labels for products) through many
separate brain areas linked by interconnected circuits called <EM>distributed systems</EM>.</P>
<P><EM>Neuro notes II</EM>. Color words used to describe, e.g., a <EM>super bouncy ball</EM> come from our brain's
<EM>ventral temporal lobe</EM>, located in front of the "color area" on the inferior temporal cortex.
Motion words for the ball's lively bounce, on the other hand, come from the <EM>middle temporal
gyrus</EM> in front of the brain's "motion area," on the posterior parietal cortex (Martin et al. 1995:102). MRI research suggests that a large part of our neocortex is occupied by such processing
"substations" for vision (Sereno et al. 1995:889). Thus, while super bouncy balls cannot actually
speak, their messaging features nonetheless engage multiple knowledge areas of our brain. Colorful balls have more to
"say" than natural objects such as twigs and fallen leaves, because only the most expressive
consumer products survive.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top">OBJECT FANCY</A></STRONG>, <A HREF="http://www.target.com/" TARGET="_top"><B><I>WWW.Target.com</I></B></A>.<BR>
<BR>
<FONT SIZE="-1">Copyright 1998, 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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[CONSUMER PRODUCT]{#CONSUMER PRODUCT}**
***[{border="0"
tppabs="http://members.aol.com/nonverbal2/objects/B30375.jpg"
height="35%" width="25%"}\
\
](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}**Thus
there exists a dictionary situation for everyone: designers design,
manufacturers manufacture, and diverse consumers consume diversity*.
\--Henry Petroski (*The Evolution of Useful Things*, 1992)\
\
*We look to nature for products because natural selection has had an
incredible amount of time to optimize substances for varied purposes*.
\--Scott Rapoport (2000:E-2)\
\
*Rubbermaid products evolve according to Darwinian laws*. \--Jay Mathews
(1995B:H4)\
\
*Like computing, genetic science is evolving into a consumer
technology*. \--John Rennie (2000:6 \[Author\'s Note: Our own bodies
have become consumer products.\])\
\
***[Artifact](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}***.
**1.** A material object deliberately fabricated for mass consumption
and use. **2.** An edible, wearable, drinkable (i.e., *usable*)
commodity exhibiting a standardized design. **3.** An artifact bearing a
*brand name* (see, e.g., **[BIG
MAC](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}®**)
promoted in the
**[media](http://members.aol.com/nonverbal3/media.htm){target="_top"}**.
*Usage*: Like
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
consumer products are informative, provocative, and highly
*communicative*. *Shoes*, *hats*, and *wrist watches*, e.g., have a
great deal to \"say\" about gender, identity, and status. The make,
model, and color of a *new car* reflect a buyer\'s personal tastes,
moods, and individuality.\
\
*Clutter*. **1.** \"She \[Marilyn Vondra, an opera singer\] telephoned
her clutter-support person a week later \[after attending a \'Letting Go
of Clutter\' workshop\] to say that, for the first time in some years,
she had glimpsed the top of the coffee table. \'It\'s glass,\' she
said\" (Dullea 1992:C1). **2.** \". . . as experts will tell you,
attachments to objects are emotional, never logical\" (Dullea 1992:C6).
*Design*. Consumer goods \"speak\" via **[messaging
features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**\--expressive
emblems, insignia, and signs placed to stand out against more functional
elements of a product\'s design. The mouth-shape of a **[vehicular
grille](http://members.aol.com/nonverbal2/vegrille.htm){target="_top"}**,
e.g., which suggests an alert,
[**angry**](http://members.aol.com/nonverbal2/anger.htm){target="_top"},
or [**tense
face**](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"},
has little bearing on automobile reliability, safety, or speed. The tiny
flag-shaped *tag* on the derrière of Levi\'s® **[blue
jeans](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"}**,
too, adds
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**
rather than durability to the product. (***N.B.***: Messaging features
resemble the aromatic *secondary products* of **[herbs &
spices](http://members.aol.com/nonverbal2/herb.htm){target="_top"}**,
which evolved to communicate apart from the practical needs of plant
metabolism, growth, and reproduction.)
*Evolution*. The earliest known products (dated to ca. 2.5 m.y.a.) are
intentionally flaked *Oldowan pebble tools* from Ethiopia, produced by
our oldest-known human ancestor, *Homo habilis*. By ca. 1.6 m.y.a., a
more eloquent, fist-sized *hand-axe*, bearing a standardized,
symmetrical, leaf-shaped design, was chipped in East Africa by *Homo
erectus*. Since the Stone Age, the number of products invented and used
by our species, *Homo sapiens*\--from *Silly Putty®* to *interstate
highways*\--has increased at a rate three times greater than biological
evolution (Basalla 1988). As the brain and body were shaped by *natural
selection*, consumer goods adapted to the mind through a parallel
process of *product selection*, which has rendered them ever more
fluent, expressive, and fascinating to our senses.\
\
*Materialism*. \"The Gallup Organization revealed today the firsst
scientific national poll of the world\'s most populous country,
revealing a billion Chinese ambitious to become rich and buy millions of
televisions, washing machines, refrigerators and videocassette
recorders\" (Mathews 1995:A13).
*Media*. Product selection in the modern age is shaped, intensified, and
sped by electronic media through an ancient, imitative principle know as
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**.
On January 31, 1993, e.g., broadcast images of contented human beings
gulping carbonated *soft drinks* reached an estimated 120 million
viewers of Super Bowl XXVII, many of whom later purchased products seen
on TV.\
\
*Packaging I*. \"A study by the DuPont Corporation showed that 78
percent of supermarket purchases were made as a result of package design
and eye appeal\" (Vargas 1986:143; note that packages are consumer
products, as well).\
\
*Packaging II*. A singularly effective package is the Betty Crocker*®*
cake mix box, introduced in 1954. \"A close-up photo of the prepared
cake, ideally colored, provides the background for an oval red spoon
containing the logo. Ovals are more pleasing to the subconscious mind
than shapes with sharp angles \[by 1956, sales of Betty Crocker cake
mixes had quadrupled\]\" (Vargas 1986:144).\
\
*Shopping*. \"In places like Poland and Hungary, the huge stores that
have replaced drab, poorly stocked shops of the communist days are the
busiest places in town on Sundays. Thousands of cars fill parking lots
and couples with children, many dressed in their Sunday best, push carts
filled with groceries, clothing, even appliances\" (Stylinski 1998:A8).\
\
*Speech I*. There is an evolutionary link between material artifacts and
spoken language: \"Evidence that \'archaic\' *Homo sapiens* did indeed
have cognitive control of hierarchically structured composite \[speech\]
units comes from their tool technology. For the first time, hafted tools
appear. These are composite tools, made from individual pieces put
together and functioning as a whole\" (Foley 1997:72; see
[**MEDIA**](http://members.aol.com/nonverbal3/media.htm){target="_top"},
*Images and words*; and
[**SPEECH**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}, *Evolution I & II*).\
\
*Speech II*. Just as our species combines words into sentences, human
beings also combine materials into products. The first known use of glue
(a heat-treated asphalt) to join stone tools to wooden handles, e.g.,
dates back ca. 30,000 years to a Syrian archaeological site between the
Palmyra and Euphrates rivers (Weiss 1996).
*Writing*. An evolutionary link between artifacts and writing exists as
well: \"Writing was invented \[around 3300 B.C. in Sumer, in ancient
Mesopotamia\] to keep track of the storage or disbursement of
commodities, and for several centuries it was used only for accounting
purposes\" (Anonymous 1992).\
\
***RESEARCH REPORT***: The number of everyday artifacts encountered in
our lives has been estimated at between 20,000 and 30,000 manufactured
objects (Petroski 1992).\
\
------------------------------------------------------------------------
***E-Commentary***: \"In watching the impeachment hearings last week, I
was struck by the role of gifts in the Clinton-Lewinsky relationship.
There seems to have been a compulsion to give gifts\--she gave him 40,
he gave her 24\--even though they carried some risk. Indeed, the
disposition of those very gifts forms the basis of the obstruction of
justice impeachment charge. It all made me think: What is the deal with
gifts? Why do they loom so large in
[**courtship**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}?\" K.O\'B., *The Newark Star-Ledger* (99-01-21 10:19:41
EST)\
------------------------------------------------------------------------
*Neuro notes I*. We eagerly covet, collect, and consume material goods,
which beckon to us as \"gestures\" from billboards, catalogues, and
discount store shelves. **[Juice
substitutes](juice1.htm){tppabs="http://members.aol.com/doder1/juice1.htm"
target="_top"}**, **[women\'s
shoes](womens.htm){tppabs="http://members.aol.com/nonverbal3/womens.htm"
target="_top"}**, and **[new car
smell](newcar.htm){tppabs="http://members.aol.com/doder1/newcar.htm"
target="_top"}**, e.g., engage diverse areas of our brain to which they
\"speak.\" PET studies show that we process *object knowledge* (i.e.,
the verbal labels for products) through many separate brain areas linked
by interconnected circuits called *distributed systems*.
*Neuro notes II*. Color words used to describe, e.g., a *super bouncy
ball* come from our brain\'s *ventral temporal lobe*, located in front
of the \"color area\" on the inferior temporal cortex. Motion words for
the ball\'s lively bounce, on the other hand, come from the *middle
temporal gyrus* in front of the brain\'s \"motion area,\" on the
posterior parietal cortex (Martin et al. 1995:102). MRI research
suggests that a large part of our neocortex is occupied by such
processing \"substations\" for vision (Sereno et al. 1995:889). Thus,
while super bouncy balls cannot actually speak, their messaging features
nonetheless engage multiple knowledge areas of our brain. Colorful balls
have more to \"say\" than natural objects such as twigs and fallen
leaves, because only the most expressive consumer products survive.
See also **[OBJECT
FANCY](http://members.aol.com/nonverbal2/object.htm){target="_top"}**,
[***WWW.Target.com***](http://www.target.com/){target="_top"}.\
\
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
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COURTSHIP | https://ns1.omnitech.net/data/Nonverbal/court1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>court</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">COURTSHIP</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="A Public Courtship " SRC="court.jpg" tppabs="http://members.aol.com/doder1/objects/court.jpg" HEIGHT="50%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<EM><FONT SIZE="-1">Once I'm done with kindergarten, I'm going to find me a wife</FONT></EM><FONT SIZE="-1">. --Tom (age 5)</FONT><BR>
<BR>
<I><FONT SIZE="-1">Vivian put the moves on Victor. He resisted her at first, then warmed to her advances. By the time Kate resurfaced the next year on a fishing boat, Victor and Viv were in love</FONT></I><FONT SIZE="-1">. --</FONT><I><FONT SIZE="-1">Days of Our Lives</FONT></I><FONT SIZE="-1"> (</FONT><I><FONT SIZE="-1">Soap Opera Digest</FONT></I><FONT SIZE="-1"> synopsis, May 2, 2000, p. 48)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<I>Nonverbal negotiation</I>. To send and receive <A HREF="http://members.aol.com/nonverbal2/message.htm" TARGET="_top"><B>messages</B></A> in an attempt to seek someone's favor or
<B><A HREF="http://members.aol.com/nonverbal2/love.htm" TARGET="_top">love</A></B>. </P>
<P><EM>Usage</EM>: In all cultures, human beings attain the closeness of sexual intimacy through courtship, a
slow negotiation, based on exchanges of <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal cues</A></STRONG> and <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>. All vertebrates from
reptiles to primates reproduce through mating--via <EM>internal fertilization</EM> of the female's body.
Through its five <EM>phases</EM> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>), courtship is the means by which two
people close the physical gap and emotional distance between them to become a loving pair.</P>
<P><EM>Prehistory</EM>. The word <EM>court</EM> traces to the ancient, Indo-European root, <STRONG>gher-</STRONG>, "to grasp, enclose."</P>
<P>See also <STRONG><A HREF="rapport1.htm" tppabs="http://members.aol.com/nonverbal3/rapport1.htm" TARGET="_top">RAPPORT</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **COURTSHIP**
{border="0"
tppabs="http://members.aol.com/doder1/objects/court.jpg" height="50%"
width="25%"}\
\
*Once I\'m done with kindergarten, I\'m going to find me a wife*. \--Tom
(age 5)\
\
*Vivian put the moves on Victor. He resisted her at first, then warmed
to her advances. By the time Kate resurfaced the next year on a fishing
boat, Victor and Viv were in love*. \--*Days of Our Lives* (*Soap Opera
Digest* synopsis, May 2, 2000, p. 48)\
\
*Nonverbal negotiation*. To send and receive
[**messages**](http://members.aol.com/nonverbal2/message.htm){target="_top"}
in an attempt to seek someone\'s favor or
**[love](http://members.aol.com/nonverbal2/love.htm){target="_top"}**.
*Usage*: In all cultures, human beings attain the closeness of sexual
intimacy through courtship, a slow negotiation, based on exchanges of
**[nonverbal
cues](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** and
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**. All vertebrates from reptiles to primates reproduce
through mating\--via *internal fertilization* of the female\'s body.
Through its five *phases* (see **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**),
courtship is the means by which two people close the physical gap and
emotional distance between them to become a loving pair.
*Prehistory*. The word *court* traces to the ancient, Indo-European
root, **gher-**, \"to grasp, enclose.\"
See also
**[RAPPORT](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
CROUCH | https://ns1.omnitech.net/data/Nonverbal/crouch1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>crouch</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">CROUCH</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><EM><IMG BORDER="0" ALT="Darwin's Dog" SRC="crouch.jpg" tppabs="http://members.aol.com/doder1/objects/crouch.jpg" HEIGHT="35%" WIDTH="37%"><BR>
<BR>
Primeval <STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">posture</A></STRONG></EM><STRONG></STRONG>. An originally protective body position, of great age, in which the limbs bend
and the spinal column flexes forward, to press the arms, legs, and torso close to the ground (as in
cowering).</P>
<P><EM>Usage</EM>: <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">Paleocircuits</A></STRONG> of the crouch posture underlie many <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></STRONG> used today (see, e.g., <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">BOW</A></STRONG>,
<STRONG><A HREF="http://members.aol.com/nonverbal3/headside.htm" TARGET="_top">HEAD-TILT-SIDE</A></STRONG>, and <STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">SHOULDER-SHRUG</A></STRONG>) to express a servile, <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissive</A></STRONG>, or timid
attitude, feeling, or mood.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> In the dog: "Instead of walking upright, the body sinks downwards
or even crouches, and is thrown into flexuous movements; his tail, instead of being held stiff and
upright, is lowered and wagged from side to side; his hair instantly becomes smooth; his ears are
depressed and drawn backwards, but not closely to the head; and his lips hang loosely" (Darwin
1872:56). <STRONG>2.</STRONG> Crouching has been observed in subordinate bonnet macaques (Rahaman and
Parthasarathy 1968). <STRONG>3.</STRONG> Motherless rhesus monkeys crouched and "showed symptoms similar to
disturbed mental patients" (Pugh 1977:200).</P>
<P><EM>Paleontology I.</EM> The vertebrate crouch display is formed of ancient bending motions designed
to remove animals from danger. A reflexive act, controlled by the spinal cord, bending the body
moves it away from hazards, reduces its exposed surface area, and makes it look "smaller."
Nonverbally, <EM>flexed</EM> body movements used to crouch lower to the ground predate <EM>extension</EM>
movements used to rise above its surface (see, e.g., <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">HIGH-STAND DISPLAY</A></STRONG>); thus, our
remote ancestors crouched before they stood tall.</P>
<P><EM>Paleontology II</EM>. Crouching can be traced to an <EM>avoider's response</EM> which is tactile in origin,
rather than visual, as in the high-stand display. So primitive is the crouch posture's <EM>flexor reflex</EM>
that it exists even in immature fish and amphibian larva. Stimulating the skin of these simple
creatures leads to side-to-side bending movements which, in a watery world, remove them from
dangers signaled by the touch.</P>
<P><EM>Neuro-notes</EM>. The crouch is keyed to paleocircuits formed of primitive, spinal-cord <EM>interneurons</EM> in charge
of <STRONG><A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top">tactile withdrawal</A></STRONG>. Similar "tap withdrawal" movements have been observed even in
spineless animals, such as the nematode worm. Working through pools of interneurons
controlling the muscular <EM>stretch reflex</EM>, its body, like ours, automatically bends away from
danger.</P>
<P><FONT FACE="Courier"></FONT><FONT FACE="Times New Roman"><EM>Antonym</EM>: <STRONG><A HREF="http://members.aol.com/nonverbal2/antigrav.htm" TARGET="_top">ANTIGRAVITY SIGN</A></STRONG>. See also <STRONG><A HREF="http://members.aol.com/nonverbal2/palmup.htm" TARGET="_top">PALM-UP</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman">Copyright 1999 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Drawing from Darwin 1872 (copyright 1998 by Oxford University Press)</FONT></P>
</BODY>
</HTML> | **CROUCH**
*{border="0"
tppabs="http://members.aol.com/doder1/objects/crouch.jpg" height="35%"
width="37%"}\
\
Primeval
**[posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. An originally protective body position, of great age,
in which the limbs bend and the spinal column flexes forward, to press
the arms, legs, and torso close to the ground (as in cowering).
*Usage*:
**[Paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the crouch posture underlie many
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**
used today (see, e.g.,
**[BOW](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}**,
**[HEAD-TILT-SIDE](http://members.aol.com/nonverbal3/headside.htm){target="_top"}**,
and
**[SHOULDER-SHRUG](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}**) to express a servile,
**[submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**,
or timid attitude, feeling, or mood.
***RESEARCH REPORTS***: **1.** In the dog: \"Instead of walking upright,
the body sinks downwards or even crouches, and is thrown into flexuous
movements; his tail, instead of being held stiff and upright, is lowered
and wagged from side to side; his hair instantly becomes smooth; his
ears are depressed and drawn backwards, but not closely to the head; and
his lips hang loosely\" (Darwin 1872:56). **2.** Crouching has been
observed in subordinate bonnet macaques (Rahaman and Parthasarathy
1968). **3.** Motherless rhesus monkeys crouched and \"showed symptoms
similar to disturbed mental patients\" (Pugh 1977:200).
*Paleontology I.* The vertebrate crouch display is formed of ancient
bending motions designed to remove animals from danger. A reflexive act,
controlled by the spinal cord, bending the body moves it away from
hazards, reduces its exposed surface area, and makes it look
\"smaller.\" Nonverbally, *flexed* body movements used to crouch lower
to the ground predate *extension* movements used to rise above its
surface (see, e.g., **[HIGH-STAND
DISPLAY](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**); thus, our remote ancestors crouched before they stood
tall.
*Paleontology II*. Crouching can be traced to an *avoider\'s response*
which is tactile in origin, rather than visual, as in the high-stand
display. So primitive is the crouch posture\'s *flexor reflex* that it
exists even in immature fish and amphibian larva. Stimulating the skin
of these simple creatures leads to side-to-side bending movements which,
in a watery world, remove them from dangers signaled by the touch.
*Neuro-notes*. The crouch is keyed to paleocircuits formed of primitive,
spinal-cord *interneurons* in charge of **[tactile
withdrawal](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm"
target="_top"}**. Similar \"tap withdrawal\" movements have been
observed even in spineless animals, such as the nematode worm. Working
through pools of interneurons controlling the muscular *stretch reflex*,
its body, like ours, automatically bends away from danger.
*Antonym*: **[ANTIGRAVITY
SIGN](http://members.aol.com/nonverbal2/antigrav.htm){target="_top"}**.
See also
**[PALM-UP](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**.
Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Drawing from Darwin 1872 (copyright 1998 by Oxford University Press)
|
CROWDING | https://ns1.omnitech.net/data/Nonverbal/proxemi1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>proxemic</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>PROXEMICS</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Bodies in Space" SRC="proxemic.jpg" tppabs="http://members.aol.com/doder1/objects/proxemic.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><I>I have learned to depend more on what people do than what they say in response to a direct
question, to pay close attention to that which cannot be consciously manipulated, and to look for
patterns rather than content</I>. --Edward T. Hall (1968:83)</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">. . . <I>Every cubic inch of space is a miracle</I>. --Walt Whitman (<I>Leaves of Grass</I>, "Miracles")<BR>
<BR>
<I>The desire for personal mobility seems to be unstoppable--it is, perhaps, the Irresistible Force</I>. --Charles Lave (1992)<BR>
<BR>
<BR>
</FONT><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><EM>Spatial signs, signals and cues</EM>.</FONT> According to its founder, Edward T. Hall, proxemics is the study of humankind's
"perception and use of space" (Hall 1968:83).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: Like <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial expressions</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></STRONG>, and <STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">postures</A></STRONG>, space "speaks." The prime directive of
proxemic space is that we may not come and go everywhere as we please. There are cultural
rules and biological boundaries--explicit as well as implicit and subtle limits to observe--everywhere.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Body space I</EM>. Scientific research on how we communicate in private and public spaces
began with studies of animal behavior (ethology) and territoriality in the 19th and early 20th centuries. In
1959, the anthropologist Edward Hall popularized spatial research on human beings--calling it
<EM>proxemics</EM>--in his classic book, <EM>The Silent Language</EM>.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Body space II</EM>. Hall identified four bodily distances--<EM>intimate</EM> (0 to 18 inches), <EM>personal-casual</EM>
(1.5 to 4 feet), <EM>social-consultive</EM> (4 to 10 feet), and <EM>public</EM> (10 feet and beyond)--as key points in
human spacing behavior. Hall noted, too, that different cultures set distinctive norms for closeness in, e.g.,
<A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top"><B>speaking</B></A>, business, and <A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top"><B>courting</B></A>, and that standing too close or too far away can lead to
misunderstandings and even to <EM>culture shock</EM>.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Body space III</EM>. Summarizing diverse studies, <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman">Vrugt and Kerkstra (1984:5) concluded that, "In interaction between strangers the interpersonal distance between women is smaller than between men and women."</FONT></FONT></FONT></FONT></FONT></FONT></FONT><BR>
<BR>
<I>Crowded space I</I>. "<I>A persistent and popular view holds that high population density inevitably leads to violence. This myth, which is based on rat research, applies neither to us nor to other primates</I>" (Waal et al. 2000:77).<BR>
<BR>
<FONT FACE="Times New Roman"><I>Crowded space II</I>. "This pathological togetherness [resulting from a rat population explosion which led to killing, sexual assaults, and cannibalism], as Calhoun [1962] described it, as well as the attendant chaos and behavioral deviancy, led him to coin the phrase 'behavioral sink'" (<FONT FACE="Times New Roman">Waal et al. 2000:77</FONT>).<BR>
<BR>
<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><I>Crowded space III</I>. "<I>In some of the short-term crowding experiments conducted by others and ourselves, monkeys were literally packed together, without much room to avoid body contact, in a cramped space for periods of up to a few hours. No dramatic aggression increases were measured. In fact, in my last conversation with the late John Calhoun, he mentioned having created layers of rats on top of each other and having been surprised at how passively they reacted</I>" (Waal 2000:10).<BR>
<BR>
<I>Culture</I>. In Japan, one may <I>hand prow</I> (i.e., face the palm-edge of one hand vertically forward in front of the nose), and <A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top"><B>bow</B></A> the head slightly, to aplogize for crossing between two people, or intruding into another's space to move through a crowded room. "The hand acts like the prow of a ship cutting through water" (Morris 1994:115).</FONT></FONT><BR>
<BR>
<I>Elevator space</I>. <B>1.</B> "In choosing to approach someone in order to push the [button on the control] panel, men and women reacted to different signals (Hughes and Goldman 1978); men preferred to approach people who stood with eyes averted to people who looked at them and smiled; women, however, preferred to approach someone who looked and smiled"<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"> (Vrugt and Kerkstra 1984:9). </FONT></FONT></FONT></FONT><B>2.</B> "Chimpanzees take this withdrawal tactic one step further: they are actually less aggressive when briefly crowded. Again, this reflects greater [primate] emotional restraint. Their reaction is reminiscent of people on an elevator, who reduce frictions by minimizing large body movements, <A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top"><B>eye contact</B></A> and loud vocalizations" <FONT FACE="Times New Roman"><FONT FACE="Times New Roman">(<FONT FACE="Times New Roman">Waal et al. 2000:81</FONT>).<BR>
<BR>
<I>Escalator space</I>. "Men reacted more to the person standing [immediately, i.e., just one step behind, with the hands reaching forward on the rail so as to be visible to the person ahead] behind them than did women" (Vrugt and Kerkstra 1984:9). "Women seem to prefer to act as if they do not notice anything, so that unwanted contact can be avoided. Men make it clear in their reactions that they do not appreciate such a rapprochement" <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman">(Vrugt and Kerkstra 1984:10).<BR>
<BR>
<I>Library space</I>. Regardless of an "invader's" sex, men already seated at an otherwise unoccupied table view opposites most negatively, while already seated women view adjacents most negatively (Fisher and Byrne 1975).</FONT></FONT></FONT></FONT></FONT></FONT></FONT><BR>
<BR>
<I>Parking space</I>. "A study of more than 400 drivers at an Atlanta-area mall parking lot found that motorists defend their spots instinctively" (AP, May 13, 1997; from research published in the <I>Journal of Applied Social Psychology</I>, May 1997). "It's not your paranoid imagination after all: People exiting parking spaces really do leave more slowly when you're waiting for the spot . . . . It's called territorial behavior . . ." <FONT FACE="Times New Roman">(AP, May 13, 1997</FONT>). </FONT></P>
<P><FONT FACE="Times New Roman"><EM>Office space I</EM>. Office workers spend the day in an average 260 square-foot (down from 1986's 275 square-foot), usually rectangular space. Corporate downsizing and belt-tightening mean that many staffers now find themselves
working in even smaller, modular, 80-square-foot <EM>cubicles</EM>. (<STRONG><I>N.B.</I></STRONG>: For some prehistoric context, consider
that our hunter-gatherer ancestors spent their workdays on an estimated 440-square-<I>mile</I> expanse
of open savannah.) Cubicles replaced the more exposed, "pool" desks which had earlier lined the
floors of cavernous group-occupied workrooms. Though maligned in Dilbert cartoons, cubicles at least
provide more privacy than the 1950s open workrooms, and offer needed respite from visual monitoring (which is known to be stressful to human primates)</FONT><FONT FACE="Times New Roman"><EM></EM>.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Office space II</EM>. "German business personnel visiting the United States see our open doors in offices and businesses as indicative of an unusually relaxed and unbusinesslike attitude. Americans get the feeling that the German's [sic] closed doors conceal a secretive or conspiratorial operation" (Vargas 1986:98). <BR>
<BR>
<I>Restaurant space</I>. Corner and wall tables are occupied first (Eibl-Eibesfeldt 1970).</FONT></FONT></P>
<P><FONT FACE="Times New Roman"><EM>Home space I</EM>. Americans spend an estimated 70 years indoors, mostly in the secure habitat
of an average-sized, 2,000-square-foot residences called a <EM>home</EM> (from the Indo-European root,
<STRONG>tkei-</STRONG>, "settle" or "site"). (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Because there is no counterpart in primate evolution for a life lived
entirely indoors, we bring the outdoors in. Thus, better homes and gardens include obvious replicas, as well as
subtle reminders, of the original savanna-grassland territory, including its warmth, lighting, colors,
vistas, textures, and plants.)<BR>
<BR>
</FONT><I>Home space II</I>. Upon re-entering our home (after several hours of absence), we feel a peculiar need to wander about the home space to "check" for intruders. In mammals, this behavior is known as <I>reconnaisance</I>: ". . . in which the animal moves round its range in a fully alerted manner so that all its sense organs are used as much as possible, resulting in maximal exposure to stimuli from the environment. It thus 'refreshes its memory' and keeps a check on everything in its area" [this is "a regular activity in an already familiar environment," which does "not require the stimulus of a strange object"] (Ewer 1968:66). </P>
<P><FONT FACE="Times New Roman"><EM>Neighborhood space</EM>. The prime directive of neighborhood space is, "Stay in your own yard."
That we are terribly territorial is reflected in fences by the barriers they define. According
to the American Fencing Association, 38,880 miles of chain link, 31,680 miles of wooden, and
1,440 miles of ornamental fencing are bought annually in the U.S. (<STRONG><I>N.B.</I></STRONG>: Each year Americans
buy enough residential fencing to encircle the earth nearly three times.)</FONT></P>
<P><FONT FACE="Times New Roman"><EM>City space I</EM>. Biologists call the space in which primates live their <EM>home range</EM>. The home range of
human hunter-gatherers (e.g., of the Kalahari Bushmen in southern Africa) spreads outward ca. 15-to-20 miles in all
directions from a central <EM>home base</EM>. The home range of today's city dwelling humans
includes a home base (an apartment or a house) as well, along with favored foraging territories (e.g., a
shopping mall and supermarket), a juvenile nursery (i.e., a school), a sporting area (e.g., a <STRONG><A HREF="golf.htm" tppabs="http://members.aol.com/nonverbal3/golf.htm" TARGET="_top">golf</A></STRONG> course), a work
space (an office building, e.g.)--and from two-to-five nocturnal drinking-and-dining spots. We
spend most of our lives <B>a.</B> occupying these favorite spaces, and <B>b.</B> orbiting among them on habitually
traveled pathways, sidewalks, and roads.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>City space II</EM>. "<I>Fixing Broken Windows</I>, a book by [Rutgers criminologist George] Kelling and co-author Catherine Coles, became a bible for New York City's 'zero-tolerance' policy toward abandoned cars, abandoned buildings and even graffiti. [new paragraph] "Kelling and Coles argue that even small signs of crime and decay in a neighborhood, such as broken windows, encourage crime by signaling that such behavior is tolerated" (Bayles 2000: 3A). <BR>
<BR>
<EM>National space</EM>. We live in one of ca. 160 sovereign nations which together claim 54% of earth's
surface, including almost all of its land and much of its oceans, waterways, and airspace. Over
ninety percent of all nations, including the U.S., have unresolved border disputes (see <FONT FACE="Times New Roman"><A HREF="http://www.army.mil/"><I><B>WWW.Army.mil</B></I></A></FONT>).</FONT></P>
<P><I>Outer space</I>. <I>No national sovereignty rules in outer space. Those who venture there go as envoys of the entire human race. Their quest, therefore, must be for all mankind, and what they find should belong to all mankind</I>. --Lyndon Baines Johnson<BR>
<BR>
<I>U.S. politics</I>. "Distance between two shakers who are still connected at the hand signifies either distrust, aloofness, or reserve. Democratic presidential candidate Michael Dukakis, often criticized in the media for his lack of passion in his campaign style, tends to shake hands by planting his feet and extending his right arm out to meet the oncoming hand of the other shaker" (Blum 1988:7-4). <BR>
<BR>
<I>Neuro-notes I</I>. <B>1.</B> In imaging studies of our brain, the neural basis of spatial location and navigation shows activation of the right hippocampus. Travel to a place activates the right caudate nucleus of the <A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top"><B>basal ganglia</B></A> (Maguire et al. 1998). <B>2.</B> "The navigation system includes special 'place cells' and 'direction cells' [in the hippocampus] that flicker visibly in MRI images when a research subject tries to find his or her way through a simulated urban environment" (Boyd 2000). <B>3.</B> "A section of the [London taxi] cabbies' brains, called the hippocampus, became enlarged during the two years they spent learning their way around the vast, complicated metropolis" (Boyd 2000; see <A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top"><B>PRIMATE BRAIN</B></A>, <I>Climbing cues</I>). <BR>
<BR>
<I>Neuro-notes II</I>. Damage to the right parietal lobe's angular gyrus and supra-marginal gyrus may cause problems in our ability to use space (such as, e.g., a difficulty in dressing, problems orienting in space, trouble drawing figures in 3D, and neglect of the body's entire left side). Lesions in the right hemisphere's parietal lobe may affect our spatial comprehension.<BR>
<BR>
<FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>, <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">CONFERENCE TABLE</A></STRONG>, <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">LOOM</A></STRONG>,
<STRONG><A HREF="steinzor.htm" tppabs="http://members.aol.com/nonverbal3/steinzor.htm" TARGET="_top">STEINZOR EFFECT</A></STRONG>, <STRONG><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">TOUCH 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>
Photo by Sanford Roth (copyright <EM>Rapho Guillumette</EM>)<BR>
</FONT></P>
</BODY>
</HTML> | **PROXEMICS**
{border="0"
tppabs="http://members.aol.com/doder1/objects/proxemic.jpg" height="35%"
width="30%"}\
\
*I have learned to depend more on what people do than what they say in
response to a direct question, to pay close attention to that which
cannot be consciously manipulated, and to look for patterns rather than
content*. \--Edward T. Hall (1968:83)
. . . *Every cubic inch of space is a miracle*. \--Walt Whitman (*Leaves
of Grass*, \"Miracles\")\
\
*The desire for personal mobility seems to be unstoppable\--it is,
perhaps, the Irresistible Force*. \--Charles Lave (1992)\
\
\
*Spatial signs, signals and cues*. According to its founder, Edward T.
Hall, proxemics is the study of humankind\'s \"perception and use of
space\" (Hall 1968:83).
*Usage*: Like **[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
and
**[postures](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, space \"speaks.\" The prime directive of proxemic
space is that we may not come and go everywhere as we please. There are
cultural rules and biological boundaries\--explicit as well as implicit
and subtle limits to observe\--everywhere.
*Body space I*. Scientific research on how we communicate in private and
public spaces began with studies of animal behavior (ethology) and
territoriality in the 19th and early 20th centuries. In 1959, the
anthropologist Edward Hall popularized spatial research on human
beings\--calling it *proxemics*\--in his classic book, *The Silent
Language*.
*Body space II*. Hall identified four bodily distances\--*intimate* (0
to 18 inches), *personal-casual* (1.5 to 4 feet), *social-consultive* (4
to 10 feet), and *public* (10 feet and beyond)\--as key points in human
spacing behavior. Hall noted, too, that different cultures set
distinctive norms for closeness in, e.g.,
[**speaking**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}, business, and
[**courting**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}, and that standing too close or too far away can lead to
misunderstandings and even to *culture shock*.\
\
*Body space III*. Summarizing diverse studies, Vrugt and Kerkstra
(1984:5) concluded that, \"In interaction between strangers the
interpersonal distance between women is smaller than between men and
women.\"\
\
*Crowded space I*. \"*A persistent and popular view holds that high
population density inevitably leads to violence. This myth, which is
based on rat research, applies neither to us nor to other primates*\"
(Waal et al. 2000:77).\
\
*Crowded space II*. \"This pathological togetherness \[resulting from a
rat population explosion which led to killing, sexual assaults, and
cannibalism\], as Calhoun \[1962\] described it, as well as the
attendant chaos and behavioral deviancy, led him to coin the phrase
\'behavioral sink\'\" (Waal et al. 2000:77).\
\
*Crowded space III*. \"*In some of the short-term crowding experiments
conducted by others and ourselves, monkeys were literally packed
together, without much room to avoid body contact, in a cramped space
for periods of up to a few hours. No dramatic aggression increases were
measured. In fact, in my last conversation with the late John Calhoun,
he mentioned having created layers of rats on top of each other and
having been surprised at how passively they reacted*\" (Waal 2000:10).\
\
*Culture*. In Japan, one may *hand prow* (i.e., face the palm-edge of
one hand vertically forward in front of the nose), and
[**bow**](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"} the head slightly, to aplogize for crossing between two
people, or intruding into another\'s space to move through a crowded
room. \"The hand acts like the prow of a ship cutting through water\"
(Morris 1994:115).\
\
*Elevator space*. **1.** \"In choosing to approach someone in order to
push the \[button on the control\] panel, men and women reacted to
different signals (Hughes and Goldman 1978); men preferred to approach
people who stood with eyes averted to people who looked at them and
smiled; women, however, preferred to approach someone who looked and
smiled\" (Vrugt and Kerkstra 1984:9). **2.** \"Chimpanzees take this
withdrawal tactic one step further: they are actually less aggressive
when briefly crowded. Again, this reflects greater \[primate\] emotional
restraint. Their reaction is reminiscent of people on an elevator, who
reduce frictions by minimizing large body movements, [**eye
contact**](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}
and loud vocalizations\" (Waal et al. 2000:81).\
\
*Escalator space*. \"Men reacted more to the person standing
\[immediately, i.e., just one step behind, with the hands reaching
forward on the rail so as to be visible to the person ahead\] behind
them than did women\" (Vrugt and Kerkstra 1984:9). \"Women seem to
prefer to act as if they do not notice anything, so that unwanted
contact can be avoided. Men make it clear in their reactions that they
do not appreciate such a rapprochement\" (Vrugt and Kerkstra 1984:10).\
\
*Library space*. Regardless of an \"invader\'s\" sex, men already seated
at an otherwise unoccupied table view opposites most negatively, while
already seated women view adjacents most negatively (Fisher and Byrne
1975).\
\
*Parking space*. \"A study of more than 400 drivers at an Atlanta-area
mall parking lot found that motorists defend their spots instinctively\"
(AP, May 13, 1997; from research published in the *Journal of Applied
Social Psychology*, May 1997). \"It\'s not your paranoid imagination
after all: People exiting parking spaces really do leave more slowly
when you\'re waiting for the spot . . . . It\'s called territorial
behavior . . .\" (AP, May 13, 1997).
*Office space I*. Office workers spend the day in an average 260
square-foot (down from 1986\'s 275 square-foot), usually rectangular
space. Corporate downsizing and belt-tightening mean that many staffers
now find themselves working in even smaller, modular, 80-square-foot
*cubicles*. (***N.B.***: For some prehistoric context, consider that our
hunter-gatherer ancestors spent their workdays on an estimated
440-square-*mile* expanse of open savannah.) Cubicles replaced the more
exposed, \"pool\" desks which had earlier lined the floors of cavernous
group-occupied workrooms. Though maligned in Dilbert cartoons, cubicles
at least provide more privacy than the 1950s open workrooms, and offer
needed respite from visual monitoring (which is known to be stressful to
human primates).\
\
*Office space II*. \"German business personnel visiting the United
States see our open doors in offices and businesses as indicative of an
unusually relaxed and unbusinesslike attitude. Americans get the feeling
that the German\'s \[sic\] closed doors conceal a secretive or
conspiratorial operation\" (Vargas 1986:98).\
\
*Restaurant space*. Corner and wall tables are occupied first
(Eibl-Eibesfeldt 1970).
*Home space I*. Americans spend an estimated 70 years indoors, mostly in
the secure habitat of an average-sized, 2,000-square-foot residences
called a *home* (from the Indo-European root, **tkei-**, \"settle\" or
\"site\"). (***N.B.***: Because there is no counterpart in primate
evolution for a life lived entirely indoors, we bring the outdoors in.
Thus, better homes and gardens include obvious replicas, as well as
subtle reminders, of the original savanna-grassland territory, including
its warmth, lighting, colors, vistas, textures, and plants.)\
\
*Home space II*. Upon re-entering our home (after several hours of
absence), we feel a peculiar need to wander about the home space to
\"check\" for intruders. In mammals, this behavior is known as
*reconnaisance*: \". . . in which the animal moves round its range in a
fully alerted manner so that all its sense organs are used as much as
possible, resulting in maximal exposure to stimuli from the environment.
It thus \'refreshes its memory\' and keeps a check on everything in its
area\" \[this is \"a regular activity in an already familiar
environment,\" which does \"not require the stimulus of a strange
object\"\] (Ewer 1968:66).
*Neighborhood space*. The prime directive of neighborhood space is,
\"Stay in your own yard.\" That we are terribly territorial is reflected
in fences by the barriers they define. According to the American Fencing
Association, 38,880 miles of chain link, 31,680 miles of wooden, and
1,440 miles of ornamental fencing are bought annually in the U.S.
(***N.B.***: Each year Americans buy enough residential fencing to
encircle the earth nearly three times.)
*City space I*. Biologists call the space in which primates live their
*home range*. The home range of human hunter-gatherers (e.g., of the
Kalahari Bushmen in southern Africa) spreads outward ca. 15-to-20 miles
in all directions from a central *home base*. The home range of today\'s
city dwelling humans includes a home base (an apartment or a house) as
well, along with favored foraging territories (e.g., a shopping mall and
supermarket), a juvenile nursery (i.e., a school), a sporting area
(e.g., a
**[golf](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm"
target="_top"}** course), a work space (an office building, e.g.)\--and
from two-to-five nocturnal drinking-and-dining spots. We spend most of
our lives **a.** occupying these favorite spaces, and **b.** orbiting
among them on habitually traveled pathways, sidewalks, and roads.
*City space II*. \"*Fixing Broken Windows*, a book by \[Rutgers
criminologist George\] Kelling and co-author Catherine Coles, became a
bible for New York City\'s \'zero-tolerance\' policy toward abandoned
cars, abandoned buildings and even graffiti. \[new paragraph\] \"Kelling
and Coles argue that even small signs of crime and decay in a
neighborhood, such as broken windows, encourage crime by signaling that
such behavior is tolerated\" (Bayles 2000: 3A).\
\
*National space*. We live in one of ca. 160 sovereign nations which
together claim 54% of earth\'s surface, including almost all of its land
and much of its oceans, waterways, and airspace. Over ninety percent of
all nations, including the U.S., have unresolved border disputes (see
[***WWW.Army.mil***](http://www.army.mil/)).
*Outer space*. *No national sovereignty rules in outer space. Those who
venture there go as envoys of the entire human race. Their quest,
therefore, must be for all mankind, and what they find should belong to
all mankind*. \--Lyndon Baines Johnson\
\
*U.S. politics*. \"Distance between two shakers who are still connected
at the hand signifies either distrust, aloofness, or reserve. Democratic
presidential candidate Michael Dukakis, often criticized in the media
for his lack of passion in his campaign style, tends to shake hands by
planting his feet and extending his right arm out to meet the oncoming
hand of the other shaker\" (Blum 1988:7-4).\
\
*Neuro-notes I*. **1.** In imaging studies of our brain, the neural
basis of spatial location and navigation shows activation of the right
hippocampus. Travel to a place activates the right caudate nucleus of
the [**basal
ganglia**](http://members.aol.com/nonverbal2/basal.htm){target="_top"}
(Maguire et al. 1998). **2.** \"The navigation system includes special
\'place cells\' and \'direction cells\' \[in the hippocampus\] that
flicker visibly in MRI images when a research subject tries to find his
or her way through a simulated urban environment\" (Boyd 2000). **3.**
\"A section of the \[London taxi\] cabbies\' brains, called the
hippocampus, became enlarged during the two years they spent learning
their way around the vast, complicated metropolis\" (Boyd 2000; see
[**PRIMATE
BRAIN**](http://members.aol.com/nonverbal3/primate.htm){target="_top"},
*Climbing cues*).\
\
*Neuro-notes II*. Damage to the right parietal lobe\'s angular gyrus and
supra-marginal gyrus may cause problems in our ability to use space
(such as, e.g., a difficulty in dressing, problems orienting in space,
trouble drawing figures in 3D, and neglect of the body\'s entire left
side). Lesions in the right hemisphere\'s parietal lobe may affect our
spatial comprehension.\
\
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[CONFERENCE
TABLE](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**,
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**, **[STEINZOR
EFFECT](steinzor.htm){tppabs="http://members.aol.com/nonverbal3/steinzor.htm"
target="_top"}**, **[TOUCH
CUE](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo by Sanford Roth (copyright *Rapho Guillumette*)\
|
CUT-OFF | https://ns1.omnitech.net/data/Nonverbal/cutoff1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>cutoff</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">CUT-OFF</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Facing Away" SRC="cutoff.jpg" tppabs="http://members.aol.com/doder1/objects/cutoff.jpg" HEIGHT="40%" WIDTH="25%"><BR>
<BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">Body movement</A></EM></STRONG>. A form of <STRONG><EM><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">gaze avoidance</A></EM></STRONG><EM></EM> in which the head is turned fully away to one side.</P>
<P><EM>Usage</EM>: In a conversation, a sudden cut-off gesture may indicate <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG> or disagreement
with a speaker's remarks. Sustained cut-off may reveal shyness or disliking.</P>
<P><I>Salesmanship</I>. <I>One signal of a prospect's skepticism</I>: "Looking suddenly up and to the side" (Delmar 1984:46).</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG><EM> Facing away</EM> is a reaction to spatial invasion (Sommer 1969). <STRONG>2.</STRONG>
"After the host and the various guests embraced, they backed off and one or both always looked
away. [Adam] Kendon calls this the cut-off and thinks it may be an equilibrium-maintaining
device [to re-establish a proper level of intimacy]" (Davis 1971:46). <STRONG>3.</STRONG> ". . . we have repeatedly
seen in normal 3- to 4-month-old infants extreme head aversion function to terminate intrusive
maternal behavior" (Stern 1974:188-89). <STRONG>4.</STRONG> "In all cases [in the presence of strange adults] boys
turn their heads away to the side more than do girls" (Stern and Bender 1974:241). <STRONG>5.</STRONG><EM> Gaze
aversion</EM> "increased dramatically" in conditions of crowding (Baxter and Rozelle 1975:46).<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "Do you know if there's been any research on whether you can read anything on intent from the direction someone glances when they look away during a conversation? I had a client who's a reporter tell me she believes it's an indication of deceit for someone to glance to their right (as if looking into the future and searching for their words) as opposed to glancing to their left (as if searching the past to make sure their words are accurate.) Is this a bunch of crap, or is there something to that [see </FONT><A HREF="clem1.htm" tppabs="http://members.aol.com/doder1/clem1.htm" TARGET="_top"><B><FONT SIZE="-1">CLEM</FONT></B></A><FONT SIZE="-1">]. I promised her I'd ask you." --L.G., Senior Communications Consultant, USA (11/19/99 2:14:15 PM Pacific Standard Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/handbehi.htm" TARGET="_top">HAND-BEHIND-HEAD</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">Photo detail copyright 1978 by Johnson & Johnson</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P>
</BODY>
</HTML> | **CUT-OFF**
{border="0"
tppabs="http://members.aol.com/doder1/objects/cutoff.jpg" height="40%"
width="25%"}\
\
\
***[Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. A form of ***[gaze
avoidance](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}***
in which the head is turned fully away to one side.
*Usage*: In a conversation, a sudden cut-off gesture may indicate
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**
or disagreement with a speaker\'s remarks. Sustained cut-off may reveal
shyness or disliking.
*Salesmanship*. *One signal of a prospect\'s skepticism*: \"Looking
suddenly up and to the side\" (Delmar 1984:46).
***RESEARCH REPORTS***: **1.** *Facing away* is a reaction to spatial
invasion (Sommer 1969). **2.** \"After the host and the various guests
embraced, they backed off and one or both always looked away. \[Adam\]
Kendon calls this the cut-off and thinks it may be an
equilibrium-maintaining device \[to re-establish a proper level of
intimacy\]\" (Davis 1971:46). **3.** \". . . we have repeatedly seen in
normal 3- to 4-month-old infants extreme head aversion function to
terminate intrusive maternal behavior\" (Stern 1974:188-89). **4.** \"In
all cases \[in the presence of strange adults\] boys turn their heads
away to the side more than do girls\" (Stern and Bender 1974:241).
**5.** *Gaze aversion* \"increased dramatically\" in conditions of
crowding (Baxter and Rozelle 1975:46).\
\
------------------------------------------------------------------------
***E-Commentary***: \"Do you know if there\'s been any research on
whether you can read anything on intent from the direction someone
glances when they look away during a conversation? I had a client who\'s
a reporter tell me she believes it\'s an indication of deceit for
someone to glance to their right (as if looking into the future and
searching for their words) as opposed to glancing to their left (as if
searching the past to make sure their words are accurate.) Is this a
bunch of crap, or is there something to that \[see
[**CLEM**](clem1.htm){tppabs="http://members.aol.com/doder1/clem1.htm"
target="_top"}\]. I promised her I\'d ask you.\" \--L.G., Senior
Communications Consultant, USA (11/19/99 2:14:15 PM Pacific Standard
Time)\
------------------------------------------------------------------------
\
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[HAND-BEHIND-HEAD](http://members.aol.com/nonverbal2/handbehi.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo detail copyright 1978 by Johnson & Johnson
|
DANCE | https://ns1.omnitech.net/data/Nonverbal/dance1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>dance</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>DANCE</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Sharing the Beat" SRC="dance.jpg" tppabs="http://members.aol.com/doder1/objects/dance.jpg" HEIGHT="35%" WIDTH="35%"><BR WP="BR1">
<BR WP="BR2">
<I><FONT FACE="Times New Roman" SIZE="-1">The body dances in time with the speech</FONT></I><FONT FACE="Times New Roman" SIZE="-1">. --Condon and Ogston (1967:225)</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1"><I>The truest expression of a people is its dances and its music. Bodies never lie</I>. --Agnes de Mille</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT><FONT><BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">Body motion</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>.</FONT> A repetitive series of usually rhythmic movements of the body and body parts
(esp. <STRONG><A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top">feet</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top">shoulders</A></STRONG>) to a musical beat, based on the alternating oscillations of
<STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walking</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: An ancient and powerful medium of nonverbal communication, dance is a nearly universal venue of
human <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courtship</A></STRONG>. Dance not only synchronizes a couple's physical movements (e.g., as they move to the beat of the same drummer), but their
moods and feelings as well. Some dance forms (e.g., break dancing, military marching, and the tribal
war dance) stimulate strong feelings of togetherness and esprit de corps through the reptilian
principle of <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">isopraxism</A></STRONG>.<BR>
<BR>
<I>Anthropology</I>. "One field which still awaits exploration is the squestion [sic] of how far a dominant kinesthetic awareness of certain parts of the body is related to psychological factors. If posture and movement of an individual are closely interdependent with his psychological state, would not stylized posture and gesture in the dance of a people be relevant to a general psychological trend in their life?" (Holt and Bateson 1944:52; the authors contrast, e.g., "rhythmic, rotating movements of the pelvic region" with "rigid" postures of the torso and hips in dancing). </FONT></P>
<P><FONT FACE="Times New Roman"><EM>Motions</EM>. The human form is more noticeable when moved. Thus, dancers not only
<STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig1.htm" TARGET="_top">attract attention</A></STRONG> of partners but of onlookers as well. Through (usually) <STRONG><A HREF="http://members.aol.com/nonverbal2/palmdown.htm" TARGET="_top">palm-down</A></STRONG>
motions, the arms participate in dance as "walking forelimbs." Exaggerated reaching (i.e.,
extension) movements of the arms (e.g., while waving the hands high above the head) signal strong
<STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotions</A></STRONG> through the principle of <I>nonverbal release</I> (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/atnr.htm" TARGET="_top">ATNR</A></STRONG>). In dancing, <B>a.</B> we show our
emotions and physical prowess (i.e., health), while <B>b.</B> giving our partners an opportunity to <STRONG><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">touch</A></STRONG>.<BR>
<BR>
<I>Popular culture</I>. When Joey Dee and the Starlighters played loud music with a beat at the Peppermint Lounge in New York in the 1960s, "even the waitresses were twisting" (Sutton 1984:33).<BR>
<BR>
<EM>Neuro-notes I</EM>. The oscillating movements and rhythmic footsteps of dance are keyed to a
two-point <EM>pedestrian beat</EM>. The natural rhythm of our upright, bipedal gait is coordinated by
the same spinal <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> which programmed the oscillatory <EM>swimming</EM> motions of the early
fishes (Grillner 1996; see <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">AQUATIC BRAIN & SPINAL CORD</A></STRONG>).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Neuro-notes II</EM>. In right-handed dancers, music appeals to the more emotional, intuitive, and
nonverbal right-brain hemisphere. Thus, dancing couples are on simlar <EM>feeling</EM> (rather than <EM>thinking</EM>) wavelengths .</FONT></P>
<P><FONT FACE="Times New Roman">See also <A HREF="music11.htm" tppabs="http://members.aol.com/doder1/music11.htm" TARGET="_top"><B>MUSIC</B></A>, <STRONG><A HREF="rapport1.htm" tppabs="http://members.aol.com/nonverbal3/rapport1.htm" TARGET="_top">RAPPORT</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 photo by Alfred Eisenstaedt (copyright <EM>Life</EM></FONT><FONT SIZE="-1">) </FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **DANCE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/dance.jpg" height="35%"
width="35%"}\
\
*The body dances in time with the speech*. \--Condon and Ogston
(1967:225)
*The truest expression of a people is its dances and its music. Bodies
never lie*. \--Agnes de Mille\
\
***[Body
motion](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. A repetitive series of usually rhythmic movements of
the body and body parts (esp.
**[feet](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm"
target="_top"}**,
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
and
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**)
to a musical beat, based on the alternating oscillations of
**[walking](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}**.
*Usage*: An ancient and powerful medium of nonverbal communication,
dance is a nearly universal venue of human
**[courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}**. Dance not only synchronizes a couple\'s physical
movements (e.g., as they move to the beat of the same drummer), but
their moods and feelings as well. Some dance forms (e.g., break dancing,
military marching, and the tribal war dance) stimulate strong feelings
of togetherness and esprit de corps through the reptilian principle of
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**.\
\
*Anthropology*. \"One field which still awaits exploration is the
squestion \[sic\] of how far a dominant kinesthetic awareness of certain
parts of the body is related to psychological factors. If posture and
movement of an individual are closely interdependent with his
psychological state, would not stylized posture and gesture in the dance
of a people be relevant to a general psychological trend in their
life?\" (Holt and Bateson 1944:52; the authors contrast, e.g.,
\"rhythmic, rotating movements of the pelvic region\" with \"rigid\"
postures of the torso and hips in dancing).
*Motions*. The human form is more noticeable when moved. Thus, dancers
not only **[attract
attention](http://members.aol.com/nonverbal2/lovesig1.htm){target="_top"}**
of partners but of onlookers as well. Through (usually)
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
motions, the arms participate in dance as \"walking forelimbs.\"
Exaggerated reaching (i.e., extension) movements of the arms (e.g.,
while waving the hands high above the head) signal strong
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
through the principle of *nonverbal release* (see, e.g.,
**[ATNR](http://members.aol.com/nonverbal2/atnr.htm){target="_top"}**).
In dancing, **a.** we show our emotions and physical prowess (i.e.,
health), while **b.** giving our partners an opportunity to
**[touch](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}**.\
\
*Popular culture*. When Joey Dee and the Starlighters played loud music
with a beat at the Peppermint Lounge in New York in the 1960s, \"even
the waitresses were twisting\" (Sutton 1984:33).\
\
*Neuro-notes I*. The oscillating movements and rhythmic footsteps of
dance are keyed to a two-point *pedestrian beat*. The natural rhythm of
our upright, bipedal gait is coordinated by the same spinal
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
which programmed the oscillatory *swimming* motions of the early fishes
(Grillner 1996; see **[AQUATIC BRAIN & SPINAL
CORD](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**).
*Neuro-notes II*. In right-handed dancers, music appeals to the more
emotional, intuitive, and nonverbal right-brain hemisphere. Thus,
dancing couples are on simlar *feeling* (rather than *thinking*)
wavelengths .
See also
[**MUSIC**](music11.htm){tppabs="http://members.aol.com/doder1/music11.htm"
target="_top"},
**[RAPPORT](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.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*)
|
DECEPTION CUE | https://ns1.omnitech.net/data/Nonverbal/deceive.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>deceive</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>DECEPTION CUE<BR>
<BR>
<A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top"><IMG BORDER="0" ALT="A Touch of Uncertainty" SRC="deceive.jpg" tppabs="http://members.aol.com/nonverbal3/objects/deceive.jpg" HEIGHT="50%" WIDTH="20%"><BR>
</A></STRONG></FONT><BR>
<I><FONT SIZE="-1">Carly returns to Sonny, who masks his relief over her return</FONT></I><FONT SIZE="-1">. --</FONT><I><FONT SIZE="-1">General Hospital</FONT></I><FONT SIZE="-1"> (</FONT><I><FONT SIZE="-1">Soap Opera Digest</FONT></I><FONT SIZE="-1">, May 2, 2000, p. 104)<BR>
<BR>
<I>As a child, I never could understand how my mother knew every time I told her a lie</I>. --Marjorie F. Vargas (1986:12)<BR>
</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><B><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></B></EM>. A nonverbal <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG> of verbal deceit, untruth, or lying.</P>
<P><EM>Usage</EM>: A long-standing goal of nonverbal research has been to find reliable signs of deception.
The quest is fueled by popular and scientific observations that deceit often is accompanied by
unconscious signals revealing anxiety, stress, or shame while lying. Studies indicate that certain
signs used when speaking (e.g., <STRONG>a. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/gazedown.htm" TARGET="_top">gaze-down</A></STRONG> and <STRONG>b.</STRONG> the rate of head and hand movements)
do accompany lies. (<STRONG><I>N.B.</I></STRONG>: At the least, deception cues present <STRONG><A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top">probing points</A></STRONG> with which to
guide inquiry regarding possible lies, much as <EM>galvanic skin resistance</EM> [see <STRONG><A HREF="sweaty1.htm" tppabs="http://members.aol.com/doder1/sweaty1.htm" TARGET="_top">SWEATY PALMS</A></STRONG>] in tandem with physiological <I>breathing</I> and <I>heart rates</I> are used to measure autonomic stress in a polygraph test.)<BR>
<BR>
<I>Caution</I>. Nonverbal cues may be used as reliable indicators of anxiety and stress (see <A HREF="http://members.aol.com/nonverbal2/baseline.htm" TARGET="_top"><B>BASELINE DEMEANOR</B></A>), but the nervousness itself does not necessarily indicate deception or lying (see below, <I>Media</I>).<BR>
<BR>
<I>Chimpanzee deception</I>. In the broadest sense of the term, "deception" is rife in the animal kingdom. Nonpoisonous flies and snakes, e.g., may adopt the warning marks and coloration of poisonous species to seem, deceptively, more harmful than they are in fact (see also <A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top"><B>LOOM</B></A>). The ability to deceive is highly evolved in primates (see below, <I>Nonhuman primates</I>). Our close animal relative, the chimpanzee (<I>Pan troglodytes</I>), e.g., is gifted in the art of deception: <B>1.</B> A young male, Dandy, withheld nonverbal cues of excitement to deceive other chimpanzees as to the location of hidden grapefruit, which Dandy subsequently consumed all by himself (Waal 1982). <B>2.</B> A 9-year old male, Figan, withheld nonverbal food calls to conceal a bunch of bananas, which Figan subsequently consumed all by himself (Goodall 1986). <B>3.</B> An adult male, Luit, pressed his lips together with his hand in an apparent attempt to hide the submissive fear grin he had given his rival, Nikki (Waal 1982). <BR>
<BR>
<I>Evolution</I>. "If we speculate about the evolution of communication, it is evident that a very important stage in this evolution occurs when the organism gradually ceases to respond quite 'automatically' to the mood signs of another and becomes able to recognize the sign as a <A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top"><B>signal</B></A>: that is, to recognize that the other individual's and its own signals are only signals, which can be trusted, distrusted, falsified, denied, amplified, corrected, and so forth" (Bateson 1955:40).<BR>
<BR>
<I>Literature</I>. "If you had a hundred masks upon your <A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top"><B>face</B></A>, your thoughts however slight would not be hidden from me." --Dante Alighieri (<I>Purgatorio, Canto XV</I>).<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. "Another factor that makes it difficult to detect lies is that 'the fear of being disbelieved looks the same as the fear of being caught lying,' he [Dr. Paul Ekman] said" (Goleman, <I>New York Times</I>, C9, Sept. 17, 1991).<BR>
<BR>
<I>Nonhuman primates</I>. In primates, "tactical deception" may include concealment, distraction, creating an image, manipulation, and deflection (Quiatt and Reynolds 1993:158-59).<BR>
<BR>
<I>Nonverbal changes</I>. According to Mark Knapp, Judee Burgoon, and G. Miller, ". . . changes in nonverbal behavior during deception consistently occur in six behavioral categories: (<B>a</B>) cues indicating underlying <A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top"><B>anxiety</B></A> or nervousness, (<B>b</B>) cues indicating underlying reticence or withdrawal (including non<A HREF="http://members.aol.com/nonverbal3/immediat.htm" TARGET="_top"><B>immediacy</B></A>), (<B>c</B>) excessive behaviors that deviate from the liar's <A HREF="http://members.aol.com/nonverbal2/baseline.htm" TARGET="_top"><B>truthful response patterns</B></A>, (<B>d</B>) cues showing underlying negative affect, (<B>e</B>) cues showing underlying vagueness or <A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top"><B>uncertainty</B></A>, and (<B>f</B>) incongruous responses or mixed messages" (Burgoon et al. 1989:270).<BR>
<BR>
<I>O. J. Simpson's murder trial</I>. <B>1.</B> Listening to testimony about the location of his knit cap, Mr. Simpson visibly protested what he knew to be false. <B>2.</B> Listening to testimony accusing him of the murder of his wife, Mr. Simpson showed no visible protest and remained completely motionless in his seat. <B>3.</B> Why the stark contrast in his nonverbal demeanor? (<B><I>N.B.</I></B>: You be the judge.)<BR>
<BR>
<B><A HREF="http://members.aol.com/nonverbal2/palmup.htm" TARGET="_top"><I>Palm-up</I></A></B>. "Pilot studies had suggested that a particular emblem, the hand shrug [a palm-up cue] which has the meaning of helplessness or inability . . . would appear as a clue to the occurrence of deception. . . . . In this instance, we expected that the hand-shrug emblem was occurring as a nonverbal slip of the tongue, with little awareness on the part of the subject, and that it was a deception cue" (Ekman and Friesen 1972:367).<BR>
<BR>
<B><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top"><I>Self-touch</I></A></B>. "We think the [hand-to-face] eyecover [of] shame expresses her main affective reaction to the two verbal themes, being hospitalized and having aggressive impulses" (Ekman and Friesen 1968:207; Author's Note: In the figure used to illustrate the eyecover cue, the subject is also gazing downward and touching her forehead with her hand).<BR>
<BR>
<STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> Deliberate control of body movement and the mental energy
required to fabricate a lie have been suggested to explain the general research finding that <EM>fewer
body movements</EM> occur with deception (Vrij et al. 1966). <STRONG>2.</STRONG> Lower rates of <STRONG><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">head nodding</A></STRONG> "are
associated with deceitful communication" (Mehrabian 1972:102). <B>3.</B> Three ". . . extensive reviews of the data . . . showed that several nonverbal cues are, in fact, consistently related to deception" (Burgoon et al. 1989:270). "Deceivers display increased pupil dilation [see <A HREF="http://members.aol.com/nonverbal2/eyes.htm" TARGET="_top"><B>EYES</B></A>], blinking rates, and adaptors [i.e., self-touching], more segments of body behavior, and fewer segments of facial behavior" (Burgoon et al. 1989:271). <B>4.</B> Paul Ekman suggests that one should ". . . <I>never reach a final conclusion about whether a suspect is lying or truthful based solely on either the polygraph or behavioral clues to deceit</I>" (Ekman 1992:238; italics are the author's). <STRONG> 5.</STRONG> People make "fewer hand
movements during deception compared to truth-telling" (Vrij et al. 1997:97).<BR>
<BR>
<B><I>STUDY ABSTRACT</I></B>:
"Research on the detection of deception, via non-verbal cues, has shown that people's ability to successfully discriminate between truth and deception is only slightly better than chance level. One of the reasons for these disappointing findings possibly lies in people's inappropriate beliefs regarding lying behaviour. A 64-item questionnaire originally used in Germany, which targets participants beliefs regarding truthful and deceptive behaviour, was used. The present study differed from previous research in three ways: (i) instead of a student population, police officers and lay people were sampled, (ii) both people's beliefs regarding others deceptive behaviour and their beliefs regarding their own deceptive behaviour were examined, and (iii) both non-verbal cues to, and content characteristics of, deceptive statements were examined. Results were consistent with previous studies, which found significant differences between people's beliefs regarding deceptive behaviour and experimental observations of actual deceptive behaviour. Further, police officers held as many false beliefs as did lay people and finally, participants were more accurate in their beliefs regarding their own deceptive behaviour than they were in their beliefs regarding others behaviour" (Akehurst et al. 1996:461; © 1996 John Wiley & Sons, Ltd.).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top">EYE-BLINK</A></STRONG>, <STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">FIGHT-OR-FLIGHT</A></STRONG>, <STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">SHOULDER-SHRUG</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><BR>
<FONT SIZE="-1">
Detail of photo by Ernst Haas (copyright </FONT><I><FONT SIZE="-1">Magnum</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
<BR>
</BODY>
</HTML> | **DECEPTION CUE\
\
[{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/deceive.jpg"
height="50%" width="20%"}\
](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**\
*Carly returns to Sonny, who masks his relief over her return*.
\--*General Hospital* (*Soap Opera Digest*, May 2, 2000, p. 104)\
\
*As a child, I never could understand how my mother knew every time I
told her a lie*. \--Marjorie F. Vargas (1986:12)\
\
\
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
A nonverbal
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}** of
verbal deceit, untruth, or lying.
*Usage*: A long-standing goal of nonverbal research has been to find
reliable signs of deception. The quest is fueled by popular and
scientific observations that deceit often is accompanied by unconscious
signals revealing anxiety, stress, or shame while lying. Studies
indicate that certain signs used when speaking (e.g., **a.**
**[gaze-down](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"}**
and **b.** the rate of head and hand movements) do accompany lies.
(***N.B.***: At the least, deception cues present **[probing
points](http://members.aol.com/nonverbal2/probe.htm){target="_top"}**
with which to guide inquiry regarding possible lies, much as *galvanic
skin resistance* \[see **[SWEATY
PALMS](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}**\] in tandem with physiological *breathing* and *heart
rates* are used to measure autonomic stress in a polygraph test.)\
\
*Caution*. Nonverbal cues may be used as reliable indicators of anxiety
and stress (see [**BASELINE
DEMEANOR**](http://members.aol.com/nonverbal2/baseline.htm){target="_top"}),
but the nervousness itself does not necessarily indicate deception or
lying (see below, *Media*).\
\
*Chimpanzee deception*. In the broadest sense of the term, \"deception\"
is rife in the animal kingdom. Nonpoisonous flies and snakes, e.g., may
adopt the warning marks and coloration of poisonous species to seem,
deceptively, more harmful than they are in fact (see also
[**LOOM**](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}). The ability to deceive is highly evolved in primates
(see below, *Nonhuman primates*). Our close animal relative, the
chimpanzee (*Pan troglodytes*), e.g., is gifted in the art of deception:
**1.** A young male, Dandy, withheld nonverbal cues of excitement to
deceive other chimpanzees as to the location of hidden grapefruit, which
Dandy subsequently consumed all by himself (Waal 1982). **2.** A 9-year
old male, Figan, withheld nonverbal food calls to conceal a bunch of
bananas, which Figan subsequently consumed all by himself (Goodall
1986). **3.** An adult male, Luit, pressed his lips together with his
hand in an apparent attempt to hide the submissive fear grin he had
given his rival, Nikki (Waal 1982).\
\
*Evolution*. \"If we speculate about the evolution of communication, it
is evident that a very important stage in this evolution occurs when the
organism gradually ceases to respond quite \'automatically\' to the mood
signs of another and becomes able to recognize the sign as a
[**signal**](http://members.aol.com/nonverbal2/signal.htm){target="_top"}:
that is, to recognize that the other individual\'s and its own signals
are only signals, which can be trusted, distrusted, falsified, denied,
amplified, corrected, and so forth\" (Bateson 1955:40).\
\
*Literature*. \"If you had a hundred masks upon your
[**face**](http://members.aol.com/nonverbal2/face.htm){target="_top"},
your thoughts however slight would not be hidden from me.\" \--Dante
Alighieri (*Purgatorio, Canto XV*).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
\"Another factor that makes it difficult to detect lies is that \'the
fear of being disbelieved looks the same as the fear of being caught
lying,\' he \[Dr. Paul Ekman\] said\" (Goleman, *New York Times*, C9,
Sept. 17, 1991).\
\
*Nonhuman primates*. In primates, \"tactical deception\" may include
concealment, distraction, creating an image, manipulation, and
deflection (Quiatt and Reynolds 1993:158-59).\
\
*Nonverbal changes*. According to Mark Knapp, Judee Burgoon, and G.
Miller, \". . . changes in nonverbal behavior during deception
consistently occur in six behavioral categories: (**a**) cues indicating
underlying
[**anxiety**](http://members.aol.com/nonverbal2/fear.htm){target="_top"}
or nervousness, (**b**) cues indicating underlying reticence or
withdrawal (including
non[**immediacy**](http://members.aol.com/nonverbal3/immediat.htm){target="_top"}),
(**c**) excessive behaviors that deviate from the liar\'s [**truthful
response
patterns**](http://members.aol.com/nonverbal2/baseline.htm){target="_top"},
(**d**) cues showing underlying negative affect, (**e**) cues showing
underlying vagueness or
[**uncertainty**](http://members.aol.com/nonverbal2/uncert.htm){target="_top"},
and (**f**) incongruous responses or mixed messages\" (Burgoon et al.
1989:270).\
\
*O. J. Simpson\'s murder trial*. **1.** Listening to testimony about the
location of his knit cap, Mr. Simpson visibly protested what he knew to
be false. **2.** Listening to testimony accusing him of the murder of
his wife, Mr. Simpson showed no visible protest and remained completely
motionless in his seat. **3.** Why the stark contrast in his nonverbal
demeanor? (***N.B.***: You be the judge.)\
\
**[*Palm-up*](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**.
\"Pilot studies had suggested that a particular emblem, the hand shrug
\[a palm-up cue\] which has the meaning of helplessness or inability . .
. would appear as a clue to the occurrence of deception. . . . . In this
instance, we expected that the hand-shrug emblem was occurring as a
nonverbal slip of the tongue, with little awareness on the part of the
subject, and that it was a deception cue\" (Ekman and Friesen
1972:367).\
\
**[*Self-touch*](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**.
\"We think the \[hand-to-face\] eyecover \[of\] shame expresses her main
affective reaction to the two verbal themes, being hospitalized and
having aggressive impulses\" (Ekman and Friesen 1968:207; Author\'s
Note: In the figure used to illustrate the eyecover cue, the subject is
also gazing downward and touching her forehead with her hand).\
\
***RESEARCH REPORTS***: **1.** Deliberate control of body movement and
the mental energy required to fabricate a lie have been suggested to
explain the general research finding that *fewer body movements* occur
with deception (Vrij et al. 1966). **2.** Lower rates of **[head
nodding](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}** \"are associated with deceitful communication\"
(Mehrabian 1972:102). **3.** Three \". . . extensive reviews of the data
. . . showed that several nonverbal cues are, in fact, consistently
related to deception\" (Burgoon et al. 1989:270). \"Deceivers display
increased pupil dilation \[see
[**EYES**](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}\],
blinking rates, and adaptors \[i.e., self-touching\], more segments of
body behavior, and fewer segments of facial behavior\" (Burgoon et al.
1989:271). **4.** Paul Ekman suggests that one should \". . . *never
reach a final conclusion about whether a suspect is lying or truthful
based solely on either the polygraph or behavioral clues to deceit*\"
(Ekman 1992:238; italics are the author\'s). **5.** People make \"fewer
hand movements during deception compared to truth-telling\" (Vrij et al.
1997:97).\
\
***STUDY ABSTRACT***: \"Research on the detection of deception, via
non-verbal cues, has shown that people\'s ability to successfully
discriminate between truth and deception is only slightly better than
chance level. One of the reasons for these disappointing findings
possibly lies in people\'s inappropriate beliefs regarding lying
behaviour. A 64-item questionnaire originally used in Germany, which
targets participants beliefs regarding truthful and deceptive behaviour,
was used. The present study differed from previous research in three
ways: (i) instead of a student population, police officers and lay
people were sampled, (ii) both people\'s beliefs regarding others
deceptive behaviour and their beliefs regarding their own deceptive
behaviour were examined, and (iii) both non-verbal cues to, and content
characteristics of, deceptive statements were examined. Results were
consistent with previous studies, which found significant differences
between people\'s beliefs regarding deceptive behaviour and experimental
observations of actual deceptive behaviour. Further, police officers
held as many false beliefs as did lay people and finally, participants
were more accurate in their beliefs regarding their own deceptive
behaviour than they were in their beliefs regarding others behaviour\"
(Akehurst et al. 1996:461; © 1996 John Wiley & Sons, Ltd.).
See also
**[EYE-BLINK](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**,
**[SHOULDER-SHRUG](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.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 Ernst Haas (copyright *Magnum*)
\
|
DECISION GRIP | https://ns1.omnitech.net/data/Nonverbal/decision.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>decision</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="DECISION GRIP">DECISION GRIP<BR>
<BR>
<IMG BORDER="0" ALT="Proprietary Clasp" SRC="decision.jpg" tppabs="http://members.aol.com/nonverbal3/objects/decision.jpg" HEIGHT="35%" WIDTH="25%"></A></STRONG></FONT></P>
<P><EM>Hand position</EM>. <STRONG>1.</STRONG> A manner of grasping an object securely between the inner surfaces of the
fingers (i.e., the tactile pads) and the palm. <STRONG>2.</STRONG> A "proprietary" clasp usually intermediate between the <STRONG><A HREF="http://members.aol.com/nonverbal2/precise.htm" TARGET="_top">precision grip</A></STRONG> and the
<STRONG><A HREF="power1.htm" tppabs="http://members.aol.com/doder1/power1.htm" TARGET="_top">power grip</A></STRONG>. <STRONG>3.</STRONG> A clear indication that a customer has decided to purchase (i.e., to take
ownership of) a hand-held <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer product</A></STRONG> such as a book, magazine, or greeting card.</P>
<P><EM>Usage I</EM>: The decision grip is a nonverbal <A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top"><B>sign</B></A> showing that one's mind has decided to take possession of an artifact or
object. After an exploratory waiting period (reflected by holding a consumer product, e.g., in the tentative <EM>precision grip</EM>), we unwittingly grasp the item in a
decision grip--which maximizes contact between the item itself and the sensitive tactile pads--as if it were already a personal possession or a <I>belonging</I>.<BR>
<BR>
<EM>Usage II</EM>: When a larger consumer product, such as a computer scanner or a table lamp, is placed in a shopping cart, the prospective owner may grasp the cart's handrail in a decision (rather than in the usual power) grip. Holding the cart in this manner reflects the emotional power exerted by consumer products.<BR>
<BR>
<EM>Neuro-notes</EM>. Using our sensitive fingertips as <EM>tactile antennae</EM>, we initially probe an objects with the precision grip, keeping it "at a distance" (because, psychologically, it is not yet "ours"). But as the mind takes ownership, we clutch the product between our fingers and palm in a <EM>proprietary clasp</EM> before taking
full acquisition at the checkstand. Handling objects in the decision grip stimulates
tactile sensors (e.g., for pleasurable "soft," or <I>protopathic</I>, touch) and pleasure areas linked to grooming centers of the mammalian brain's <STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">cingulate gyrus</A></STRONG>.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">HANDS</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top">OBJECT FANCY</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1999, 2000 (David B. Givens/</FONT><B><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></B><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1"></FONT></A><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR>
</P>
</BODY>
</HTML> | **[DECISION GRIP\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/decision.jpg"
height="35%" width="25%"}]{#DECISION GRIP}**
*Hand position*. **1.** A manner of grasping an object securely between
the inner surfaces of the fingers (i.e., the tactile pads) and the palm.
**2.** A \"proprietary\" clasp usually intermediate between the
**[precision
grip](http://members.aol.com/nonverbal2/precise.htm){target="_top"}**
and the **[power
grip](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm"
target="_top"}**. **3.** A clear indication that a customer has decided
to purchase (i.e., to take ownership of) a hand-held **[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** such as a book, magazine, or greeting card.
*Usage I*: The decision grip is a nonverbal
[**sign**](http://members.aol.com/nonverbal2/sign.htm){target="_top"}
showing that one\'s mind has decided to take possession of an artifact
or object. After an exploratory waiting period (reflected by holding a
consumer product, e.g., in the tentative *precision grip*), we
unwittingly grasp the item in a decision grip\--which maximizes contact
between the item itself and the sensitive tactile pads\--as if it were
already a personal possession or a *belonging*.\
\
*Usage II*: When a larger consumer product, such as a computer scanner
or a table lamp, is placed in a shopping cart, the prospective owner may
grasp the cart\'s handrail in a decision (rather than in the usual
power) grip. Holding the cart in this manner reflects the emotional
power exerted by consumer products.\
\
*Neuro-notes*. Using our sensitive fingertips as *tactile antennae*, we
initially probe an objects with the precision grip, keeping it \"at a
distance\" (because, psychologically, it is not yet \"ours\"). But as
the mind takes ownership, we clutch the product between our fingers and
palm in a *proprietary clasp* before taking full acquisition at the
checkstand. Handling objects in the decision grip stimulates tactile
sensors (e.g., for pleasurable \"soft,\" or *protopathic*, touch) and
pleasure areas linked to grooming centers of the mammalian brain\'s
**[cingulate
gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**.
See also
**[HANDS](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
**[OBJECT
FANCY](http://members.aol.com/nonverbal2/object.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**[](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
|
EFFERENT CUE | https://ns1.omnitech.net/data/Nonverbal/efferen1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>efferent</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">EFFERENT CUE</FONT></STRONG></P>
<P><I><FONT SIZE="-1">Attendez! Por ejemplo!! Place the fingers of your right hand extended. Distend the thumb of your right hand until it touches your nose. The little finger of your right hand is stretched venomously towards the world. You say nothing but you think much, and that is that. The gesture is made; and an ugly world is scoffed</FONT></I><FONT SIZE="-1">. --John D. Williams (1926:8; see below, </FONT><I><FONT SIZE="-1">The Shanghai gesture</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<BR>
<EM>Neuro term</EM>. <STRONG>1.</STRONG> A nonverbal sign <EM>sent</EM>, as opposed to one <I>received</I> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top">AFFERENT CUE</A></STRONG>). <STRONG>2.</STRONG>
An outgoing sign produced, e.g., by a <STRONG><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movement</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/adorn.htm" TARGET="_top">clothing cue</A></STRONG>, <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer product</A></STRONG>,
glandular secretion (e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/apocrine.htm" TARGET="_top">apocrine odor</A></STRONG>, <STRONG><A HREF="sweaty1.htm" tppabs="http://members.aol.com/doder1/sweaty1.htm" TARGET="_top">sweaty palms</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">tears</A></STRONG>), <STRONG><A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top">hair style</A></STRONG>, <A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top"><B>nonverbal vocalization</B></A>
(e.g., <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>, whine), <STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">posture</A></STRONG>, recipe (e.g., <B><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">Big Mac</A><FONT SIZE="+1"><STRONG>®</STRONG></FONT></B><FONT SIZE="+1"><STRONG></STRONG></FONT>, <B><A HREF="http://members.aol.com/nonverbal2/cocacola.htm" TARGET="_top">Coca-Cola</A></B><B><FONT SIZE="+1"><STRONG>®</STRONG></FONT></B><FONT SIZE="+1"><STRONG></STRONG></FONT>, <B><A HREF="shellfis.htm" tppabs="http://members.aol.com/nonverbal3/shellfis.htm" TARGET="_top">shrimp cocktail</A></B>), or <STRONG><A HREF="sperrors.htm" tppabs="http://members.aol.com/nonverbal3/sperrors.htm" TARGET="_top">speech error</A></STRONG>.<BR>
<BR>
<EM>Usage</EM>: Conceptually, <EM>efferent</EM> and <EM>afferent</EM> reflect the two sides of every nonverbal sign: (1)
<EM>egress</EM> (i.e., as an out-bound cue to be produced) and (2) <EM>ingress</EM> (i.e., as an in-bound cue to be
processed).</P>
<P><I>The Shanghai gesture</I>. "The gesture [see epigraph above] is useful. It is comforting. It does something for you and to you, because the world cannot answer--in kind--if you make the gesture first" (Williams 1926:8).<BR>
<BR>
<EM></EM><EM>Neuro-note</EM>: Efferent cues reflect <STRONG>a.</STRONG> inner thoughts (produced, e.g., in tandem with the speech areas), and <STRONG>b.</STRONG> inner workings of the <STRONG><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">nonverbal brain</A></STRONG>.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">INFORMATION</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">MESSAGING FEATURE</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"><FONT SIZE="-1"><FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001 </FONT></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></P>
</BODY>
</HTML> | **EFFERENT CUE**
*Attendez! Por ejemplo!! Place the fingers of your right hand extended.
Distend the thumb of your right hand until it touches your nose. The
little finger of your right hand is stretched venomously towards the
world. You say nothing but you think much, and that is that. The gesture
is made; and an ugly world is scoffed*. \--John D. Williams (1926:8; see
below, *The Shanghai gesture*)\
\
\
*Neuro term*. **1.** A nonverbal sign *sent*, as opposed to one
*received* (see **[AFFERENT
CUE](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}**).
**2.** An outgoing sign produced, e.g., by a **[body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**, **[clothing
cue](http://members.aol.com/nonverbal2/adorn.htm){target="_top"}**,
**[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**, glandular secretion (e.g., **[apocrine
odor](http://members.aol.com/nonverbal2/apocrine.htm){target="_top"}**,
**[sweaty
palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}**,
**[tears](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**),
**[hair
style](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**,
[**nonverbal
vocalization**](http://members.aol.com/nonverbal2/tone.htm){target="_top"}
(e.g.,
**[cry](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**,
**[laugh](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}**,
whine),
**[posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, recipe (e.g., **[Big
Mac](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}**®****,
**[Coca-Cola](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}**®****,
**[shrimp
cocktail](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}**), or **[speech
error](sperrors.htm){tppabs="http://members.aol.com/nonverbal3/sperrors.htm"
target="_top"}**.\
\
*Usage*: Conceptually, *efferent* and *afferent* reflect the two sides
of every nonverbal sign: (1) *egress* (i.e., as an out-bound cue to be
produced) and (2) *ingress* (i.e., as an in-bound cue to be processed).
*The Shanghai gesture*. \"The gesture \[see epigraph above\] is useful.
It is comforting. It does something for you and to you, because the
world cannot answer\--in kind\--if you make the gesture first\"
(Williams 1926:8).\
\
*Neuro-note*: Efferent cues reflect **a.** inner thoughts (produced,
e.g., in tandem with the speech areas), and **b.** inner workings of the
**[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**.
See also
**[CUE](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**,
**[INFORMATION](http://members.aol.com/nonverbal2/info.htm){target="_top"}**,
**[MESSAGING
FEATURE](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**.
Copyright**©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
ENTERIC BRAIN | https://ns1.omnitech.net/data/Nonverbal/enteric1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>enteric</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">ENTERIC BRAIN</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><A HREF="shellfis.htm" tppabs="http://members.aol.com/nonverbal3/shellfis.htm" TARGET="_top"><IMG BORDER="0" ALT="Enteric Brain Food" SRC="enteric.jpg" tppabs="http://members.aol.com/doder1/objects/enteric.jpg" HEIGHT="35%" WIDTH="35%"></A><BR>
<FONT SIZE="-1"><BR>
<I>Ever since you gave me that order to be <A HREF="silence1.htm" tppabs="http://members.aol.com/doder1/silence1.htm" TARGET="_top"><B>silent</B></A>, a number of things in my stomach have gone to rot</I> . . . . --Sancho Panza (Miguel de Cervantes, <I>Don Quixote</I> [1605:161]) <BR>
<BR>
<I><FONT SIZE="-1">Chomsky's linguistics was beginning to strike many people as "a theory of the stomach which ignored digestion."</FONT></I><FONT SIZE="-1"> --David Berreby (1994)<BR>
</FONT>
<BR>
<I>I don't like shopping, especially in a mall. I get dizzy and it makes me want to toss my cookies</I>. --Nancy Lee Grahn, "Alexis," <I>General Hospital</I> (<I>Soap Opera Digest</I>, May 2, 2000:57)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM>Neuro term</EM>. A vast collection of nerve cells and <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> in the bowel area, of such
complexity that it has recently been called the "second brain."</P>
<P><EM>Usage</EM>: In many ways independent of the brain proper--i.e., having a mind of its own--the enteric
brain expresses itself nonverbally as visible "gut reactions." The "full" feeling of satisfaction, the
"sick" feeling of nausea, the urge to vomit, and abdominal pain, e.g., are telegraphed through familiar <A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top"><B>facial
expressions</B></A> and <A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top"><B>body movements</B></A>.<FONT FACE="Times New Roman"></FONT><BR>
<BR>
<I>Culture</I>. In the Japanese art of <I>shinyo</I>, one may cultivate the nonverbal skills of an awareness center called the <I>hara</I>, a region of the abdomen, diaphram, and stomach, which may be trained to process "gut feelings" about another person's unvoiced motivations and moods. "It is the primary way in which senior level Japanese officials and executives conduct business, and takes precedence over almost all other forms of decision-making. It does not consist of ‘winging it' based on generally ill-defined intuition; rather it is a skill and art which sets some people apart from all others in Japanese society and consists of learning and skills which are in some ways closely guarded secrets even today" (Drake 2000).</P>
<P><I>Goethe's biology</I>. "Much of the ungulate's soul life--despite its undoubted intensity and power--does not appear at the surface, because it is too much involved in the processes of digestion and growth to establish any close relationship with the outside world" [Schadt, p. 226].
</P>
<P><FONT FACE="Times New Roman"><EM>Neuro-notes I</EM>. In terms of its structures, functions, and neurochemicals, the enteric nervous
system (ENS) is now regarded as "a brain unto itself." According to Gershon (1998), "Within those yards of tubing
lies a complex web of microcircuitry driven by more neurotransmitters and neuromodulators than
can be found anywhere else in the peripheral nervous system. These allow the ENS to perform
many of its tasks in the absence of central nervous system (CNS) control . . . ."</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Neuro-notes II</EM>. Though the vagus nerve controls much of the ENS, the latter itself dictates how
to perform most of its diverse functions.</FONT></P>
<P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/disgust.htm" TARGET="_top">DISGUST</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">NONVERBAL BRAIN</A></STRONG>, <STRONG><A HREF="rest.htm" tppabs="http://members.aol.com/nonverbal3/rest.htm" TARGET="_top">REST-AND-DIGEST</A></STRONG>, <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">SPECIAL VISCERAL
NERVE</A></STRONG>.<BR>
<BR>
</FONT><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/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><STRONG>Center for Nonverbal Studies</STRONG></A><STRONG></STRONG>)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT><FONT FACE="Times New Roman" COLOR="#0000FF"><U></U></FONT></P>
</BODY>
</HTML> | **ENTERIC BRAIN**
[{border="0"
tppabs="http://members.aol.com/doder1/objects/enteric.jpg" height="35%"
width="35%"}](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}\
\
*Ever since you gave me that order to be
[**silent**](silence1.htm){tppabs="http://members.aol.com/doder1/silence1.htm"
target="_top"}, a number of things in my stomach have gone to rot* . . .
. \--Sancho Panza (Miguel de Cervantes, *Don Quixote* \[1605:161\])\
\
*Chomsky\'s linguistics was beginning to strike many people as \"a
theory of the stomach which ignored digestion.\"* \--David Berreby
(1994)\
\
*I don\'t like shopping, especially in a mall. I get dizzy and it makes
me want to toss my cookies*. \--Nancy Lee Grahn, \"Alexis,\" *General
Hospital* (*Soap Opera Digest*, May 2, 2000:57)\
\
*Neuro term*. A vast collection of nerve cells and
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
in the bowel area, of such complexity that it has recently been called
the \"second brain.\"
*Usage*: In many ways independent of the brain proper\--i.e., having a
mind of its own\--the enteric brain expresses itself nonverbally as
visible \"gut reactions.\" The \"full\" feeling of satisfaction, the
\"sick\" feeling of nausea, the urge to vomit, and abdominal pain, e.g.,
are telegraphed through familiar [**facial
expressions**](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}
and [**body
movements**](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}.\
\
*Culture*. In the Japanese art of *shinyo*, one may cultivate the
nonverbal skills of an awareness center called the *hara*, a region of
the abdomen, diaphram, and stomach, which may be trained to process
\"gut feelings\" about another person\'s unvoiced motivations and moods.
\"It is the primary way in which senior level Japanese officials and
executives conduct business, and takes precedence over almost all other
forms of decision-making. It does not consist of 'winging it\' based on
generally ill-defined intuition; rather it is a skill and art which sets
some people apart from all others in Japanese society and consists of
learning and skills which are in some ways closely guarded secrets even
today\" (Drake 2000).
*Goethe\'s biology*. \"Much of the ungulate\'s soul life\--despite its
undoubted intensity and power\--does not appear at the surface, because
it is too much involved in the processes of digestion and growth to
establish any close relationship with the outside world\" \[Schadt, p.
226\].
*Neuro-notes I*. In terms of its structures, functions, and
neurochemicals, the enteric nervous system (ENS) is now regarded as \"a
brain unto itself.\" According to Gershon (1998), \"Within those yards
of tubing lies a complex web of microcircuitry driven by more
neurotransmitters and neuromodulators than can be found anywhere else in
the peripheral nervous system. These allow the ENS to perform many of
its tasks in the absence of central nervous system (CNS) control . . .
.\"
*Neuro-notes II*. Though the vagus nerve controls much of the ENS, the
latter itself dictates how to perform most of its diverse functions.
See also
**[DISGUST](http://members.aol.com/nonverbal2/disgust.htm){target="_top"}**,
**[NONVERBAL
BRAIN](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**,
**[REST-AND-DIGEST](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}**, **[SPECIAL VISCERAL
NERVE](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}**.\
\
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
ERGONOMICS OF THE MIND | https://ns1.omnitech.net/data/Nonverbal/ergomind.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>ergomind</TITLE>
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<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="ERGONOMICS FOR THE MIND">ERGONOMICS OF THE MIND<BR>
<BR>
<IMG BORDER="0" ALT="Smooth & Rounded (ca. 2500 BC)" SRC="ergo1.jpg" tppabs="http://members.aol.com/nonverbal3/objects/ergo1.jpg" HEIGHT="35%" WIDTH="45%"></A><BR>
</STRONG></FONT><BR>
<EM>Concept</EM>. <STRONG>1.</STRONG> The application of <EM>neuroscience principles</EM> to <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer product</A></STRONG> design. <STRONG>2.</STRONG><EM> Design features</EM><STRONG> a.</STRONG> adapted specifically to the brain and nervous system, and <STRONG>b.</STRONG> intended to optimize product
appeal, enjoyment, and value (see, e.g., <STRONG><A HREF="newcar.htm" tppabs="http://members.aol.com/doder1/newcar.htm" TARGET="_top">new car smell</A></STRONG>). <STRONG>3.</STRONG> Emotional <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging features</A></STRONG>
added to make products more expressive (e.g., more "lively") and fun to use.</P>
<P><EM>Usage</EM>: Ergonomics of the mind means "user friendly to the brain." For the last 100,000 years, human beings have designed products so as to maximize their appeal to emotions, feelings, and moods. Today we form strong attachments to products
which express themselves, show attitude, and emote personality (see, e.g., <A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top"><B>BIG MAC</B></A>, <A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top"><B>BLUE JEANS</B></A>, <A HREF="vstripe.htm" tppabs="http://members.aol.com/nonverbal3/vstripe.htm" TARGET="_top"><B>VEHICULAR STRIPE</B></A>).</P>
<P><IMG BORDER="0" ALT="Smooth & Rounded (1999 AD)" SRC="ergo2.jpg" tppabs="http://members.aol.com/nonverbal3/objects/ergo2.jpg" HEIGHT="35%" WIDTH="45%"><BR>
<BR>
<I>Familiarity</I>. We prefer those products we have already seen, tasted, heard, felt, or smelled to those yet unexperienced. According to research by Robert Zajonc (1980):
"If subjects are exposed to some novel visual patterns (like Chinese ideograms) and then asked to
choose whether they prefer the previously exposed or new patterns, they reliably tend to prefer
the preexposed ones. Mere exposure to stimuli is enough to create preferences" (quoted in LeDoux,
1996:53). Subliminal mere exposure works, too: "This led him [Robert Bornstein] to conclude
that the mere exposure effect is much stronger when the stimuli are subliminally presented than
when the stimuli are freely available for conscious inspection" (LeDoux, 1996:59).<BR>
<BR>
<I><B><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">Color</A></B></I>. We like multi-hued products. Like our primate relatives, we have acute color vision and can recognize
ca. 200 specific hues, from fiery reds to violet blues. (<I><B>N.B.</B></I>: The color green strongly attracts our attention, and is used in traffic lights, under the first
and last steps of escalators, and in rented bowling shoes.)<BR>
<BR>
<I><B><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">Touch</A></B></I>. We like products that feel smooth and soft to the touch. When a silk scarf, e.g., is drawn across our palm, the "soft" sensation is carried by <I>free nerve
endings</I>, the oldest touch sensors found in vertebrate skin. Today, the soft or <I>protopathic</I> touch sensors found in hairless areas of our skin are partly responsible for our itching, tickling, and sexual sensations.<BR>
<BR>
See also <A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top"><B>ARTIFACT</B></A>, <A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top"><B>OBJECT FANCY</B></A>, <B><A HREF="http://members.aol.com/nonverbal2/vegrille.htm" TARGET="_top">VEHICULAR GRILLE</A></B>. <BR WP="BR1">
<BR WP="BR2">
<FONT SIZE="-1">Copyright<FONT SIZE="-1"><FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> </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">)<BR>
Top illustration: A native American atlatl (spear-thrower) weight from Ohio, dated between 2600-2400 </FONT><FONT SIZE="-2">BC</FONT><FONT SIZE="-2"></FONT><FONT SIZE="-1"> (Scarre 1993:101; copyright Dorling Kinderslee) </FONT></P>
<BR>
</BODY>
</HTML> | **[ERGONOMICS OF THE MIND\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/ergo1.jpg"
height="35%" width="45%"}]{#ERGONOMICS FOR THE MIND}\
**\
*Concept*. **1.** The application of *neuroscience principles* to
**[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** design. **2.** *Design features* **a.** adapted
specifically to the brain and nervous system, and **b.** intended to
optimize product appeal, enjoyment, and value (see, e.g., **[new car
smell](newcar.htm){tppabs="http://members.aol.com/doder1/newcar.htm"
target="_top"}**). **3.** Emotional **[messaging
features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**
added to make products more expressive (e.g., more \"lively\") and fun
to use.
*Usage*: Ergonomics of the mind means \"user friendly to the brain.\"
For the last 100,000 years, human beings have designed products so as to
maximize their appeal to emotions, feelings, and moods. Today we form
strong attachments to products which express themselves, show attitude,
and emote personality (see, e.g., [**BIG
MAC**](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"},
[**BLUE
JEANS**](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"},
[**VEHICULAR
STRIPE**](vstripe.htm){tppabs="http://members.aol.com/nonverbal3/vstripe.htm"
target="_top"}).
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/ergo2.jpg"
height="35%" width="45%"}\
\
*Familiarity*. We prefer those products we have already seen, tasted,
heard, felt, or smelled to those yet unexperienced. According to
research by Robert Zajonc (1980): \"If subjects are exposed to some
novel visual patterns (like Chinese ideograms) and then asked to choose
whether they prefer the previously exposed or new patterns, they
reliably tend to prefer the preexposed ones. Mere exposure to stimuli is
enough to create preferences\" (quoted in LeDoux, 1996:53). Subliminal
mere exposure works, too: \"This led him \[Robert Bornstein\] to
conclude that the mere exposure effect is much stronger when the stimuli
are subliminally presented than when the stimuli are freely available
for conscious inspection\" (LeDoux, 1996:59).\
\
***[Color](http://members.aol.com/nonverbal3/color.htm){target="_top"}***.
We like multi-hued products. Like our primate relatives, we have acute
color vision and can recognize ca. 200 specific hues, from fiery reds to
violet blues. (***N.B.***: The color green strongly attracts our
attention, and is used in traffic lights, under the first and last steps
of escalators, and in rented bowling shoes.)\
\
***[Touch](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}***. We like products that feel smooth and soft to the
touch. When a silk scarf, e.g., is drawn across our palm, the \"soft\"
sensation is carried by *free nerve endings*, the oldest touch sensors
found in vertebrate skin. Today, the soft or *protopathic* touch sensors
found in hairless areas of our skin are partly responsible for our
itching, tickling, and sexual sensations.\
\
See also
[**ARTIFACT**](http://members.aol.com/nonverbal3/artifact.htm){target="_top"},
[**OBJECT
FANCY**](http://members.aol.com/nonverbal2/object.htm){target="_top"},
**[VEHICULAR
GRILLE](http://members.aol.com/nonverbal2/vegrille.htm){target="_top"}**.\
\
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Top illustration: A native American atlatl (spear-thrower) weight from
Ohio, dated between 2600-2400 BC (Scarre 1993:101; copyright Dorling
Kinderslee)
\
|
EXPECTANCY THEORY | https://ns1.omnitech.net/data/Nonverbal/expect1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>expect</TITLE>
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<P><STRONG><FONT SIZE="+1">EXPECTANCY THEORY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><EM>Conceptual model</EM>. The hypothesis--also known as <EM>expectancy communication</EM> or <EM>interpersonal expectancy effects</EM>--that a person's nonverbal communication unwittingly
scripts a recipient's behavior, deportment, or performance in the manner of a <EM>self-fulfilling
prophecy</EM>.</P>
<P><EM>Usage I</EM>: Displayed nonverbally, a teacher's positive expectancies for certain chosen students
encourages them to work harder and get better grades.</P>
<P><EM>Usage II</EM>: A judge's <STRONG><A HREF="bodylan1.htm" tppabs="http://members.aol.com/doder1/bodylan1.htm" TARGET="_top">body language</A></STRONG> can transmit negative signals (e.g., <EM>gaze </EM><STRONG><EM><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">cut-off</A></EM></STRONG>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">tense-mouth</A></EM></STRONG>, and <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/tonguesh.htm" TARGET="_top">tongue-show</A></EM></STRONG><EM></EM>), which may inadvertently influence jurors to decide against a defense
attorney's case.</P>
<P><I>Salesmanship</I>. "As in most areas concerning the sales confrontation, the salesperson will be viewed and treated largely according to <I>how he expects to be treated</I>" (Delmar 1984:31). <BR>
<BR>
<EM>Clever Hans</EM>. As <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">primates</A></STRONG> we are highly responsive to nonverbal cues, and thus susceptible to
the "Clever Hans" phenomenon (Pfungst 1911):</P>
<BLOCKQUOTE>
<P><FONT SIZE="-1">Once upon a 19</FONT><SUP><FONT SIZE="-1">th</FONT></SUP><FONT SIZE="-1">-century time, there lived a world-famous horse named Clever Hans,
who displayed amazing mathematical ability. If somebody asked him to add, say, five
plus seven, Hans would faithfully stomp 12 times, astounding all present. For years,
puzzled scientists were baffled by how the animal could add and subtract. One Oskar
Pfungst solved the riddle at last. According to Pfungst, Clever Hans looked closely at his
human audience for subtle body cues [e.g., of the eyes and head] telling him when to stop tapping his hoof. Tiny
</FONT><STRONG><A HREF="kinesic1.htm" tppabs="http://members.aol.com/doder1/kinesic1.htm" TARGET="_top"><FONT SIZE="-1">kinesic</FONT></A></STRONG><FONT SIZE="-1"> signs alone sufficed (Givens 1981:56).</FONT></P>
</BLOCKQUOTE>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> Research has shown that "nonverbal cues play an enormous role in
signaling interpersonal expectations, often within the first 30 seconds of an interaction" (Burgoon
et al. 1989:448). <STRONG>2.</STRONG> Relaxed postures, dominance displays, leg movements, <B><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">head-nodding</A></B>,
smiling, and "interested" facial expressions may show positive expectations; while <B><A HREF="headshak.htm" tppabs="http://members.aol.com/nonverbal3/headshak.htm" TARGET="_top">head-shaking</A></B>,
eyebrow-raising, looking surprised or disappointed, and tapping a pencil may show negative
expectations (Burgoon et al. 1989).</P>
<P>See also <A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top"><B>ISOPRAXISM</B></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><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> | **EXPECTANCY THEORY**
*Conceptual model*. The hypothesis\--also known as *expectancy
communication* or *interpersonal expectancy effects*\--that a person\'s
nonverbal communication unwittingly scripts a recipient\'s behavior,
deportment, or performance in the manner of a *self-fulfilling
prophecy*.
*Usage I*: Displayed nonverbally, a teacher\'s positive expectancies for
certain chosen students encourages them to work harder and get better
grades.
*Usage II*: A judge\'s **[body
language](bodylan1.htm){tppabs="http://members.aol.com/doder1/bodylan1.htm"
target="_top"}** can transmit negative signals (e.g., *gaze*
***[cut-off](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}***,
***[tense-mouth](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}***,
and
***[tongue-show](http://members.aol.com/nonverbal2/tonguesh.htm){target="_top"}***),
which may inadvertently influence jurors to decide against a defense
attorney\'s case.
*Salesmanship*. \"As in most areas concerning the sales confrontation,
the salesperson will be viewed and treated largely according to *how he
expects to be treated*\" (Delmar 1984:31).\
\
*Clever Hans*. As
**[primates](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**
we are highly responsive to nonverbal cues, and thus susceptible to the
\"Clever Hans\" phenomenon (Pfungst 1911):
> Once upon a 19^th^-century time, there lived a world-famous horse
> named Clever Hans, who displayed amazing mathematical ability. If
> somebody asked him to add, say, five plus seven, Hans would faithfully
> stomp 12 times, astounding all present. For years, puzzled scientists
> were baffled by how the animal could add and subtract. One Oskar
> Pfungst solved the riddle at last. According to Pfungst, Clever Hans
> looked closely at his human audience for subtle body cues \[e.g., of
> the eyes and head\] telling him when to stop tapping his hoof. Tiny
> **[kinesic](kinesic1.htm){tppabs="http://members.aol.com/doder1/kinesic1.htm"
> target="_top"}** signs alone sufficed (Givens 1981:56).
***RESEARCH REPORTS***: **1.** Research has shown that \"nonverbal cues
play an enormous role in signaling interpersonal expectations, often
within the first 30 seconds of an interaction\" (Burgoon et al.
1989:448). **2.** Relaxed postures, dominance displays, leg movements,
**[head-nodding](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}**, smiling, and \"interested\" facial expressions may
show positive expectations; while
**[head-shaking](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}**, eyebrow-raising, looking surprised or disappointed,
and tapping a pencil may show negative expectations (Burgoon et al.
1989).
See also
[**ISOPRAXISM**](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
EYEBROW-LOWER | https://ns1.omnitech.net/data/Nonverbal/browlow1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>browlow</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">EYEBROW-LOWER</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Tough-Guy Lowered Brows & Brim" SRC="browlow.jpg" tppabs="http://members.aol.com/doder1/objects/browlow.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">Facial expression</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> To frown or scowl, as in <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>,
concentration, displeasure, or thought. <STRONG>2.</STRONG> To depress, knit,
pucker, or wrinkle the brow by contracting the <EM>corrugator</EM>,
<EM>procerus</EM>, and <EM>orbicularis oculi</EM> muscles.</P>
<P><EM>Usage</EM>: Lowering the eyebrows is a sensitive indicator of
disagreement, doubt, or <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>.</P>
<P><I>Observation</I>. Slightly lowered eyebrows may telegraph unvoiced
disagreement among colleagues, as comments are presented at a
<STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> ". . .many kinds of monkeys, especially
baboons, when angered or in any way excited, rapidly and
incessantly move their eyebrows up and down. . ." (Darwin
1872:138). <STRONG>2.</STRONG> In nursery school children, attacks "are often
preceded and accompanied by fixating the opponent and by what
looks like a frown with lowering of the eyebrows and rather
little vertical furrowing of the brow ('low frown') and no
conspicuous modification of the mouth expression" (Blurton Jones
1967:355). <B>3.</B> Blind-and-deaf-born children frown in anger (Eibl-Eibesfeldt 1971:12). <STRONG>4.</STRONG> Lowered brows show anger (Ekman and Friesen 1976).
<STRONG>5.</STRONG> "Puzzlement was displayed by curving the mouth downward,
lowering the eyebrows and eyelids, <A HREF="http://members.aol.com/nonverbal3/droop.htm" TARGET="_top"><B>dropping</B></A> the jaw, and
constricting the forehead muscles" (Burgoon et al. 1989:352). <B>6.</B> "A series of recent studies finds that men and women in a group situation are more likely to respond to female leaders with scowls and frowns, while smiling and nodding at male leaders who say the same thing" [<I>Manpower Comments</I>, May 1990:19].</P>
<P><EM><I>Neuro-notes</I></EM>. A gestural fossil, the lowered-brows cue is innervated by <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">special visceral nerves</A></STRONG>, originally designed for feeding. The expression is emotionally responsive today as it
reflects visceral sensations (i.e., "gut feelings") aroused, e.g., by aggression or anger. In effect,
we lower our eyebrows to protect our eye openings, a form of "nonverbal lock-down." Emotional
stimuli pass from higher brain centers to brain-stem nuclei below, where the <EM>facial nerve</EM> (cranial VII) arises in a special visceral motor column of the pons. </P>
<P><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="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top">EYEBROW-RAISE</A></STRONG>, <B><A HREF="http://members.aol.com/nonverbal2/hat.htm" TARGET="_top">HAT</A></B>.</FONT></P>
<P><FONT FACE="Times New Roman">Copyright 1999 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Photo detail of Humphrey Bogart, from Warner Bros. movie, <I>The Roaring Twenties</I></FONT> (copyright Kobal Collection, London)</P>
</BODY>
</HTML> | **EYEBROW-LOWER**
{border="0"
tppabs="http://members.aol.com/doder1/objects/browlow.jpg" height="35%"
width="25%"}\
\
***[Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
**1.** To frown or scowl, as in
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
concentration, displeasure, or thought. **2.** To depress, knit, pucker,
or wrinkle the brow by contracting the *corrugator*, *procerus*, and
*orbicularis oculi* muscles.
*Usage*: Lowering the eyebrows is a sensitive indicator of disagreement,
doubt, or
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**.
*Observation*. Slightly lowered eyebrows may telegraph unvoiced
disagreement among colleagues, as comments are presented at a
**[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**.
***RESEARCH REPORTS***: **1.** \". . .many kinds of monkeys, especially
baboons, when angered or in any way excited, rapidly and incessantly
move their eyebrows up and down. . .\" (Darwin 1872:138). **2.** In
nursery school children, attacks \"are often preceded and accompanied by
fixating the opponent and by what looks like a frown with lowering of
the eyebrows and rather little vertical furrowing of the brow (\'low
frown\') and no conspicuous modification of the mouth expression\"
(Blurton Jones 1967:355). **3.** Blind-and-deaf-born children frown in
anger (Eibl-Eibesfeldt 1971:12). **4.** Lowered brows show anger (Ekman
and Friesen 1976). **5.** \"Puzzlement was displayed by curving the
mouth downward, lowering the eyebrows and eyelids,
[**dropping**](http://members.aol.com/nonverbal3/droop.htm){target="_top"}
the jaw, and constricting the forehead muscles\" (Burgoon et al.
1989:352). **6.** \"A series of recent studies finds that men and women
in a group situation are more likely to respond to female leaders with
scowls and frowns, while smiling and nodding at male leaders who say the
same thing\" \[*Manpower Comments*, May 1990:19\].
**Neuro-notes**. A gestural fossil, the lowered-brows cue is innervated
by **[special visceral
nerves](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}**, originally designed for feeding. The expression is
emotionally responsive today as it reflects visceral sensations (i.e.,
\"gut feelings\") aroused, e.g., by aggression or anger. In effect, we
lower our eyebrows to protect our eye openings, a form of \"nonverbal
lock-down.\" Emotional stimuli pass from higher brain centers to
brain-stem nuclei below, where the *facial nerve* (cranial VII) arises
in a special visceral motor column of the pons.
See also
**[CRY](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**,
**[EYEBROW-RAISE](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}**,
**[HAT](http://members.aol.com/nonverbal2/hat.htm){target="_top"}**.
Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo detail of Humphrey Bogart, from Warner Bros. movie, *The Roaring
Twenties* (copyright Kobal Collection, London)
|
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<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>browrais</TITLE>
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<P><STRONG><FONT SIZE="+1">EYEBROW-RAISE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Supercilious" SRC="browrais.jpg" tppabs="http://members.aol.com/doder1/objects/browrais.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1">
<BR>
<I><FONT SIZE="-1">. . . the vast corrugated brow overhanging the proud eyes . . . .</FONT></I><FONT SIZE="-1"> --Joseph Conrad (</FONT><I><FONT SIZE="-1">Lord Jim</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR WP="BR2">
<STRONG><EM><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top"><BR>
Facial expression</A></EM></STRONG><EM></EM>. <B>1.</B> To lift the arch of short hairs above the
eye, as in <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>, disbelief, surprise, or exasperation. <STRONG>2.</STRONG>
To elevate the eyebrow by contracting the occipitofrontalis
muscle.</P>
<P><EM>Usage I</EM>: Raising the eyebrows adds intensity to a facial
expression. Brow-raising can strengthen a dominant stare,
exaggerate a submissive <STRONG><A HREF="pout.htm" tppabs="http://members.aol.com/doder1/pout.htm" TARGET="_top">pout</A></STRONG>, or boost the energy of a <STRONG><A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top">smile</A></STRONG>.
The involved muscle (occipitofrontalis) elevates the eyebrows to
form prominent, horizontal furrows in the forehead, making almost
any gesture look and feel stronger.</P>
<P><EM>Usage II</EM>: In tandem with head-tilt-back, raising one or both
eyebrows suggests a supercilious air of disdain, haughtiness, or
pride. (<STRONG><EM>N.B.</EM></STRONG><EM></EM>: "Supercilious" comes from the Latin word for
"eyebrow," <EM>supercilium</EM>.) We may unconsciously lift our eyebrows as we
give orders, argue important speaking points, or make demands.<BR>
<BR>
<EM>Anatomy</EM>. Our <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></STRONG> evolved as a signboard to display <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotions</A></STRONG>
welling from the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG>. Facial messages are
controlled by the facial nerve (<EM>cranial VII</EM>). Its nucleus has
both an upper and a lower component; the former lifts
and depresses our eyebrows. When we feel <STRONG><A HREF="http://members.aol.com/nonverbal2/happy.htm" TARGET="_top">happy</A></STRONG>, e.g., our <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic
brain</A></STRONG> stimulates cranial VII, which innervates
the forehead muscles to raise our brows.</P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG><EM></EM>. <B>1.</B> "[Phil] Donahue has a characteristic way of raising his eyebrows which draws attention to his eyes which are directed to the [TV] viewers" (Raffler-Engel 1984:12). <B>2.</B> To convey authority and show strong emotion,
televangelists raise their eyebrows and project their foreheads'
horizontal lines onto the video screen for added dramatic effect.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> Eyebrow-raise is a threat sign in baboons,
mandrills, and cebus monkeys (Andrew 1965; van Hooff 1967). <STRONG>2.
</STRONG>The <EM>eyebrow-flash</EM> of recognition is a worldwide friendly greeting
(Eibl-Eibesfeldt 1989; Morris 1994). <STRONG>3.</STRONG> One eyebrow raised (as in
the <EM>eyebrow cock</EM>) is a widespread sign of scepticism (Morris
1994).</P>
<P><EM>Neuro-notes</EM>. Brow-raising is mediated by the top part of cranial VII's motor nucleus, which contains
cells to innervate the contraction of muscles in the upper part of
our face. The top part receives bilateral input from both sides
of the cerebral neocortex, rather than unilaterally (as in the bottom part of
the nucleus, which controls the muscles of the lower half of our
face).</P>
<P>See also <STRONG><A HREF="browlow1.htm" tppabs="http://members.aol.com/doder1/browlow1.htm" TARGET="_top">EYEBROW-LOWER</A></STRONG>. </P>
<P><STRONG></STRONG><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 copyright by Linda McCartney.</FONT><FONT SIZE="-1"></FONT></P>
<BR WP="BR1">
<BR WP="BR2">
</BODY>
</HTML> | **EYEBROW-RAISE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/browrais.jpg" height="35%"
width="30%"}\
\
*. . . the vast corrugated brow overhanging the proud eyes . . . .*
\--Joseph Conrad (*Lord Jim*)\
***[\
Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
**1.** To lift the arch of short hairs above the eye, as in
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**,
disbelief, surprise, or exasperation. **2.** To elevate the eyebrow by
contracting the occipitofrontalis muscle.
*Usage I*: Raising the eyebrows adds intensity to a facial expression.
Brow-raising can strengthen a dominant stare, exaggerate a submissive
**[pout](pout.htm){tppabs="http://members.aol.com/doder1/pout.htm"
target="_top"}**, or boost the energy of a
**[smile](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}**.
The involved muscle (occipitofrontalis) elevates the eyebrows to form
prominent, horizontal furrows in the forehead, making almost any gesture
look and feel stronger.
*Usage II*: In tandem with head-tilt-back, raising one or both eyebrows
suggests a supercilious air of disdain, haughtiness, or pride.
(***N.B.***: \"Supercilious\" comes from the Latin word for \"eyebrow,\"
*supercilium*.) We may unconsciously lift our eyebrows as we give
orders, argue important speaking points, or make demands.\
\
*Anatomy*. Our
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
evolved as a signboard to display
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
welling from the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**. Facial messages are controlled by the facial nerve
(*cranial VII*). Its nucleus has both an upper and a lower component;
the former lifts and depresses our eyebrows. When we feel
**[happy](http://members.aol.com/nonverbal2/happy.htm){target="_top"}**,
e.g., our **[limbic
brain](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}** stimulates cranial VII, which innervates the forehead
muscles to raise our brows.
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
**1.** \"\[Phil\] Donahue has a characteristic way of raising his
eyebrows which draws attention to his eyes which are directed to the
\[TV\] viewers\" (Raffler-Engel 1984:12). **2.** To convey authority and
show strong emotion, televangelists raise their eyebrows and project
their foreheads\' horizontal lines onto the video screen for added
dramatic effect.
***RESEARCH REPORTS***: **1.** Eyebrow-raise is a threat sign in
baboons, mandrills, and cebus monkeys (Andrew 1965; van Hooff 1967).
**2.** The *eyebrow-flash* of recognition is a worldwide friendly
greeting (Eibl-Eibesfeldt 1989; Morris 1994). **3.** One eyebrow raised
(as in the *eyebrow cock*) is a widespread sign of scepticism (Morris
1994).
*Neuro-notes*. Brow-raising is mediated by the top part of cranial
VII\'s motor nucleus, which contains cells to innervate the contraction
of muscles in the upper part of our face. The top part receives
bilateral input from both sides of the cerebral neocortex, rather than
unilaterally (as in the bottom part of the nucleus, which controls the
muscles of the lower half of our face).
See also
**[EYEBROW-LOWER](browlow1.htm){tppabs="http://members.aol.com/doder1/browlow1.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 copyright by Linda McCartney.
\
\
|
FACIAL FLUSHING | 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)
|
FACIAL I.D. | https://ns1.omnitech.net/data/Nonverbal/facialid.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>facialid</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="FACIAL I.D.">FACIAL I.D.</A><BR>
</STRONG><BR>
<IMG BORDER="0" ALT="Mug Shots" SRC="facialid.jpg" tppabs="http://members.aol.com/nonverbal3/objects/facialid.jpg" HEIGHT="40%" WIDTH="35%"><BR>
</FONT> <BR>
<I>Identification</I>. Those definitive features of a <A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top"><B>face</B></A> with which to establish its age, sex,
attractiveness, and identity.</P>
<P><EM>Usage</EM>: Despite an advanced ability to recognize and recall thousands of faces (see <STRONG><A HREF="facerec.htm" tppabs="http://members.aol.com/nonverbal3/facerec.htm" TARGET="_top">FACIAL
RECOGNITION</A></STRONG>), we are unable to describe individual faces adequately in <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>. Witnesses
at crime scenes, e.g., offer police few verbal clues of facial I.D.</P>
<P><EM>Identity clues</EM>. Our brain's innate ability to recognize faces far exceeds that of any spoken
language to describe them. Identity clues used by the Chicago Police, e.g., consist of general, all-purpose
words such as <STRONG>a.</STRONG> <EM>high</EM>, <EM>low</EM>, <EM>wide</EM>, and <EM>narrow</EM> foreheads; <STRONG>b.</STRONG> <EM>smooth</EM>, <EM>creased</EM>, and <EM>wrinkled</EM> skin; <STRONG>c.</STRONG>
<EM>long</EM>, <EM>wide</EM>, <EM>flat</EM>, <EM>pug</EM>, and <EM>Roman</EM> noses; <STRONG>d.</STRONG> <EM>wide</EM>, <EM>narrow</EM>, and <EM>flared</EM> nostrils; <STRONG>e.</STRONG> <EM>sunken</EM>, <EM>filled-out</EM>,
<EM>dried</EM>, <EM>oily</EM>, and <EM>wrinkled</EM> cheeks; <STRONG>f.</STRONG> <EM>prominent</EM>, <EM>high</EM>, <EM>low</EM>, <EM>wide</EM>, and <EM>fleshy</EM> cheek bones; <STRONG>g.</STRONG>
<EM>corners-turned-up</EM>, <EM>down</EM>, and <EM>level</EM> for the mouth; <STRONG>h.</STRONG> <EM>thin</EM>, <EM>medium</EM>, and <EM>full</EM> upper and lower lips;
<STRONG>i.</STRONG> <EM>double chin</EM>, <EM>protruding Adam's apple</EM>, and <EM>hanging jowls</EM> for necks; and <STRONG>j.</STRONG> <EM>round</EM>, <EM>oval</EM>,
<EM>pointed</EM>, <EM>square</EM>, <EM>small</EM>, and <EM>double</EM> chins.</P>
<P><EM>Prehistory</EM>. That linguistic labels for the face pale in comparison to those for <A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top"><STRONG>consumer products</STRONG></A><STRONG></STRONG> (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top">FOOTWEAR</A></STRONG>) is because our primate face "speaks for itself" and has done
so for millions of years. The need to describe faces in words is a recent development dating back
only a few thousand years to adaptations for city life, i.e., for urban crime and increasing numbers of strangers.
(<I><STRONG>N.B.</STRONG></I><STRONG></STRONG>: Recognizing and remembering faces involves <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></STRONG> centers of the brain, which are addressed
only indirectly by speech centers.)</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> Researchers have isolated facial traits preferred, perhaps, by all
human beings. Facial "cuteness," e.g.--a set of immature features and youthful proportions--is
found to be generally attractive in the male and female face. Cuteness (i.e., the <EM>infantile schema</EM>)
was originally identified in mammals (including human beings) by Konrad Lorenz (1939). <STRONG>2.</STRONG>
Japanese and Caucasian men and women prefer <EM>high cheekbones</EM> and such infantile traits as <STRONG>a.</STRONG>
<EM>thin jaws</EM>, <STRONG>b.</STRONG> <EM>large eyes</EM>, <STRONG>c.</STRONG> a <EM>short distance</EM> between the mouth and chin, and <STRONG>d.</STRONG> a <EM>short distance</EM>
between the nose and mouth (Perrett, May and Yoshikawa 1994). <STRONG>3.</STRONG> Another preferred trait is
<EM>symmetry</EM> between a face's right- and left-hand sides. In a review of symmetry in mate selection,
Paul Watson and Randy Thornhill concluded, e.g., that animals from scorpion flies to zebra
finches show a preference for symmetrical patterns and shapes (perhaps because <EM>asymmetry</EM> is a
sign of weakness or disease; Watson and Thornhill 1994). Thornhill applied the findings to
human beings by studying college student ratings of young adult faces (through photos showing a
range of vertical and horizontal symmetry or its lack): subjects rated symmetrical faces most
attractive.</P>
<P><EM>Evolution</EM>. Our face has become more baby-like (and less intimidating) through time. The wide
jaws and broad dental arch of our ancestor, <EM>Homo habilis</EM> (ca. 2.3 m.y.a.), e.g., belonged to a
fearsome-looking face with great biting power. Our own lower face's comparatively smaller
features are crouched beneath an immense, bulbous--i.e., infantile--forehead.</P>
<P>See also <A HREF="http://members.aol.com/nonverbal3/beauty1.htm" TARGET="_top"><B>FACIAL BEAUTY</B></A>, <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">FACIAL EXPRESSION</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"><FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> </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> | **[FACIAL I.D.]{#FACIAL I.D.}\
**\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/facialid.jpg"
height="40%" width="35%"}\
\
*Identification*. Those definitive features of a
[**face**](http://members.aol.com/nonverbal2/face.htm){target="_top"}
with which to establish its age, sex, attractiveness, and identity.
*Usage*: Despite an advanced ability to recognize and recall thousands
of faces (see **[FACIAL
RECOGNITION](facerec.htm){tppabs="http://members.aol.com/nonverbal3/facerec.htm"
target="_top"}**), we are unable to describe individual faces adequately
in **[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**. Witnesses at crime scenes, e.g., offer police few
verbal clues of facial I.D.
*Identity clues*. Our brain\'s innate ability to recognize faces far
exceeds that of any spoken language to describe them. Identity clues
used by the Chicago Police, e.g., consist of general, all-purpose words
such as **a.** *high*, *low*, *wide*, and *narrow* foreheads; **b.**
*smooth*, *creased*, and *wrinkled* skin; **c.** *long*, *wide*, *flat*,
*pug*, and *Roman* noses; **d.** *wide*, *narrow*, and *flared*
nostrils; **e.** *sunken*, *filled-out*, *dried*, *oily*, and *wrinkled*
cheeks; **f.** *prominent*, *high*, *low*, *wide*, and *fleshy* cheek
bones; **g.** *corners-turned-up*, *down*, and *level* for the mouth;
**h.** *thin*, *medium*, and *full* upper and lower lips; **i.** *double
chin*, *protruding Adam\'s apple*, and *hanging jowls* for necks; and
**j.** *round*, *oval*, *pointed*, *square*, *small*, and *double*
chins.
*Prehistory*. That linguistic labels for the face pale in comparison to
those for [**consumer
products**](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"} (see, e.g.,
**[FOOTWEAR](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**)
is because our primate face \"speaks for itself\" and has done so for
millions of years. The need to describe faces in words is a recent
development dating back only a few thousand years to adaptations for
city life, i.e., for urban crime and increasing numbers of strangers.
(***N.B.***: Recognizing and remembering faces involves
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
centers of the brain, which are addressed only indirectly by speech
centers.)
***RESEARCH REPORTS***: **1.** Researchers have isolated facial traits
preferred, perhaps, by all human beings. Facial \"cuteness,\" e.g.\--a
set of immature features and youthful proportions\--is found to be
generally attractive in the male and female face. Cuteness (i.e., the
*infantile schema*) was originally identified in mammals (including
human beings) by Konrad Lorenz (1939). **2.** Japanese and Caucasian men
and women prefer *high cheekbones* and such infantile traits as **a.**
*thin jaws*, **b.** *large eyes*, **c.** a *short distance* between the
mouth and chin, and **d.** a *short distance* between the nose and mouth
(Perrett, May and Yoshikawa 1994). **3.** Another preferred trait is
*symmetry* between a face\'s right- and left-hand sides. In a review of
symmetry in mate selection, Paul Watson and Randy Thornhill concluded,
e.g., that animals from scorpion flies to zebra finches show a
preference for symmetrical patterns and shapes (perhaps because
*asymmetry* is a sign of weakness or disease; Watson and Thornhill
1994). Thornhill applied the findings to human beings by studying
college student ratings of young adult faces (through photos showing a
range of vertical and horizontal symmetry or its lack): subjects rated
symmetrical faces most attractive.
*Evolution*. Our face has become more baby-like (and less intimidating)
through time. The wide jaws and broad dental arch of our ancestor, *Homo
habilis* (ca. 2.3 m.y.a.), e.g., belonged to a fearsome-looking face
with great biting power. Our own lower face\'s comparatively smaller
features are crouched beneath an immense, bulbous\--i.e.,
infantile\--forehead.
See also [**FACIAL
BEAUTY**](http://members.aol.com/nonverbal3/beauty1.htm){target="_top"},
**[FACIAL
EXPRESSION](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
**[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
FACIAL RECOGNITION | https://ns1.omnitech.net/data/Nonverbal/facerec.htm | <HTML>
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<META NAME="Generator" CONTENT="Corel WordPerfect 8">
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<P><FONT SIZE="+1"><STRONG><A NAME="FACIAL RECOGNITION">FACIAL RECOGNITION</A><BR>
<BR>
<IMG BORDER="0" ALT="A Familiar Face" SRC="facerec.jpg" tppabs="http://members.aol.com/nonverbal3/objects/facerec.jpg" HEIGHT="50%" WIDTH="25%"></STRONG></FONT></P>
<P><I><FONT SIZE="-1">I should never have known him by his appearance, but in his voice was plain to me that which his countenance had suppressed in itself: this spark rekindled in me all my knowledge of the changed features, and I recognized the face of Forese</FONT></I><FONT SIZE="-1">. --Dante Alighieri (</FONT><I><FONT SIZE="-1">Purgatorio, Canto XXIII</FONT></I><FONT SIZE="-1">)<BR>
</FONT><FONT SIZE="-1"><BR>
</FONT><BR>
<EM>Ability</EM>. <STRONG>1.</STRONG> The act of identifying a <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></STRONG> that has been seen before. <STRONG>2.</STRONG> The awareness of having
seen, met, known (or known of) other people by recalling distinctive features of their faces.</P>
<P><EM>Usage</EM>: Our facial I.D. shows personality and defines "who we are." The ability to recognize and
recall thousands of faces easily and at a glance is a unique talent possessed by human beings alone. Facial
recognition is an active process, leading us to see "faces" in clouds, in rock
formations, on screen doors, in shrouds, and on the surface of the Moon. Much of the ability to recognize faces lies in our
brain's <EM>inferior temporal cortex</EM> (see below).<BR>
<BR>
<I>Art</I>. In a most unusual art form for depicting the human face, Bill Gardner of Calgary, Canada attaches a portrait stencil to the lint screen of his dryer to create lint-laden likenesses of such celebrities as O.J. Simpson and Wayne Gretzky ("Fluff Pieces," <I>Life</I> Magazine, June, 1999, p. 44). </P>
<P><EM>Evolution</EM>. Our higher-primate (or <EM>anthropoid</EM>) ancestors (ca. 35-40 m.y.a.)
had an enlarged <EM>visual cortex</EM> at the back of the head, on the <EM>occipital lobe</EM>, with which to
process color vision and depth. Today, the anthropoid's is the most complex visual cortex on
earth, with anatomically separate areas for <STRONG>a.</STRONG> analyzing form, <STRONG>b.</STRONG> coordinating hand-and-eye
movements, and <STRONG>c.</STRONG> recognizing faces. (<STRONG><I>N.B.</I></STRONG>: A few nerve cells in the lower temporal lobe are so
narrowly specialized that they respond only to <B><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></B> and faces.)<BR>
<BR>
<EM>Medicine</EM>. Patients with <EM>prosopagnosia</EM> have damage to the visual system outlined below (see <I>Neuroanatomy I & II</I>).
Though able to name individual features and identify <STRONG><A HREF="http://members.aol.com/nonverbal2/emotionq.htm" TARGET="_top">emotion cues</A></STRONG>, they cannot recognize a
once familiar face. (<STRONG><I>N.B.</I></STRONG>: Sometimes even their own image appears as a stranger in the mirror.)<BR>
<BR>
<B><I>
<HR>
<FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "Kindly note my thesis, that: 'Many people, between us, acting or reacting with violence, are in some measure prosopagnostics, i.e., they have some degree of faceblindness. Therefore, they can't receive, they don't have the ability to feel at all, the very emotions expressed through the face of the victim.'" --Panos Axiomakaros, Olympian University, Athens, Greece (3/27/00 12:36:07 PM Pacific Standard Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
<EM>Neuroanatomy I</EM>. Light reflected from facial features (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/eyes.htm" TARGET="_top">EYES</A></STRONG> and <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">LIPS</A></STRONG>) casts tiny
images on the eye's nerve-sensitive retina. From here, electrochemical impulses cable through the
optic nerve to a visual area at the back of the neocortex called <EM>V1</EM>. V1 neurons respond <STRONG>a.</STRONG> to
linear details, and <STRONG>b.</STRONG> to wavelengths of color.</P>
<P><EM>Neuroanatomy II</EM>. A second visual area, <EM>V2</EM> (in front of V1), enhances our image of linear and
color aspects of the face. Additional processing also takes place in <EM>V3</EM> (recognition of form and
movement), <EM>V4</EM> (additional color recognition), and <EM>V5</EM> (movement; Restak 1994:27-8). Apart
from our awareness, these modular areas of neocortex unify and give meaning to our vision of the
face and its diverse expressions.</P>
<P><EM>Viewpoints</EM>. Studies show that as our eyes scan faces, they make repeated rest stops at the <EM>lips</EM>
and <EM>eyes</EM>. Viewed from the side, our eyes hover about the <EM>profiled nose</EM>, <EM>eye</EM>, <EM>ear</EM>, and <EM>lips</EM>. As
early as 12 weeks of age an unborn baby's face is recognizable in the womb (parents may claim to
see a family resemblance). Our face changes size and shape throughout the life cycle, but is nearly
always recognizable to friends and family.</P>
<P><EM>Neuro-notes I</EM>. The inferior temporal cortex receives information fed forward through a series of
sensory and association areas, beginning with the retina's relay in the occipital lobe at the back of
our skull. Regarding the temporal cortex itself, it has become a remarkably specialized part of the
<STRONG><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">nonverbal brain</A></STRONG>. Some of its cells respond, e.g., only to frontal or profile views of the
face, while others fire only when <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial expressions</A></STRONG> appear (Kandel et al. 1991:459).
Familiarity registers in the <EM>superior temporal polysensory area</EM> (Young and Yamane 1992:1327).<BR>
<BR>
<I>Neuro-notes II</I>. <B>1.</B> PET data suggest that facial recognition activates the right lingual and fusiform gyrus, the right parahippocampal gyrus, and the right and left anterior temporal cortex (Sergent et al. 1992). <B>2.</B> Subsequent PET data suggest that activated regions for face recognition are lateralized to large aggregations of the right hemisphere, specifically in the right lingual and fusiform gyri (Kim et al. 1999).<BR>
<BR>
<EM>Neuro-notes III</EM>. Mappings of the macaque monkey prefrontal
cortex show that prefrontal neurons <B>a.</B> process information related
to the identity of faces, and <B>b.</B> are functionally compartmentalized in "a remarkably restricted area" (Scalaidhe et al. 1997:1135).<BR>
<BR>
<I>Neuro-notes IV</I>. <B>1.</B> "Greater <A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top"><B>amygdala</B></A> activation occurs when individuals view faces of a racial group different from their own (outgroup), compared with activation while viewing faces from their own racial group (ingroup) . . ." (Anonymous 2000B). <B>2.</B> "Dr. Allen J. Hart, from Massachusetts General Hospital and Harvard Medical School, in Boston, and colleagues used functional magnetic resonance imaging to measure blood-oxygen-level-dependent (BOLD) signals in the amygdala as black and white subjects viewed photographs of black and white individuals' faces. A second scan was done after a 2-minute rest period" (Anonymous 2000B). <B>3.</B> "During the first fMRI scan, there were no significant differences in amygdala activation when subjects viewed outgroup versus ingroup faces, the report indicates. In contrast, during the second scan, there was a significant increase in the BOLD signal in the amygdala during viewings of outgroup faces" (Anonymous 2000B). </P>
<P>See also <STRONG><A HREF="facialid.htm" tppabs="http://members.aol.com/nonverbal3/facialid.htm" TARGET="_top">FACIAL I.D.</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><BR>
<FONT SIZE="-1">
Detail of photo by Linda McCartney, copyright 1992 (MPL Communications Limited)</FONT></P>
</BODY>
</HTML> | **[FACIAL RECOGNITION]{#FACIAL RECOGNITION}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/facerec.jpg"
height="50%" width="25%"}**
*I should never have known him by his appearance, but in his voice was
plain to me that which his countenance had suppressed in itself: this
spark rekindled in me all my knowledge of the changed features, and I
recognized the face of Forese*. \--Dante Alighieri (*Purgatorio, Canto
XXIII*)\
\
\
*Ability*. **1.** The act of identifying a
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
that has been seen before. **2.** The awareness of having seen, met,
known (or known of) other people by recalling distinctive features of
their faces.
*Usage*: Our facial I.D. shows personality and defines \"who we are.\"
The ability to recognize and recall thousands of faces easily and at a
glance is a unique talent possessed by human beings alone. Facial
recognition is an active process, leading us to see \"faces\" in clouds,
in rock formations, on screen doors, in shrouds, and on the surface of
the Moon. Much of the ability to recognize faces lies in our brain\'s
*inferior temporal cortex* (see below).\
\
*Art*. In a most unusual art form for depicting the human face, Bill
Gardner of Calgary, Canada attaches a portrait stencil to the lint
screen of his dryer to create lint-laden likenesses of such celebrities
as O.J. Simpson and Wayne Gretzky (\"Fluff Pieces,\" *Life* Magazine,
June, 1999, p. 44).
*Evolution*. Our higher-primate (or *anthropoid*) ancestors (ca. 35-40
m.y.a.) had an enlarged *visual cortex* at the back of the head, on the
*occipital lobe*, with which to process color vision and depth. Today,
the anthropoid\'s is the most complex visual cortex on earth, with
anatomically separate areas for **a.** analyzing form, **b.**
coordinating hand-and-eye movements, and **c.** recognizing faces.
(***N.B.***: A few nerve cells in the lower temporal lobe are so
narrowly specialized that they respond only to
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**
and faces.)\
\
*Medicine*. Patients with *prosopagnosia* have damage to the visual
system outlined below (see *Neuroanatomy I & II*). Though able to name
individual features and identify **[emotion
cues](http://members.aol.com/nonverbal2/emotionq.htm){target="_top"}**,
they cannot recognize a once familiar face. (***N.B.***: Sometimes even
their own image appears as a stranger in the mirror.)\
\
****
------------------------------------------------------------------------
E-Commentary: \"Kindly note my thesis, that: \'Many people, between us,
acting or reacting with violence, are in some measure prosopagnostics,
i.e., they have some degree of faceblindness. Therefore, they can\'t
receive, they don\'t have the ability to feel at all, the very emotions
expressed through the face of the victim.\'\" \--Panos Axiomakaros,
Olympian University, Athens, Greece (3/27/00 12:36:07 PM Pacific
Standard Time)\
------------------------------------------------------------------------
\
*Neuroanatomy I*. Light reflected from facial features (see, e.g.,
**[EYES](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**
and **[LIPS](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}**) casts tiny images on the eye\'s nerve-sensitive
retina. From here, electrochemical impulses cable through the optic
nerve to a visual area at the back of the neocortex called *V1*. V1
neurons respond **a.** to linear details, and **b.** to wavelengths of
color.
*Neuroanatomy II*. A second visual area, *V2* (in front of V1), enhances
our image of linear and color aspects of the face. Additional processing
also takes place in *V3* (recognition of form and movement), *V4*
(additional color recognition), and *V5* (movement; Restak 1994:27-8).
Apart from our awareness, these modular areas of neocortex unify and
give meaning to our vision of the face and its diverse expressions.
*Viewpoints*. Studies show that as our eyes scan faces, they make
repeated rest stops at the *lips* and *eyes*. Viewed from the side, our
eyes hover about the *profiled nose*, *eye*, *ear*, and *lips*. As early
as 12 weeks of age an unborn baby\'s face is recognizable in the womb
(parents may claim to see a family resemblance). Our face changes size
and shape throughout the life cycle, but is nearly always recognizable
to friends and family.
*Neuro-notes I*. The inferior temporal cortex receives information fed
forward through a series of sensory and association areas, beginning
with the retina\'s relay in the occipital lobe at the back of our skull.
Regarding the temporal cortex itself, it has become a remarkably
specialized part of the **[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**.
Some of its cells respond, e.g., only to frontal or profile views of the
face, while others fire only when **[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**
appear (Kandel et al. 1991:459). Familiarity registers in the *superior
temporal polysensory area* (Young and Yamane 1992:1327).\
\
*Neuro-notes II*. **1.** PET data suggest that facial recognition
activates the right lingual and fusiform gyrus, the right
parahippocampal gyrus, and the right and left anterior temporal cortex
(Sergent et al. 1992). **2.** Subsequent PET data suggest that activated
regions for face recognition are lateralized to large aggregations of
the right hemisphere, specifically in the right lingual and fusiform
gyri (Kim et al. 1999).\
\
*Neuro-notes III*. Mappings of the macaque monkey prefrontal cortex show
that prefrontal neurons **a.** process information related to the
identity of faces, and **b.** are functionally compartmentalized in \"a
remarkably restricted area\" (Scalaidhe et al. 1997:1135).\
\
*Neuro-notes IV*. **1.** \"Greater
[**amygdala**](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}
activation occurs when individuals view faces of a racial group
different from their own (outgroup), compared with activation while
viewing faces from their own racial group (ingroup) . . .\" (Anonymous
2000B). **2.** \"Dr. Allen J. Hart, from Massachusetts General Hospital
and Harvard Medical School, in Boston, and colleagues used functional
magnetic resonance imaging to measure blood-oxygen-level-dependent
(BOLD) signals in the amygdala as black and white subjects viewed
photographs of black and white individuals\' faces. A second scan was
done after a 2-minute rest period\" (Anonymous 2000B). **3.** \"During
the first fMRI scan, there were no significant differences in amygdala
activation when subjects viewed outgroup versus ingroup faces, the
report indicates. In contrast, during the second scan, there was a
significant increase in the BOLD signal in the amygdala during viewings
of outgroup faces\" (Anonymous 2000B).
See also **[FACIAL
I.D.](facialid.htm){tppabs="http://members.aol.com/nonverbal3/facialid.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 Linda McCartney, copyright 1992 (MPL Communications
Limited)
|
FEET | https://ns1.omnitech.net/data/Nonverbal/feet.htm | <HTML>
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<TITLE>feet</TITLE>
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<P><FONT SIZE="+1"><STRONG><A NAME="FEET">FEET</A></STRONG></FONT></P>
<P><IMG BORDER="0" ALT="High-heel Foot" SRC="feet.jpg" tppabs="http://members.aol.com/nonverbal3/objects/feet.jpg" HEIGHT="60%" WIDTH="25%"><BR>
<BR>
<FONT SIZE="-1"><I>Why do we even bother to read palms? Feet are so much more revealing</I>. --Elizabeth Kastor (1994:30)<BR>
<BR>
</FONT><EM><FONT SIZE="-1">Most women think they have ugly feet</FONT></EM><FONT SIZE="-1">. --Sharilyn Abbajay, general manager, Elizabeth Arden salon (Chevy Chase, Maryland; Roberts 1995:D1)</FONT></P>
<P><EM>Smart parts</EM>. <STRONG>1.</STRONG> The terminal end organs below the legs, used for <EM>standing</EM>, <EM>walking</EM>, <A HREF="dance1.htm" tppabs="http://members.aol.com/doder1/dance1.htm" TARGET="_top"><I><B>dance</B></I></A>, and <EM>display</EM>
(see <STRONG><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top">FOOTWEAR</A></STRONG>). <STRONG>2.</STRONG> Those body parts which <STRONG>a.</STRONG> make direct contact with the earth and ground, <B>b.</B> reveal dominance and submission by <I>toeing out</I> or <I>toeing in</I>, respectively (see <A HREF="shrugdis.htm" tppabs="http://members.aol.com/nonverbal3/shrugdis.htm" TARGET="_top"><B>SHOULDER-SHRUG DISPLAY</B></A>, <I>Constituents</I>); <STRONG>c.</STRONG> link to
sexual modules of the brain's sensory parietal lobe (as expressed, e.g., in foot fetishism); <B>d.</B> inadvertently point toward or <A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top"><B>angle away</B></A> from liked or disliked individuals, respectively; and <STRONG>e.</STRONG>, through <STRONG><A HREF="mens.htm" tppabs="http://members.aol.com/nonverbal3/mens.htm" TARGET="_top">men's</A></STRONG> and
<STRONG><A HREF="womens.htm" tppabs="http://members.aol.com/nonverbal3/womens.htm" TARGET="_top">women's shoes</A></STRONG>, mark gender, identity, and status.</P>
<P><EM>Usage</EM>: Like our <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>, our feet are neurologically gifted. As <EM>smart parts</EM> and <EM>sensory feelers</EM>,
e.g., they are well connected to diverse areas of the brain. Feet are sexually sensitive, as well,
through links to sensory nerves of the genitalia. For these reasons, feet are highly expressive organs which
play a major role in <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal communication</A></STRONG> throughout the world.</P>
<P><EM>Anatomy</EM>. The oldest human footprints have the same platform-and-lever design as modern feet.
Between the sturdy heel bone and little toe is a stout <EM>5th metatarsal</EM> bone which evolved as a
platform. Today, it carries the weight while the body is standing. The early <EM>1st metatarsal</EM>, on the
foot's inner side (between the heel and big toe) also thickened--for walking. Today, the 1st
metatarsal enables us to push off as we step, and forms part of the foot's cushioning arch,
which is accented in <STRONG><A HREF="http://members.aol.com/nonverbal3/highheel.htm" TARGET="_top">high heel shoes</A></STRONG> and comforted in <STRONG><A HREF="sneaker.htm" tppabs="http://members.aol.com/nonverbal3/sneaker.htm" TARGET="_top">sneakers</A></STRONG>. (<I><B>N.B.</B></I>: 25% of all bones of
the human body are in the feet.)<BR>
<BR>
<EM>Anthropology</EM>. Abruptly in Africa (i.e., ca. four m.y.a.), after descending from trees to the savannah grasslands,
human beings began walking upright. Hands were no longer needed for travel, and fingers were
liberated to continue their (primate) evolution as super-sensitive tactile antennae. At the same time--despite their
own tactile savvy and prehensile IQ--feet were sentenced to bipedal "foot duty." (<I><STRONG>N.B.</STRONG></I>: While our hands
advanced, our feet were grounded.)<BR>
<BR>
<I>Anthropometry</I>. Mean foot breadth averages 3.5" in women, and 3.9" in men; length averages 9.5" and 10.7", respectively (Kantowitz and Sorkin 1983:494-95).
</P>
<P><EM>Archaeology</EM>. Evidence for human feet dates back ca. 3.5 m.y.a. to the tracks of three upright
ancestors (probably <EM>australopithecines</EM>) who strolled across a bed of volcanic ash on the east-African savannah, in what is now Laetoli, Tanzania. The footprints are nearly identical to those of
modern humans.</P>
<P><EM>Embryology</EM>. In the womb, human feet resemble the <EM>grasping</EM> feet of monkeys and apes. (<STRONG><I>N.B.</I></STRONG>:
Though earthbound, our feet never outgrow their innate ability to reach out and touch.) Lagging behind hands,
lower-limb buds form by the end of the 4th week of life. By week seven, <EM>digital rays</EM> appear on
the buds (which resemble fleshy paddles). By week eight toes separate through a process of programmed cell death.
Between the 5th and 12th weeks, muscles enter from outside the growing limbs as bones and
tendons form inside them. Like creeping vines, nerves grow into the lower extremities and cable the feet to
multiple sites in the brain, and at three months, a human fetus can wiggle its toes.<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/index.htm" TARGET="_top">Media</A></I></B>. The following movies cast feet in sexually expressive cameo roles: <B>1.</B> <I>Bull Durham</I> (Kevin Costner, nude, paints Susan Sarandon's toenails); <B>2.</B> <I>Goodbye, Columbus</I> (sitting on her bed, Ali MacGraw polishes her toes and talks dirty to Richard Benjamin); <B>3.</B> <I>Lolita</I> (James Mason gives Sue Lyon a pedicure in a seedy motel); and <B>4.</B> <I>Overboard</I> (Goldie Hawn receives a pedicure on her yacht from her butler, Roddy McDowall; Roberts 1995 [see below, <I>Neuro-notes</I>]).<BR>
<BR>
<EM>Paleontology</EM>. Originating as <EM>pelvic fins</EM> for water travel, feet evolved into the five-digit
extremities which enabled the earliest <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibians</A></STRONG> and <STRONG><A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top">reptiles</A></STRONG> to <STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walk</A></STRONG> and run, and to paddle through ancient seas. By ca. 70
m.y.a., as the first primates took to the trees, feet became touch-sensitive and skilled for climbing and
grasping, and, later, even for handling objects, such as insects and fruit (though the hands remained superior in dexterity and manipulative skill). (<STRONG><I>N.B.</I></STRONG>: Because they were more agile
and neurologically better connected, early primate feet were "smarter" than the feet of their mammalian
ancestors.)<BR>
<BR>
<I>Space</I>. A left foot was the first body part on the Moon. On Sunday, July 20, 1969, Neil Armstrong planted his left boot on the fine, powdery lunar surface, at 10:39 PM (EDT). "Still holding on [to the LM], he stretched out his toe and dragged it backward several times, furrowing the soft ground [i.e., he palpated the plain]" (Chaikin 1994:209).<BR>
<BR>
<B><I>
<HR>
<FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "Feet position and action often correlate with how we feel, i.e., happy feet when we are excited; dangling high heel shoes when we are in a seductive or playful mood; unmoving when we want to be left alone. For example, I have noticed that when two people are talking, their feet <A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top"><B>mimic</B></A> each other; when a third person arrives, if they don't wish this person to partake, they will turn at the waist and greet, but their feet remain fixed. If the third person is liked, the original two usually will move their feet and create a comfortable openness, so that they can form a triangle. I have also noticed that jurors often move their feet and point them to the door when they don't like an attorney as he is presenting." --J.N., FBI (4/20/00 7:22:29 PM Pacific Daylight Time)<BR>
<BR>
<B><I>E-Commentary</I></B>: "I work for a radio magazine programme called "Outlook" at the BBC World Service. I am producing a special programme about feet--their physiology, role, history, and other interesting aspects and stories about people's feet. Your organisation sounds very interesting. I'd be very grateful if you could help out with any interview/feature suggestions or get in touch with me about this as soon as possible." –Producer, Outlook, BBC World Service (9/21/00 5:12:18 AM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
<EM>Neuro-notes</EM>. Fewer human beings are strongly right-footed (46%) than strongly right-handed (72%). The foot bottom has the thickest skin of any body part (an eighth of an inch). Yet
despite their natural padding and cushioning layer of fat, feet are extremely sensitive. They have
more tactile nerves than the back, legs, arms, or shoulders, and take up more room on the sensory, parietal
neocortex than the entire torso (see <STRONG><A HREF="http://members.aol.com/nonverbal2/homuncul.htm" TARGET="_top">HOMUNCULUS</A></STRONG>; feet and genitalia are neural neighbors on the parietal sensory strip). That feet are so well connected to the
brain explains why they "think" and "speak" like (and crave the attention of) hands.</P>
<P>See also <STRONG><A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top">BOOT</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/goose.htm" TARGET="_top">GOOSE-STEP</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><FONT SIZE="-1"></FONT></P>
<BR WP="BR1">
<BR WP="BR2">
<BR WP="BR1">
<BR WP="BR2">
</BODY>
</HTML> | **[FEET]{#FEET}**
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/feet.jpg" height="60%"
width="25%"}\
\
*Why do we even bother to read palms? Feet are so much more revealing*.
\--Elizabeth Kastor (1994:30)\
\
*Most women think they have ugly feet*. \--Sharilyn Abbajay, general
manager, Elizabeth Arden salon (Chevy Chase, Maryland; Roberts 1995:D1)
*Smart parts*. **1.** The terminal end organs below the legs, used for
*standing*, *walking*,
[***dance***](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.htm"
target="_top"}, and *display* (see
**[FOOTWEAR](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**).
**2.** Those body parts which **a.** make direct contact with the earth
and ground, **b.** reveal dominance and submission by *toeing out* or
*toeing in*, respectively (see [**SHOULDER-SHRUG
DISPLAY**](shrugdis.htm){tppabs="http://members.aol.com/nonverbal3/shrugdis.htm"
target="_top"}, *Constituents*); **c.** link to sexual modules of the
brain\'s sensory parietal lobe (as expressed, e.g., in foot fetishism);
**d.** inadvertently point toward or [**angle
away**](http://members.aol.com/nonverbal2/angular.htm){target="_top"}
from liked or disliked individuals, respectively; and **e.**, through
**[men\'s](mens.htm){tppabs="http://members.aol.com/nonverbal3/mens.htm"
target="_top"}** and **[women\'s
shoes](womens.htm){tppabs="http://members.aol.com/nonverbal3/womens.htm"
target="_top"}**, mark gender, identity, and status.
*Usage*: Like our
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
our feet are neurologically gifted. As *smart parts* and *sensory
feelers*, e.g., they are well connected to diverse areas of the brain.
Feet are sexually sensitive, as well, through links to sensory nerves of
the genitalia. For these reasons, feet are highly expressive organs
which play a major role in **[nonverbal
communication](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** throughout the world.
*Anatomy*. The oldest human footprints have the same platform-and-lever
design as modern feet. Between the sturdy heel bone and little toe is a
stout *5th metatarsal* bone which evolved as a platform. Today, it
carries the weight while the body is standing. The early *1st
metatarsal*, on the foot\'s inner side (between the heel and big toe)
also thickened\--for walking. Today, the 1st metatarsal enables us to
push off as we step, and forms part of the foot\'s cushioning arch,
which is accented in **[high heel
shoes](http://members.aol.com/nonverbal3/highheel.htm){target="_top"}**
and comforted in
**[sneakers](sneaker.htm){tppabs="http://members.aol.com/nonverbal3/sneaker.htm"
target="_top"}**. (***N.B.***: 25% of all bones of the human body are in
the feet.)\
\
*Anthropology*. Abruptly in Africa (i.e., ca. four m.y.a.), after
descending from trees to the savannah grasslands, human beings began
walking upright. Hands were no longer needed for travel, and fingers
were liberated to continue their (primate) evolution as super-sensitive
tactile antennae. At the same time\--despite their own tactile savvy and
prehensile IQ\--feet were sentenced to bipedal \"foot duty.\"
(***N.B.***: While our hands advanced, our feet were grounded.)\
\
*Anthropometry*. Mean foot breadth averages 3.5\" in women, and 3.9\" in
men; length averages 9.5\" and 10.7\", respectively (Kantowitz and
Sorkin 1983:494-95).
*Archaeology*. Evidence for human feet dates back ca. 3.5 m.y.a. to the
tracks of three upright ancestors (probably *australopithecines*) who
strolled across a bed of volcanic ash on the east-African savannah, in
what is now Laetoli, Tanzania. The footprints are nearly identical to
those of modern humans.
*Embryology*. In the womb, human feet resemble the *grasping* feet of
monkeys and apes. (***N.B.***: Though earthbound, our feet never outgrow
their innate ability to reach out and touch.) Lagging behind hands,
lower-limb buds form by the end of the 4th week of life. By week seven,
*digital rays* appear on the buds (which resemble fleshy paddles). By
week eight toes separate through a process of programmed cell death.
Between the 5th and 12th weeks, muscles enter from outside the growing
limbs as bones and tendons form inside them. Like creeping vines, nerves
grow into the lower extremities and cable the feet to multiple sites in
the brain, and at three months, a human fetus can wiggle its toes.\
\
***[Media](http://members.aol.com/nonverbal3/index.htm){target="_top"}***.
The following movies cast feet in sexually expressive cameo roles:
**1.** *Bull Durham* (Kevin Costner, nude, paints Susan Sarandon\'s
toenails); **2.** *Goodbye, Columbus* (sitting on her bed, Ali MacGraw
polishes her toes and talks dirty to Richard Benjamin); **3.** *Lolita*
(James Mason gives Sue Lyon a pedicure in a seedy motel); and **4.**
*Overboard* (Goldie Hawn receives a pedicure on her yacht from her
butler, Roddy McDowall; Roberts 1995 \[see below, *Neuro-notes*\]).\
\
*Paleontology*. Originating as *pelvic fins* for water travel, feet
evolved into the five-digit extremities which enabled the earliest
**[amphibians](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**
and
**[reptiles](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}** to
**[walk](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}** and run, and to paddle through ancient seas. By ca. 70
m.y.a., as the first primates took to the trees, feet became
touch-sensitive and skilled for climbing and grasping, and, later, even
for handling objects, such as insects and fruit (though the hands
remained superior in dexterity and manipulative skill). (***N.B.***:
Because they were more agile and neurologically better connected, early
primate feet were \"smarter\" than the feet of their mammalian
ancestors.)\
\
*Space*. A left foot was the first body part on the Moon. On Sunday,
July 20, 1969, Neil Armstrong planted his left boot on the fine, powdery
lunar surface, at 10:39 PM (EDT). \"Still holding on \[to the LM\], he
stretched out his toe and dragged it backward several times, furrowing
the soft ground \[i.e., he palpated the plain\]\" (Chaikin 1994:209).\
\
****
------------------------------------------------------------------------
E-Commentary: \"Feet position and action often correlate with how we
feel, i.e., happy feet when we are excited; dangling high heel shoes
when we are in a seductive or playful mood; unmoving when we want to be
left alone. For example, I have noticed that when two people are
talking, their feet
[**mimic**](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}
each other; when a third person arrives, if they don\'t wish this person
to partake, they will turn at the waist and greet, but their feet remain
fixed. If the third person is liked, the original two usually will move
their feet and create a comfortable openness, so that they can form a
triangle. I have also noticed that jurors often move their feet and
point them to the door when they don\'t like an attorney as he is
presenting.\" \--J.N., FBI (4/20/00 7:22:29 PM Pacific Daylight Time)\
\
***E-Commentary***: \"I work for a radio magazine programme called
\"Outlook\" at the BBC World Service. I am producing a special programme
about feet\--their physiology, role, history, and other interesting
aspects and stories about people\'s feet. Your organisation sounds very
interesting. I\'d be very grateful if you could help out with any
interview/feature suggestions or get in touch with me about this as soon
as possible.\" --Producer, Outlook, BBC World Service (9/21/00 5:12:18
AM Pacific Daylight Time)\
------------------------------------------------------------------------
\
*Neuro-notes*. Fewer human beings are strongly right-footed (46%) than
strongly right-handed (72%). The foot bottom has the thickest skin of
any body part (an eighth of an inch). Yet despite their natural padding
and cushioning layer of fat, feet are extremely sensitive. They have
more tactile nerves than the back, legs, arms, or shoulders, and take up
more room on the sensory, parietal neocortex than the entire torso (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**;
feet and genitalia are neural neighbors on the parietal sensory strip).
That feet are so well connected to the brain explains why they \"think\"
and \"speak\" like (and crave the attention of) hands.
See also
**[BOOT](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm"
target="_top"}**,
**[GOOSE-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
\
\
\
\
|
FIGHT-OR-FLIGHT | https://ns1.omnitech.net/data/Nonverbal/fight.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>fight</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="FIGHT-OR-FLIGHT">FIGHT-OR-FLIGHT</A><BR>
<BR>
</STRONG></FONT><IMG BORDER="0" ALT="Fight and Flight" SRC="fight.jpg" tppabs="http://members.aol.com/nonverbal3/objects/fight.jpg" HEIGHT="35%" WIDTH="30%"></P>
<P><EM>Ready response</EM>. An emergency reaction in which the body prepares for combat or escape from
potentially dangerous situations, animals, or people.</P>
<P><EM>Usage</EM>: Many <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal signs</A></STRONG> (e.g., dilated pupils, <STRONG><A HREF="sweaty1.htm" tppabs="http://members.aol.com/doder1/sweaty1.htm" TARGET="_top">sweaty palms</A></STRONG>, bristling hair [i.e., piloerection], and a faster breathing rate--along with <STRONG><A HREF="http://members.aol.com/nonverbal2/broadsid.htm" TARGET="_top">squaring the torso</A></STRONG> for battle or <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">angling away</A></STRONG> to prepare for flight) are visible in
stepped-up visceral feelings and body movements of the fight-or-flight response.<BR>
<BR>
<EM>Evolution</EM>. Fight-or-flight is an ancient <EM>sympathetic</EM> response pattern which, in the <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">aquatic brain</A></STRONG>, accelerated heartbeat rate, raised blood-sugar level, and released hormones from the
adrenal gland, preparing an alarmed fish to chase-and-bite, or to turn-tail-and-flee. <BR>
<BR>
<I>Facial color</I>. Also called the "fight, fright or flight" response, the sympathetic nervous system may telegraph its state of mind in the <I>whiteness</I> (i.e., pallor) or <I>redness</I> (i.e., flushing) of the face. Pallor, associated with extreme <A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top"><B>fear</B></A> or <A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top"><B>anger</B></A> (i.e., rage), is caused by <I>vasoconstriction</I> of the facial blood vessels, brought on by the release of large amounts of adrenaline and noradrenaline. Associated with embarrassment or slight-to-moderate anger, a flushed face (which may begin with a faint blush at the top of the ears) is caused by <I>vasodilation</I> of the facial blood vessels, due to adrenaline. (<I><B>N.B.</B></I>: Currently, the physiological differences between fear and anger are not well understood.)<BR>
<BR>
<EM>Observation</EM>. Fight-or-flight cues (see, e.g., <STRONG><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">CUT-OFF</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top">EYE-BLINK</A></STRONG>, <STRONG><A HREF="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top">EYEBROW-RAISE</A></STRONG>, <STRONG><A HREF="blush.htm" tppabs="http://members.aol.com/nonverbal3/blush.htm" TARGET="_top">FACIAL FLUSHING</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/flashbul.htm" TARGET="_top">FLASHBULB EYES</A></STRONG>, and
<STRONG><A HREF="http://members.aol.com/nonverbal2/handbehi.htm" TARGET="_top">HAND-BEHIND-HEAD</A></STRONG>) are
visible not only in warfare and physical combat, but also in corporate meetings around a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>.<BR>
<BR>
<I>Waiting</I>. Human beings are easily angered when they are kept waiting, e.g., in airline terminals, hospital emergency rooms, and heavy traffic. As adrenaline and noradrenaline levels rise, flyers, patients, and commuters may be more prone to aggression and violence than they are when permitted to move freely about. (<I><B>N.B.</B></I>: In England, more nurses are attacked in emergency departments than in psychiatric wards.)<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "I'm really interested on getting information about nonverbal language in aggressive people, fighting aggressors, flight-or-fight behavior, etc. I teach adrenaline conditioning training here in Mexico, and I really want to learn more to give more professional classes to my students. If I understand more about the body language of aggressors, attackers, and street people, it will help me a lot." –J. M., Mexico (9/21/00 1:02:09 PM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT>
<HR>
</P>
<P><EM>Neuro-notes</EM>. <STRONG>1.</STRONG> In the 1920s, physiologist Walter B. Cannon identified the sympathetic nervous
system's <EM>emergency reaction</EM>, which prepared the body to exert high levels of physical energy
(Cannon 1929). <STRONG>2.</STRONG> In the 1930s, while stimulating regions of the <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">hypothalamus</A></STRONG> of the cat,
physiologist W. R. Hess identified the <EM>defense reaction</EM>, which included tendencies to fight or
flee. <STRONG>3.</STRONG> The fight-or-flight response is coordinated by central command neurons in the
hypothalamus and brain stem which "regulate the sympathetic outflow of both the stellate
ganglion and the adrenal gland" (Jansen et al. 1995:644). <B>4.</B> ". . . the threshold for release of noradrenaline [the 'anger hormone'] to psychological stimuli is generally higher than that of adrenaline [the 'fear hormone']" (Mayes 1979:37).<BR>
<BR>
Antonym: <A HREF="rest.htm" tppabs="http://members.aol.com/nonverbal3/rest.htm" TARGET="_top"><B>REST-AND-DIGEST</B></A>. See also <A HREF="freeze1.htm" tppabs="http://members.aol.com/doder1/freeze1.htm" TARGET="_top"><B>FREEZE REACTION</B></A>.<B></B><BR>
<BR>
<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><FONT SIZE="-1"></FONT></P>
<P> </P>
</BODY>
</HTML> | **[FIGHT-OR-FLIGHT]{#FIGHT-OR-FLIGHT}\
\
**{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/fight.jpg"
height="35%" width="30%"}
*Ready response*. An emergency reaction in which the body prepares for
combat or escape from potentially dangerous situations, animals, or
people.
*Usage*: Many **[nonverbal
signs](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** (e.g., dilated pupils, **[sweaty
palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}**, bristling hair \[i.e., piloerection\], and a faster
breathing rate\--along with **[squaring the
torso](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}**
for battle or **[angling
away](http://members.aol.com/nonverbal2/angular.htm){target="_top"}** to
prepare for flight) are visible in stepped-up visceral feelings and body
movements of the fight-or-flight response.\
\
*Evolution*. Fight-or-flight is an ancient *sympathetic* response
pattern which, in the **[aquatic
brain](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**,
accelerated heartbeat rate, raised blood-sugar level, and released
hormones from the adrenal gland, preparing an alarmed fish to
chase-and-bite, or to turn-tail-and-flee.\
\
*Facial color*. Also called the \"fight, fright or flight\" response,
the sympathetic nervous system may telegraph its state of mind in the
*whiteness* (i.e., pallor) or *redness* (i.e., flushing) of the face.
Pallor, associated with extreme
[**fear**](http://members.aol.com/nonverbal2/fear.htm){target="_top"} or
[**anger**](http://members.aol.com/nonverbal2/anger.htm){target="_top"}
(i.e., rage), is caused by *vasoconstriction* of the facial blood
vessels, brought on by the release of large amounts of adrenaline and
noradrenaline. Associated with embarrassment or slight-to-moderate
anger, a flushed face (which may begin with a faint blush at the top of
the ears) is caused by *vasodilation* of the facial blood vessels, due
to adrenaline. (***N.B.***: Currently, the physiological differences
between fear and anger are not well understood.)\
\
*Observation*. Fight-or-flight cues (see, e.g.,
**[CUT-OFF](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**,
**[EYE-BLINK](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**[EYEBROW-RAISE](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}**, **[FACIAL
FLUSHING](blush.htm){tppabs="http://members.aol.com/nonverbal3/blush.htm"
target="_top"}**, **[FLASHBULB
EYES](http://members.aol.com/nonverbal2/flashbul.htm){target="_top"}**,
and
**[HAND-BEHIND-HEAD](http://members.aol.com/nonverbal2/handbehi.htm){target="_top"}**)
are visible not only in warfare and physical combat, but also in
corporate meetings around a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**.\
\
*Waiting*. Human beings are easily angered when they are kept waiting,
e.g., in airline terminals, hospital emergency rooms, and heavy traffic.
As adrenaline and noradrenaline levels rise, flyers, patients, and
commuters may be more prone to aggression and violence than they are
when permitted to move freely about. (***N.B.***: In England, more
nurses are attacked in emergency departments than in psychiatric
wards.)\
\
------------------------------------------------------------------------
***E-Commentary***: \"I\'m really interested on getting information
about nonverbal language in aggressive people, fighting aggressors,
flight-or-fight behavior, etc. I teach adrenaline conditioning training
here in Mexico, and I really want to learn more to give more
professional classes to my students. If I understand more about the body
language of aggressors, attackers, and street people, it will help me a
lot.\" --J. M., Mexico (9/21/00 1:02:09 PM Pacific Daylight Time)
------------------------------------------------------------------------
*Neuro-notes*. **1.** In the 1920s, physiologist Walter B. Cannon
identified the sympathetic nervous system\'s *emergency reaction*, which
prepared the body to exert high levels of physical energy (Cannon 1929).
**2.** In the 1930s, while stimulating regions of the
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}** of the cat, physiologist W. R. Hess identified the
*defense reaction*, which included tendencies to fight or flee. **3.**
The fight-or-flight response is coordinated by central command neurons
in the hypothalamus and brain stem which \"regulate the sympathetic
outflow of both the stellate ganglion and the adrenal gland\" (Jansen et
al. 1995:644). **4.** \". . . the threshold for release of noradrenaline
\[the \'anger hormone\'\] to psychological stimuli is generally higher
than that of adrenaline \[the \'fear hormone\'\]\" (Mayes 1979:37).\
\
Antonym:
[**REST-AND-DIGEST**](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}. See also [**FREEZE
REACTION**](freeze1.htm){tppabs="http://members.aol.com/doder1/freeze1.htm"
target="_top"}.\
\
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
FIST | https://ns1.omnitech.net/data/Nonverbal/fist1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>fist</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">FIST</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Triumphant Raised Fist" SRC="fist.jpg" tppabs="http://members.aol.com/doder1/objects/fist.jpg" HEIGHT="35%" WIDTH="15%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">Hand</A> </EM></STRONG><EM><STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signal</A></STRONG></EM>. A <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gesture</A></STRONG> made with the hand closed, the fingers flexed, and the tactile pads held firmly
against the palm.</P>
<P><EM>Usage</EM>: Clenched fists signal an aroused emotional state, as in <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, excitement (e.g., to cheer
on a team), or <STRONG><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></STRONG>. In a business meeting, unconscious fisting is a visible sign of anxiety (see
<STRONG><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top">SELF-TOUCH</A></STRONG>) or unvoiced disagreement (see <A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top"><B>PROBING POINT</B></A>).<BR>
<BR>
<I>Culture</I>. In Pakistan, displaying a clenched fist toward another is a nonverbal sign used to display an "obscene insult" (Morris 1994:71).</P>
<P><EM>World politics</EM>. In 1968 the raised fist (see <A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top"><B>HIGH-STAND DISPLAY</B></A>) was broadcast to a worldwide TV audience, as it was presented by U.S. Olympic medalists as a power salute demonstrating defiance from the victory stand (Blum 1988). Politicians who have used the aggressive fist gesture to hammer home rhetorical statements include Adolph Hitler, Nikita Kruschev, and Manuel Noriega (Blum 1988).</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "Rage, anger, and indignation are exhibited in nearly the same
manner throughout the world. . . . There is, however, an exception with respect to clenching the
fists, which seems confined chiefly to the men who fight with their fists" (Darwin 1872:242). <STRONG>2.</STRONG>
In nursery school children, the <EM>beating movement</EM> ". . . is an overarm blow with the palm side of the
lightly clenched fist. The arm is sharply bent at the elbow and raised to a vertical position then
brought down with great force on the opponent, hitting any part of him that gets in the way"
(Blurton Jones 1967:355). <B>3.</B> Blind-and-deaf-born children clench their fists in anger (Eibl-Eibesfeldt 1971:12). <STRONG>4.</STRONG> In the infant's transition to sleep, "Fists closed for more than several
seconds indicate increasing fatigue or distress . . ." (Papousek and Papousek 1977:70). <B>5.</B> The closed fist is a widespread gesture of <EM>power</EM> and <EM>triumph</EM>, and a worldwide
sign to show <EM>forceful emphasis</EM> and <EM>threat</EM> (Morris 1994:70, 72-73).</P>
<P>Antonym: <STRONG><A HREF="http://members.aol.com/nonverbal2/palmup.htp" TARGET="_top">PALM-UP</A></STRONG>. See also <STRONG><A HREF="http://members.aol.com/nonverbal2/goose.htm" TARGET="_top">GOOSE -STEP</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></P>
</BODY>
</HTML> | **FIST**
{border="0"
tppabs="http://members.aol.com/doder1/objects/fist.jpg" height="35%"
width="15%"}\
\
***[Hand](http://members.aol.com/nonverbal2/hands.htm){target="_top"}***
***[signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}***.
A
**[gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**
made with the hand closed, the fingers flexed, and the tactile pads held
firmly against the palm.
*Usage*: Clenched fists signal an aroused emotional state, as in
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
excitement (e.g., to cheer on a team), or
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**.
In a business meeting, unconscious fisting is a visible sign of anxiety
(see
**[SELF-TOUCH](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**)
or unvoiced disagreement (see [**PROBING
POINT**](http://members.aol.com/nonverbal2/probe.htm){target="_top"}).\
\
*Culture*. In Pakistan, displaying a clenched fist toward another is a
nonverbal sign used to display an \"obscene insult\" (Morris 1994:71).
*World politics*. In 1968 the raised fist (see [**HIGH-STAND
DISPLAY**](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}) was broadcast to a worldwide TV audience, as it was
presented by U.S. Olympic medalists as a power salute demonstrating
defiance from the victory stand (Blum 1988). Politicians who have used
the aggressive fist gesture to hammer home rhetorical statements include
Adolph Hitler, Nikita Kruschev, and Manuel Noriega (Blum 1988).
***RESEARCH REPORTS***: **1.** \"Rage, anger, and indignation are
exhibited in nearly the same manner throughout the world. . . . There
is, however, an exception with respect to clenching the fists, which
seems confined chiefly to the men who fight with their fists\" (Darwin
1872:242). **2.** In nursery school children, the *beating movement* \".
. . is an overarm blow with the palm side of the lightly clenched fist.
The arm is sharply bent at the elbow and raised to a vertical position
then brought down with great force on the opponent, hitting any part of
him that gets in the way\" (Blurton Jones 1967:355). **3.**
Blind-and-deaf-born children clench their fists in anger
(Eibl-Eibesfeldt 1971:12). **4.** In the infant\'s transition to sleep,
\"Fists closed for more than several seconds indicate increasing fatigue
or distress . . .\" (Papousek and Papousek 1977:70). **5.** The closed
fist is a widespread gesture of *power* and *triumph*, and a worldwide
sign to show *forceful emphasis* and *threat* (Morris 1994:70, 72-73).
Antonym:
**[PALM-UP](http://members.aol.com/nonverbal2/palmup.htp){target="_top"}**.
See also **[GOOSE
-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
FLEXION WITHDRAWAL | https://ns1.omnitech.net/data/Nonverbal/withdra1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>withdraw</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">FLEXION WITHDRAWAL</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Flexion Protection" SRC="withdraw.jpg" tppabs="http://members.aol.com/doder1/objects/withdraw.jpg" HEIGHT="35%" WIDTH="25%"></P>
<P><EM>Reflexive </EM><STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movement</A></EM></STRONG><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top"><EM></EM></A>. An automatic escape motion designed to remove a body part or parts
from danger (e.g., flexing the neck to lower and protect the head).</P>
<P><EM>Usage</EM>: Flexion withdrawal underlies many <EM>negative</EM> and <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissive</A></EM></STRONG> nonverbal signs (e.g., cues
of disagreement, disliking, and <STRONG><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></STRONG>; see <STRONG><A HREF="bend1.htm" tppabs="http://members.aol.com/doder1/bend1.htm" TARGET="_top">BODY-BEND</A></STRONG>, <STRONG><A HREF="http://members.aol.com/doder1/bow.htm" TARGET="_top">BOW</A></STRONG>, <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">CROUCH</A></STRONG>,
<STRONG><A HREF="http://members.aol.com/nonverbal2/gazedown.htm" TARGET="_top">GAZE-DOWN</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/headside.htm" TARGET="_top">HEAD-TILT-SIDE</A></STRONG>, and <STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">SHOULDER-SHRUG</A></STRONG>).</P>
<P><EM>Business</EM>. Around a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>, colleagues may reveal unvoiced negative
feelings in postures influenced by flexion withdrawal, e.g., pulling the hands and arms
backward, away from disliked speakers.</P>
<P><EM>Biology</EM>. In mammals, the most primitive protective response is a <EM>flexion withdrawal</EM>, which
"takes the head and neck away from the stimulus" (Salzen 1979:130).</P>
<P><EM>Embryology</EM>. The crouch posture is "a protective pattern characteristic of the early embryonic
flexion response" (Salzen 1979:136). By 8 weeks, e.g., the human fetus already "knows" to
withdraw its head and neck when its mouth is touched. Defensive, coordinated flexing and
withdrawing movements have been seen in immature fish larvae, in marine snails, and in human
embryos at eight weeks of age. ln four-legged animals whose brains have been surgically
disconnected from their spinal cords, almost any tactile stimulus will cause flexor muscles to
contract and withdraw a limb from whatever touched it (Guyton 1996).</P>
<P><EM>Anatomy</EM>. Human arms and legs have highly developed flexor reflexes. Automatic escape
movements, coordinated by the spinal cord, can be triggered, e.g., by scalding pot handles--or by
strong emotions from the <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG>.</P>
<P><EM>Neuro-notes</EM>. Jumping to sound involves body-flexion movements configured in <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG>
of our <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibian brain</A></STRONG>. Through their nerve fibers, auditory-lobe impulses reach down to
excite spinal networks of interneurons and motor neurons<STRONG></STRONG>in charge of muscles that <EM>flex</EM> our
shoulders and arms, and <EM>bow</EM> our heads in the protective crouch posture.<BR>
<BR>
See also <B><A HREF="nvrel1.htm" tppabs="http://members.aol.com/doder1/nvrel1.htm" TARGET="_top">NONVERBAL RELEASE</A></B>.</P>
<P>Copyright 1999 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Detail of Auguste Rodin's <I>Eve</I> (photo copyright Descharnes & Descharnes)</P>
</BODY>
</HTML> | **FLEXION WITHDRAWAL**
{border="0"
tppabs="http://members.aol.com/doder1/objects/withdraw.jpg" height="35%"
width="25%"}
*Reflexive* ***[body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***[](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}. An automatic escape motion designed to remove a body
part or parts from danger (e.g., flexing the neck to lower and protect
the head).
*Usage*: Flexion withdrawal underlies many *negative* and
***[submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"}***
nonverbal signs (e.g., cues of disagreement, disliking, and
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**;
see
**[BODY-BEND](bend1.htm){tppabs="http://members.aol.com/doder1/bend1.htm"
target="_top"}**,
**[BOW](http://members.aol.com/doder1/bow.htm){target="_top"}**,
**[CROUCH](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm"
target="_top"}**,
**[GAZE-DOWN](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"}**,
**[HEAD-TILT-SIDE](http://members.aol.com/nonverbal3/headside.htm){target="_top"}**,
and
**[SHOULDER-SHRUG](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}**).
*Business*. Around a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**, colleagues may reveal unvoiced negative feelings in
postures influenced by flexion withdrawal, e.g., pulling the hands and
arms backward, away from disliked speakers.
*Biology*. In mammals, the most primitive protective response is a
*flexion withdrawal*, which \"takes the head and neck away from the
stimulus\" (Salzen 1979:130).
*Embryology*. The crouch posture is \"a protective pattern
characteristic of the early embryonic flexion response\" (Salzen
1979:136). By 8 weeks, e.g., the human fetus already \"knows\" to
withdraw its head and neck when its mouth is touched. Defensive,
coordinated flexing and withdrawing movements have been seen in immature
fish larvae, in marine snails, and in human embryos at eight weeks of
age. ln four-legged animals whose brains have been surgically
disconnected from their spinal cords, almost any tactile stimulus will
cause flexor muscles to contract and withdraw a limb from whatever
touched it (Guyton 1996).
*Anatomy*. Human arms and legs have highly developed flexor reflexes.
Automatic escape movements, coordinated by the spinal cord, can be
triggered, e.g., by scalding pot handles\--or by strong emotions from
the
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**.
*Neuro-notes*. Jumping to sound involves body-flexion movements
configured in
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of our **[amphibian
brain](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**.
Through their nerve fibers, auditory-lobe impulses reach down to excite
spinal networks of interneurons and motor neuronsin charge of muscles
that *flex* our shoulders and arms, and *bow* our heads in the
protective crouch posture.\
\
See also **[NONVERBAL
RELEASE](nvrel1.htm){tppabs="http://members.aol.com/doder1/nvrel1.htm"
target="_top"}**.
Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of Auguste Rodin\'s *Eve* (photo copyright Descharnes &
Descharnes)
|
FREEZE REACTION | https://ns1.omnitech.net/data/Nonverbal/freeze1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>freeze</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">FREEZE REACTION</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><STRONG><EM><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">Posture</A></EM></STRONG><EM></EM>. A sudden involuntary cessation of <STRONG><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movement</A></STRONG>, usually in response to a novel stimulus or to <STRONG><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></STRONG>.</P>
<P><EM>Usage</EM>: The freeze reaction is a protective reflex. The body may automatically tense up as the nervous system
mobilizes for action (see <STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">FIGHT-OR-FLIGHT</A></STRONG>) as in, e.g., <STRONG>a.</STRONG> when we hear a rattlesnake, or <STRONG>b.</STRONG> when we hear the
boss call out our name.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG><EM> Immobility</EM> is an avoidance cue in nursery-school children (McGrew
1972:138). <STRONG>2.</STRONG><EM> Foot activity</EM> "decreased to a near zero level" in conditions of severe crowding
(Baxter and Rozelle 1975:50). <STRONG>3.</STRONG><EM> Muscle tension</EM> is "a vestige of freezing" (LeDoux 1996:201).</P>
<P><EM>Neuro-notes</EM>. The <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> contains a "fear center" which <B>a.</B> activates the body's freeze reaction,
and <B>b.</B> may stretch our <B><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lips</A></B> into a <I>fear grin</I>.</P>
<P>See also <A HREF="orient1.htm" tppabs="http://members.aol.com/doder1/orient1.htm" TARGET="_top"><B>ORIENTING REFLEX</B></A>, <STRONG></STRONG><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></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (David B. Givens/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><STRONG>Center for Nonverbal Studies</STRONG></A><STRONG></STRONG>)</FONT></P>
</BODY>
</HTML> | **FREEZE REACTION**
***[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. A sudden involuntary cessation of **[body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**, usually in response to a novel stimulus or to
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**.
*Usage*: The freeze reaction is a protective reflex. The body may
automatically tense up as the nervous system mobilizes for action (see
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**) as in, e.g., **a.** when we hear a rattlesnake, or
**b.** when we hear the boss call out our name.
***RESEARCH REPORTS***: **1.** *Immobility* is an avoidance cue in
nursery-school children (McGrew 1972:138). **2.** *Foot activity*
\"decreased to a near zero level\" in conditions of severe crowding
(Baxter and Rozelle 1975:50). **3.** *Muscle tension* is \"a vestige of
freezing\" (LeDoux 1996:201).
*Neuro-notes*. The
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
contains a \"fear center\" which **a.** activates the body\'s freeze
reaction, and **b.** may stretch our
**[lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}** into a *fear grin*.
See also [**ORIENTING
REFLEX**](orient1.htm){tppabs="http://members.aol.com/doder1/orient1.htm"
target="_top"}, **[STARTLE
REFLEX](startle1.htm){tppabs="http://members.aol.com/doder1/startle1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
FROWN | https://ns1.omnitech.net/data/Nonverbal/browlow1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>browlow</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">EYEBROW-LOWER</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Tough-Guy Lowered Brows & Brim" SRC="browlow.jpg" tppabs="http://members.aol.com/doder1/objects/browlow.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">Facial expression</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> To frown or scowl, as in <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>,
concentration, displeasure, or thought. <STRONG>2.</STRONG> To depress, knit,
pucker, or wrinkle the brow by contracting the <EM>corrugator</EM>,
<EM>procerus</EM>, and <EM>orbicularis oculi</EM> muscles.</P>
<P><EM>Usage</EM>: Lowering the eyebrows is a sensitive indicator of
disagreement, doubt, or <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>.</P>
<P><I>Observation</I>. Slightly lowered eyebrows may telegraph unvoiced
disagreement among colleagues, as comments are presented at a
<STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> ". . .many kinds of monkeys, especially
baboons, when angered or in any way excited, rapidly and
incessantly move their eyebrows up and down. . ." (Darwin
1872:138). <STRONG>2.</STRONG> In nursery school children, attacks "are often
preceded and accompanied by fixating the opponent and by what
looks like a frown with lowering of the eyebrows and rather
little vertical furrowing of the brow ('low frown') and no
conspicuous modification of the mouth expression" (Blurton Jones
1967:355). <B>3.</B> Blind-and-deaf-born children frown in anger (Eibl-Eibesfeldt 1971:12). <STRONG>4.</STRONG> Lowered brows show anger (Ekman and Friesen 1976).
<STRONG>5.</STRONG> "Puzzlement was displayed by curving the mouth downward,
lowering the eyebrows and eyelids, <A HREF="http://members.aol.com/nonverbal3/droop.htm" TARGET="_top"><B>dropping</B></A> the jaw, and
constricting the forehead muscles" (Burgoon et al. 1989:352). <B>6.</B> "A series of recent studies finds that men and women in a group situation are more likely to respond to female leaders with scowls and frowns, while smiling and nodding at male leaders who say the same thing" [<I>Manpower Comments</I>, May 1990:19].</P>
<P><EM><I>Neuro-notes</I></EM>. A gestural fossil, the lowered-brows cue is innervated by <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">special visceral nerves</A></STRONG>, originally designed for feeding. The expression is emotionally responsive today as it
reflects visceral sensations (i.e., "gut feelings") aroused, e.g., by aggression or anger. In effect,
we lower our eyebrows to protect our eye openings, a form of "nonverbal lock-down." Emotional
stimuli pass from higher brain centers to brain-stem nuclei below, where the <EM>facial nerve</EM> (cranial VII) arises in a special visceral motor column of the pons. </P>
<P><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="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top">EYEBROW-RAISE</A></STRONG>, <B><A HREF="http://members.aol.com/nonverbal2/hat.htm" TARGET="_top">HAT</A></B>.</FONT></P>
<P><FONT FACE="Times New Roman">Copyright 1999 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<BR>
Photo detail of Humphrey Bogart, from Warner Bros. movie, <I>The Roaring Twenties</I></FONT> (copyright Kobal Collection, London)</P>
</BODY>
</HTML> | **EYEBROW-LOWER**
{border="0"
tppabs="http://members.aol.com/doder1/objects/browlow.jpg" height="35%"
width="25%"}\
\
***[Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
**1.** To frown or scowl, as in
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
concentration, displeasure, or thought. **2.** To depress, knit, pucker,
or wrinkle the brow by contracting the *corrugator*, *procerus*, and
*orbicularis oculi* muscles.
*Usage*: Lowering the eyebrows is a sensitive indicator of disagreement,
doubt, or
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**.
*Observation*. Slightly lowered eyebrows may telegraph unvoiced
disagreement among colleagues, as comments are presented at a
**[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**.
***RESEARCH REPORTS***: **1.** \". . .many kinds of monkeys, especially
baboons, when angered or in any way excited, rapidly and incessantly
move their eyebrows up and down. . .\" (Darwin 1872:138). **2.** In
nursery school children, attacks \"are often preceded and accompanied by
fixating the opponent and by what looks like a frown with lowering of
the eyebrows and rather little vertical furrowing of the brow (\'low
frown\') and no conspicuous modification of the mouth expression\"
(Blurton Jones 1967:355). **3.** Blind-and-deaf-born children frown in
anger (Eibl-Eibesfeldt 1971:12). **4.** Lowered brows show anger (Ekman
and Friesen 1976). **5.** \"Puzzlement was displayed by curving the
mouth downward, lowering the eyebrows and eyelids,
[**dropping**](http://members.aol.com/nonverbal3/droop.htm){target="_top"}
the jaw, and constricting the forehead muscles\" (Burgoon et al.
1989:352). **6.** \"A series of recent studies finds that men and women
in a group situation are more likely to respond to female leaders with
scowls and frowns, while smiling and nodding at male leaders who say the
same thing\" \[*Manpower Comments*, May 1990:19\].
**Neuro-notes**. A gestural fossil, the lowered-brows cue is innervated
by **[special visceral
nerves](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}**, originally designed for feeding. The expression is
emotionally responsive today as it reflects visceral sensations (i.e.,
\"gut feelings\") aroused, e.g., by aggression or anger. In effect, we
lower our eyebrows to protect our eye openings, a form of \"nonverbal
lock-down.\" Emotional stimuli pass from higher brain centers to
brain-stem nuclei below, where the *facial nerve* (cranial VII) arises
in a special visceral motor column of the pons.
See also
**[CRY](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**,
**[EYEBROW-RAISE](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}**,
**[HAT](http://members.aol.com/nonverbal2/hat.htm){target="_top"}**.
Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo detail of Humphrey Bogart, from Warner Bros. movie, *The Roaring
Twenties* (copyright Kobal Collection, London)
|
FRUIT SUBSTITUTE | https://ns1.omnitech.net/data/Nonverbal/fruit1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>fruit</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>FRUIT SUBSTITUTE</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="No Peel Appeal" SRC="fruit.jpg" tppabs="http://members.aol.com/doder1/objects/fruit.jpg" HEIGHT="38%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><I>The scent which comes from the fruit, and from the spray that is diffused over the green leaves, kindles within us a craving to eat and to drink</I> . . . . --Dante Alighieri (<I>Purgatorio, Canto XXIII</I>)</FONT><FONT FACE="Times New Roman"><BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer product</A></EM></STRONG></FONT><FONT FACE="Times New Roman" SIZE="-1"><EM></EM>. </FONT>A food product (e.g., a candy bar, cookie, or donut) sweetened with
sugar to resemble the taste of the ripened ovaries of apple, banana, and other seed-bearing plants.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: So successful have fruit substitutes become as "edible <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">signs</A></STRONG>" (i.e., as foods
suggesting the presence of ripe fruits and berries), that they are as common in the modern diet as real
fruit itself. A fruit substitute's sweetness usually comes from table sugar (i.e., <EM>sucrose</EM>), a
crystalline carbohydrate which suggests the fruity sweetness of <EM>fructose</EM> (for which--as a
nonverbal sign--it stands). Today's fruit substitutes reconnect us to our fruit-eating, primate past</FONT></P>
<P><FONT FACE="Times New Roman"><STRONG></STRONG></FONT><FONT FACE="Times New Roman"><EM>Juicy fruit</EM>. When primates took to the trees ca. 50 m.y.a. in the Eocene, they supplemented a
basically <STRONG><A HREF="shellfis.htm" tppabs="http://members.aol.com/nonverbal3/shellfis.htm" TARGET="_top">insect diet</A></STRONG> with ripened fruit. The evolution of our "sweet tooth" is reflected in our ancestors'
teeth. Insect-eaters had spiked cusps on their molar teeth, while fruit-eaters had
flatter, rounder molars for grinding. Eocene-primate molars show a flattened adaptation for pulping" fruit flesh (the better to taste its fructose). Our tricuspid teeth enable us to pulp grapes,
bananas, and Juicy Fruit® chewing gum.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Tasty fruit</EM>. Fourteen m.y.a., as Miocene primates descended from trees to the terrestrial plain, a
powerful appetite for fructose descended with them. Today, combining sweetness with ca. 300
varieties of flavor molecule, <EM>strawberries</EM> are among the tastiest of real fruits. With ca.
200 flavors, <EM>raspberries</EM> also delight the tongue. <EM>Bananas</EM> are less flavorful, yet their 17% sugar
content--which ties them for "sweetest" with the Chinese <EM>litchi</EM>--has helped make bananas the
world's best-selling fruit (Hockstader 1992).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Tastykakes®</EM>. And yet, bananas are still not sweet enough, because it is a peculiarity of our
species that we indulge our primate sweet tooth with fruit substitutes rather than with actual fruit.
Half of the U.S. population, e.g., does not eat a single piece of fresh fruit a day (Sugarman 1992).
In a lifetime, Americans eat more candy (1,500 lbs.) than apples (1,400 lbs.; Heyman 1992).
Apples, oranges, and raspberries have <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">bowed</A></STRONG> to sweeter-tasting candies and pastry products,
such as Tastykakes®, which encode more chemical information, and have more to "say."</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Flavor</EM>. Decoded in the <EM>chemical channels</EM> for <STRONG><A HREF="http://members.aol.com/nonverbal3/taste.htm" TARGET="_top">taste</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">smell</A></STRONG>, a piece of fruit is usually no
match for a baked good. As culinary signals, cookies and donuts are designed to send far
more complex sets of messages <STRONG>a.</STRONG> to tongue receptors, through sweet--as well as <EM>salty</EM>--tastes, and
<STRONG>b.</STRONG> to nasal receptors, through rich <EM>caramelized aromas</EM> of baked sucrose and deep-fried fat. A
banana's natural flavor molecules (called <EM>esters</EM>) are pleasant, but are no match for the
salty-sweet, buttery taste, and resonant aroma, e.g., of <EM>strudel</EM>.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Prehistory</EM>. Giving sweets (e.g., sugar cane, butter creams, and chocolate-covered ants) is a
"friendly" gesture in all societies. The earliest prehistoric candy may have been bee honey,
which is still a popular commodity among living hunter-gatherers, such as the !Kung Bushmen, today.
In written history, honey is mentioned in ancient hieroglyphic texts, as in, "Honey for the funeral
procession of the [Egyptian god] Osiris" (Martin 1991:182).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Today</EM>. Earth's best-selling fruit substitute is <EM>Life Savers</EM>®. Over 35 billion rolls have been sold
since 1913 (McFarlan 1990). Had they grown on trees, the colorful candies might have appealed
to Miocene-primate tongues as well. Indeed, in the U.S.A. today, a candy bar is more appealing--and
psychologically more "real" as food than an orange or a tangerine. (<I><STRONG>N.B.</STRONG></I><STRONG></STRONG>: There are no seeds, and
a candy bar's "peeling substitute" is easier to remove.)</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Neuro-notes</EM>. Sweetness stimulates taste buds of the tongue tip, which convey signals through
the facial nerve, via the hindbrain, to the forebrain. There, the message splits, as part travels <STRONG>a.</STRONG> to
<EM>unconscious areas</EM> of the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG> (<STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> and lateral <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">hypothalamus</A></STRONG>), and <STRONG>b.</STRONG> to the
conscious cerebral cortex (via thalamic relays to the postcentral gyrus and insula). (<I><STRONG>N.B.</STRONG></I><STRONG></STRONG>: That we
crave sugar instinctively is suggested by babies born without a cerebral cortex, who respond to
sweet but reject bitter tastes.)</FONT></P>
<P><FONT FACE="Times New Roman">See also <B><A HREF="juice1.htm" tppabs="http://members.aol.com/doder1/juice1.htm" TARGET="_top">JUICE SUBSTITUTE</A></B>, <STRONG><A HREF="nut1.htm" tppabs="http://members.aol.com/doder1/nut1.htm" TARGET="_top">NUT SUBSTITUTE</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman"></FONT><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>
Jell-O<FONT FACE="Times New Roman"><EM><FONT FACE="Times New Roman" SIZE="-1"></FONT></EM></FONT><FONT FACE="Times New Roman" SIZE="-1">®</FONT> pudding box (copyright 1999 by Jell-O<FONT FACE="Times New Roman"><EM><FONT FACE="Times New Roman" SIZE="-1"></FONT></EM></FONT><FONT FACE="Times New Roman" SIZE="-1">®</FONT>)</FONT><FONT FACE="Times New Roman"><BR>
</FONT></P>
</BODY>
</HTML> | **FRUIT SUBSTITUTE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/fruit.jpg" height="38%"
width="25%"}\
\
*The scent which comes from the fruit, and from the spray that is
diffused over the green leaves, kindles within us a craving to eat and
to drink* . . . . \--Dante Alighieri (*Purgatorio, Canto XXIII*)\
\
***[Consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. A food product (e.g., a candy bar, cookie, or donut)
sweetened with sugar to resemble the taste of the ripened ovaries of
apple, banana, and other seed-bearing plants.
*Usage*: So successful have fruit substitutes become as \"edible
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**\"
(i.e., as foods suggesting the presence of ripe fruits and berries),
that they are as common in the modern diet as real fruit itself. A fruit
substitute\'s sweetness usually comes from table sugar (i.e.,
*sucrose*), a crystalline carbohydrate which suggests the fruity
sweetness of *fructose* (for which\--as a nonverbal sign\--it stands).
Today\'s fruit substitutes reconnect us to our fruit-eating, primate
past
*Juicy fruit*. When primates took to the trees ca. 50 m.y.a. in the
Eocene, they supplemented a basically **[insect
diet](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}** with ripened fruit. The evolution of our \"sweet
tooth\" is reflected in our ancestors\' teeth. Insect-eaters had spiked
cusps on their molar teeth, while fruit-eaters had flatter, rounder
molars for grinding. Eocene-primate molars show a flattened adaptation
for pulping\" fruit flesh (the better to taste its fructose). Our
tricuspid teeth enable us to pulp grapes, bananas, and Juicy Fruit®
chewing gum.
*Tasty fruit*. Fourteen m.y.a., as Miocene primates descended from trees
to the terrestrial plain, a powerful appetite for fructose descended
with them. Today, combining sweetness with ca. 300 varieties of flavor
molecule, *strawberries* are among the tastiest of real fruits. With ca.
200 flavors, *raspberries* also delight the tongue. *Bananas* are less
flavorful, yet their 17% sugar content\--which ties them for
\"sweetest\" with the Chinese *litchi*\--has helped make bananas the
world\'s best-selling fruit (Hockstader 1992).
*Tastykakes®*. And yet, bananas are still not sweet enough, because it
is a peculiarity of our species that we indulge our primate sweet tooth
with fruit substitutes rather than with actual fruit. Half of the U.S.
population, e.g., does not eat a single piece of fresh fruit a day
(Sugarman 1992). In a lifetime, Americans eat more candy (1,500 lbs.)
than apples (1,400 lbs.; Heyman 1992). Apples, oranges, and raspberries
have **[bowed](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}** to sweeter-tasting candies and pastry products, such as
Tastykakes®, which encode more chemical information, and have more to
\"say.\"
*Flavor*. Decoded in the *chemical channels* for
**[taste](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**
and
**[smell](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}**,
a piece of fruit is usually no match for a baked good. As culinary
signals, cookies and donuts are designed to send far more complex sets
of messages **a.** to tongue receptors, through sweet\--as well as
*salty*\--tastes, and **b.** to nasal receptors, through rich
*caramelized aromas* of baked sucrose and deep-fried fat. A banana\'s
natural flavor molecules (called *esters*) are pleasant, but are no
match for the salty-sweet, buttery taste, and resonant aroma, e.g., of
*strudel*.
*Prehistory*. Giving sweets (e.g., sugar cane, butter creams, and
chocolate-covered ants) is a \"friendly\" gesture in all societies. The
earliest prehistoric candy may have been bee honey, which is still a
popular commodity among living hunter-gatherers, such as the !Kung
Bushmen, today. In written history, honey is mentioned in ancient
hieroglyphic texts, as in, \"Honey for the funeral procession of the
\[Egyptian god\] Osiris\" (Martin 1991:182).
*Today*. Earth\'s best-selling fruit substitute is *Life Savers*®. Over
35 billion rolls have been sold since 1913 (McFarlan 1990). Had they
grown on trees, the colorful candies might have appealed to
Miocene-primate tongues as well. Indeed, in the U.S.A. today, a candy
bar is more appealing\--and psychologically more \"real\" as food than
an orange or a tangerine. (***N.B.***: There are no seeds, and a candy
bar\'s \"peeling substitute\" is easier to remove.)
*Neuro-notes*. Sweetness stimulates taste buds of the tongue tip, which
convey signals through the facial nerve, via the hindbrain, to the
forebrain. There, the message splits, as part travels **a.** to
*unconscious areas* of the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**
(**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
and lateral
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}**), and **b.** to the conscious cerebral cortex (via
thalamic relays to the postcentral gyrus and insula). (***N.B.***: That
we crave sugar instinctively is suggested by babies born without a
cerebral cortex, who respond to sweet but reject bitter tastes.)
See also **[JUICE
SUBSTITUTE](juice1.htm){tppabs="http://members.aol.com/doder1/juice1.htm"
target="_top"}**, **[NUT
SUBSTITUTE](nut1.htm){tppabs="http://members.aol.com/doder1/nut1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Jell-O® pudding box (copyright 1999 by Jell-O®)\
|
GLUTAMATE | https://ns1.omnitech.net/data/Nonverbal/glutamat.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>glutamat</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="GLUTAMATE">GLUTAMATE<BR>
<BR>
<IMG BORDER="0" ALT="Broth of Carnivores" SRC="B21690.jpg" tppabs="http://members.aol.com/nonverbal3/objects/B21690.jpg" HEIGHT="35%" WIDTH="25%"></A></STRONG></FONT></P>
<P><STRONG><A HREF="http://members.aol.com/nonverbal3/taste.htm" TARGET="_top"><I>Taste cue</I></A></STRONG>. <STRONG>1.</STRONG> An amino acid used to enhance flavors and add a pleasant <STRONG><A HREF="meaty.htm" tppabs="http://members.aol.com/nonverbal3/meaty.htm" TARGET="_top">meaty taste</A></STRONG> to
food products. <STRONG>2.</STRONG> The fifth basic taste--MSG--called <EM>umami</EM> by the Japanese. <STRONG>3.</STRONG> A flavor
additive which prompts food items to "speak" to the tongue as "meats."</P>
<P><EM>Usage</EM>: With a rich "meaty" flavor, glutamate is a frequent additive to edible <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG> such as crackers, chips, seasonings, soup bases, sauces, and "natural flavorings."
Rich in free glutamate, parmesan cheese and tomatoes, e.g., appeal to the tongues of carnivores.<BR>
<BR>
<I>Evolution</I>. ". . . many animals most likely seek out glutamate as a marker for high-protein foods" (Mirsky 2000:34 [<I>Scientific American</I>]). </P>
<P><EM>History</EM>. MSG dates back to Oriental antiquity, to <EM>sea tangle</EM>, a seaweed used to make stock.
Unknown in Europe until the 16th century, the New World's tomato,
combined with onions and olive oil by Spanish chefs, has become a main ingredient of
soups, sauces, pastes, and juices. (<STRONG><I>N.B.</I></STRONG>: Malay <EM>kaychup</EM> evolved as catsup in England, and was
mass-marketed as a consumer product in the U.S. by the H.J. Heinz Co. in 1876.) </P>
<P><EM>Chemistry</EM>. High levels of free glutamate (a building block of protein) are found in mushrooms,
tomatoes, and peas. Hydrolyzed vegetable protein breaks into glutamic acid, which turns into the
white crystalline flavor enhancer, monosodium glutamate (MSG):
COOH(CH<SUB>2</SUB>)<SUB>2</SUB>CH(NH<SUB>2</SUB>)COONa.</P>
<P><EM>Neuro-note</EM>. A study of the <EM>gustofacial reflex</EM> of newborns (as young as 24 hours in age) found <STRONG>a.</STRONG>
that unseasoned soup stock produced an <EM>aversion response</EM>, but that <STRONG>b.</STRONG> soup seasoned with MSG
produced an <EM>acceptance response</EM> (National Food Safety 1987).</P>
<P>See also <STRONG><A HREF="shellfis.htm" tppabs="http://members.aol.com/nonverbal3/shellfis.htm" TARGET="_top">SHELLFISH TASTE</A></STRONG>, <A HREF="http://www.soups.com/"><B><I>WWW.Soups.com</I></B></A>.</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[GLUTAMATE\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/B21690.jpg"
height="35%" width="25%"}]{#GLUTAMATE}**
**[*Taste
cue*](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**.
**1.** An amino acid used to enhance flavors and add a pleasant **[meaty
taste](meaty.htm){tppabs="http://members.aol.com/nonverbal3/meaty.htm"
target="_top"}** to food products. **2.** The fifth basic
taste\--MSG\--called *umami* by the Japanese. **3.** A flavor additive
which prompts food items to \"speak\" to the tongue as \"meats.\"
*Usage*: With a rich \"meaty\" flavor, glutamate is a frequent additive
to edible **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** such as crackers, chips, seasonings, soup bases,
sauces, and \"natural flavorings.\" Rich in free glutamate, parmesan
cheese and tomatoes, e.g., appeal to the tongues of carnivores.\
\
*Evolution*. \". . . many animals most likely seek out glutamate as a
marker for high-protein foods\" (Mirsky 2000:34 \[*Scientific
American*\]).
*History*. MSG dates back to Oriental antiquity, to *sea tangle*, a
seaweed used to make stock. Unknown in Europe until the 16th century,
the New World\'s tomato, combined with onions and olive oil by Spanish
chefs, has become a main ingredient of soups, sauces, pastes, and
juices. (***N.B.***: Malay *kaychup* evolved as catsup in England, and
was mass-marketed as a consumer product in the U.S. by the H.J. Heinz
Co. in 1876.)
*Chemistry*. High levels of free glutamate (a building block of protein)
are found in mushrooms, tomatoes, and peas. Hydrolyzed vegetable protein
breaks into glutamic acid, which turns into the white crystalline flavor
enhancer, monosodium glutamate (MSG): COOH(CH~2~)~2~CH(NH~2~)COONa.
*Neuro-note*. A study of the *gustofacial reflex* of newborns (as young
as 24 hours in age) found **a.** that unseasoned soup stock produced an
*aversion response*, but that **b.** soup seasoned with MSG produced an
*acceptance response* (National Food Safety 1987).
See also **[SHELLFISH
TASTE](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}**, [***WWW.Soups.com***](http://www.soups.com/).
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
GOLF | https://ns1.omnitech.net/data/Nonverbal/golf.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>golf</TITLE>
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<P><FONT SIZE="+1"><STRONG><A NAME="GOLF">GOLF</A></STRONG></FONT></P>
<P><FONT SIZE="-1"><I>At the 1981 Benson and Hedges golf tournament in Fulford, York, Bernhard Langer hit his ball
onto the 17th green from atop the limb of a tree</I>.</FONT><FONT SIZE="-1"></FONT></P>
<P><EM><IMG BORDER="0" ALT="Neo-Savannah Grassland" SRC="golf.jpg" tppabs="http://members.aol.com/nonverbal3/objects/golf.jpg" HEIGHT="35%" WIDTH="35%"><BR>
<BR>
</EM><FONT SIZE="-1">"[Pursuant to Rule 13-2:] The area of his intended stance or swing" </FONT><I><FONT SIZE="-1">means that prior to a stroke, a player may not break any limbs growing on a tree that interferes with his swing</FONT></I><FONT SIZE="-1"> . . . --Tom Meeks (</FONT><I><FONT SIZE="-1">Golf Journal</FONT></I><FONT SIZE="-1">, October 2000, p.56) <BR>
</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM>Hunting and gathering</EM>. <STRONG>1.</STRONG> An evolutionary correct game with which to rekindle the <EM>savannah
experience</EM> our nomadic ancestors knew in Africa. <STRONG>2.</STRONG> A game enjoyed by small, face-to-face bands of
players, wandering through artificial grasslands in pursuit of spherical prey, striking white balls with high-tech
<STRONG><A HREF="http://members.aol.com/nonverbal2/branch.htm" TARGET="_top">branch substitutes</A></STRONG> called <EM>clubs</EM>.</P>
<P><EM>Usage I</EM>: Nonverbally, golf reconnects players <STRONG>a.</STRONG> to <EM>arboreal</EM>, <STRONG>b.</STRONG> to <EM>savannah-grassland</EM>, and <STRONG>c.</STRONG> to
<EM> hunter-gatherer</EM> roots. Golfers focus incredible attention on gripping the club, e.g., which in
shape and thickness resembles a tree branch. Blending <STRONG><A HREF="power1.htm" tppabs="http://members.aol.com/doder1/power1.htm" TARGET="_top">power</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/precise.htm" TARGET="_top">precision grips</A></STRONG>, they
strike <STRONG><A HREF="http://members.aol.com/nonverbal2/vinyl.htm" TARGET="_top">vinyl</A></STRONG> balls as if swatting small prey animals.</P>
<P><EM>Usage II</EM>: In the career realm, important deals are nurtured on the golf course. Stalking through
artificial grasslands in close-knit groups (see <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">ISOPRAXISM</A></STRONG>), sticks in hand--hunting for game
balls and walloping them--business people enjoy the same concentration, competition, and
camaraderie their ancestors felt two m.y.a. in Africa. (<STRONG><I>N.B.</I></STRONG>: No gas stations, subways, or
billboards disturb the "natural" view.)<BR>
<BR>
<A HREF="adorn.htm" tppabs="http://members.aol.com/doder1/adorn.htm" TARGET="_top"><B><I>Adornment</I></B></A><B><I></I></B><I></I>. "After winning preliminary rounds [to qualify for the National Long Drive Championships] the Golfing Gorilla [a Tacoma, Washington human primate dressed in a gorilla costume] has been told by officials his suit is unsuitable [because, under PGA rules, all players must 'be properly groomed']" (Kelly 1983). <BR>
<BR>
<I>Culture and the <A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"><B>color</B></A> green</I>. "With this camaraderie, we were cut off from our ethnic roots, bias and prejudice. We were merely men against the course. We had transcended our race, color and ethnicity. The only color we saw was the color green" (Tharwat 2000:52; see below, <I>The color yellow</I>). </P>
<P><EM>History</EM>. Originally known as <EM>colf</EM>, golf was played in Holland from the year 1297 A.D. (at least),
with balls made of fine-grained hardwoods (e.g., elm, box, and beech). In 1848 a superior ball
was made from tree sap known as <EM>gutta percha</EM>, boiled and shaped in iron molds.</P>
<P><EM>Prehistory I</EM>. Twenty m.y.a. in the Miocene, parts of East Africa changed from dense rain forest
to open woodlands, as the arboreal ancestors of humans began living a part of their lives on
the ground. (<STRONG><I>N.B.</I></STRONG>: The first ground-dwelling humanoid may have resembled <EM>Ramapithecus</EM>, a
fossil ape who lived ca. 15-to-7 m.y.a. in Europe and Asia.)</P>
<P><EM>Prehistory II</EM>. Two m.y.a. in the Pleistocene, the first humans (genus <EM>Homo</EM>) lived in eastern
Africa as hunter-gatherers, on tropical, shrubby grasslands--in hot, flat, open countryside with
scattered trees and little shade known as <EM>savannahs</EM> (from Taino <EM>zabana</EM>, "flat grassland").</P>
<P><EM>Prehistory III</EM>. <EM>Homo habilis</EM> would feel at home strolling the 8th hole at Pebble Beach, e.g., with
its cliffs, surf, boulders, and tree-lined hills spanning the horizon. Its fairway resembles a game
trail, its sand traps could be dried salt ponds, and neither office buildings nor power poles disturb the
"natural view."<BR>
<BR>
<I>The color yellow</I>. "Stonewolf Golf Club in Fairview Heights, Ill., a private course designed by Jack Nicklaus, is suing three fertilizer companies for allegedly supplying faulty products. The course claims slow-release fertilizer released too quickly last summer, saturating 17 of 18 fairways with urea, a derivative of mammal urine, which killed the grass and turned the areas yellow" (Anonymous 2000E:7).<BR>
<BR>
<EM>Trees and animals</EM>. Names of golf courses suggest we perceive them as natural habitats.
The best-rated U.S. public course, <EM>Brown Deer Park</EM> (Milwaukee, Wisconsin), e.g., is named after
the most-hunted U.S. game animal, the deer. The best-rated private course, the <EM>Cypress Point</EM>
Club at Pebble Beach in California, is named after a tree. Hell's Half Acre, reputedly the world's
largest sand trap, is located in New Jersey on the 7th hole of a course named <EM>Pine Valley</EM>.</P>
<P><EM>Neuro-notes I</EM>. Because the savannah experience took place during a critical time in human
evolution--as <EM>Homo's</EM> brain was expanding faster than any brain in the history of vertebrates--grassland habitats left an indelible mark on the species. Today, e.g., we remodel earth to our
liking by flattening and smoothing its surface, idealizing the original plains upon which our
ancestors hunted, gathered, and camped. We still find psychic comfort in semi-open spaces; indeed, <EM>Neo-Savannah Grassland</EM>, with its scattered bushes and reassuring clumps of trees, is the landscaping
theme of golf courses, college campuses, city parks, and cemeteries.<BR>
<BR>
<I>Neuro-notes II: "yips"</I>. "Physical and psychological factors may contribute to a phenomenon in golf known as the 'yips' [a form of dystonia, which '. . . affects musicians, stenographers, dentists and others who frequently are forced to repeatedly assume a prolonged, abnormal posture']--an acquired problem of sudden tremors, jerking, or freezing while putting--according to a summary of current Mayo Clinic research published this week [January 8, 2001] in <I>Sports Medicine</I>. Aynsley Smith, PhD, director of sport psychology and sports medicine research at the Mayo Clinic in Rochester, Minnesota, says preliminary research indicates that more than 25% of avid golfers develop the yips, which adds an estimated 4.7 strokes to the average 18-hole score of an affected player. <BR>
<BR>
"Fast, downhill, and left-to-right breaking putts of 2-5 feet were most likely to produce symptoms, although long putts caused problems for some golfers. Playing in or leading a tournament, tricky putts, and playing against specific competitors were also associated with yips episodes.</P>
<P>"'While pressure situations make the problem worse, it is difficult to imagine why good golfers would suddenly begin having the yips after years of successful performance if it was only a matter of anxiety or 'choking,' ' says Dr. Smith. 'Although performance anxiety may cause the yips in many golfers, muscle and nervous system deterioration caused by prolonged overuse may be at the root of the problem for other players. This may explain why some get relief and play successfully by changing their grip or by switching to a longer putter.' In the second phase of the Mayo Clinic research, investigators measured the heart rate, arm muscle activity, and grip force while putting of 4 yips-affected golfers and 3 nonaffected counterparts. Those with the yips had higher average heart rates and demonstrated increased muscle activity, particularly in the wrists. In addition, while nonaffected golfers were able to make an average of 9 out of 10 consecutive 5-foot putts, the yips-affected golfers only made half of theirs" (Anonymous 2001). </P>
<P>
<I>Neuro-notes III</I>. "It takes nearly a millisecond for the impact shock to travel up the club shaft and milliseconds more for nerve pathways to carry the sensation to the brain. So by the time a player can feel the hit, the ball has already flown as much as a foot off the tee and is no longer in contact with the club head" (Suplee 1997:A3).<BR>
<BR>
<IMG BORDER="0" ALT="The End of Evolution" SRC="golf1.jpg" tppabs="http://members.aol.com/nonverbal3/objects/golf1.jpg" HEIGHT="35%" WIDTH="35%"></P>
<P>See also <A HREF="lawn1.htm" tppabs="http://members.aol.com/doder1/lawn1.htm" TARGET="_top"><B>LAWN DISPLAY</B></A>, <STRONG><A HREF="nvlearn1.htm" tppabs="http://members.aol.com/doder1/nvlearn1.htm" TARGET="_top">NONVERBAL LEARNING</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">NONVERBAL WORLD</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><B><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1">Center for Nonverbal Studies</FONT></A></B><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><FONT SIZE="-1"></FONT></A><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[GOLF]{#GOLF}**
*At the 1981 Benson and Hedges golf tournament in Fulford, York,
Bernhard Langer hit his ball onto the 17th green from atop the limb of a
tree*.
*{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/golf.jpg" height="35%"
width="35%"}\
\
*\"\[Pursuant to Rule 13-2:\] The area of his intended stance or swing\"
*means that prior to a stroke, a player may not break any limbs growing
on a tree that interferes with his swing* . . . \--Tom Meeks (*Golf
Journal*, October 2000, p.56)\
\
\
*Hunting and gathering*. **1.** An evolutionary correct game with which
to rekindle the *savannah experience* our nomadic ancestors knew in
Africa. **2.** A game enjoyed by small, face-to-face bands of players,
wandering through artificial grasslands in pursuit of spherical prey,
striking white balls with high-tech **[branch
substitutes](http://members.aol.com/nonverbal2/branch.htm){target="_top"}**
called *clubs*.
*Usage I*: Nonverbally, golf reconnects players **a.** to *arboreal*,
**b.** to *savannah-grassland*, and **c.** to *hunter-gatherer* roots.
Golfers focus incredible attention on gripping the club, e.g., which in
shape and thickness resembles a tree branch. Blending
**[power](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm"
target="_top"}** and **[precision
grips](http://members.aol.com/nonverbal2/precise.htm){target="_top"}**,
they strike
**[vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}**
balls as if swatting small prey animals.
*Usage II*: In the career realm, important deals are nurtured on the
golf course. Stalking through artificial grasslands in close-knit groups
(see
**[ISOPRAXISM](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**),
sticks in hand\--hunting for game balls and walloping them\--business
people enjoy the same concentration, competition, and camaraderie their
ancestors felt two m.y.a. in Africa. (***N.B.***: No gas stations,
subways, or billboards disturb the \"natural\" view.)\
\
[***Adornment***](adorn.htm){tppabs="http://members.aol.com/doder1/adorn.htm"
target="_top"}****. \"After winning preliminary rounds \[to qualify for
the National Long Drive Championships\] the Golfing Gorilla \[a Tacoma,
Washington human primate dressed in a gorilla costume\] has been told by
officials his suit is unsuitable \[because, under PGA rules, all players
must \'be properly groomed\'\]\" (Kelly 1983).\
\
*Culture and the
[**color**](http://members.aol.com/nonverbal3/color.htm){target="_top"}
green*. \"With this camaraderie, we were cut off from our ethnic roots,
bias and prejudice. We were merely men against the course. We had
transcended our race, color and ethnicity. The only color we saw was the
color green\" (Tharwat 2000:52; see below, *The color yellow*).
*History*. Originally known as *colf*, golf was played in Holland from
the year 1297 A.D. (at least), with balls made of fine-grained hardwoods
(e.g., elm, box, and beech). In 1848 a superior ball was made from tree
sap known as *gutta percha*, boiled and shaped in iron molds.
*Prehistory I*. Twenty m.y.a. in the Miocene, parts of East Africa
changed from dense rain forest to open woodlands, as the arboreal
ancestors of humans began living a part of their lives on the ground.
(***N.B.***: The first ground-dwelling humanoid may have resembled
*Ramapithecus*, a fossil ape who lived ca. 15-to-7 m.y.a. in Europe and
Asia.)
*Prehistory II*. Two m.y.a. in the Pleistocene, the first humans (genus
*Homo*) lived in eastern Africa as hunter-gatherers, on tropical,
shrubby grasslands\--in hot, flat, open countryside with scattered trees
and little shade known as *savannahs* (from Taino *zabana*, \"flat
grassland\").
*Prehistory III*. *Homo habilis* would feel at home strolling the 8th
hole at Pebble Beach, e.g., with its cliffs, surf, boulders, and
tree-lined hills spanning the horizon. Its fairway resembles a game
trail, its sand traps could be dried salt ponds, and neither office
buildings nor power poles disturb the \"natural view.\"\
\
*The color yellow*. \"Stonewolf Golf Club in Fairview Heights, Ill., a
private course designed by Jack Nicklaus, is suing three fertilizer
companies for allegedly supplying faulty products. The course claims
slow-release fertilizer released too quickly last summer, saturating 17
of 18 fairways with urea, a derivative of mammal urine, which killed the
grass and turned the areas yellow\" (Anonymous 2000E:7).\
\
*Trees and animals*. Names of golf courses suggest we perceive them as
natural habitats. The best-rated U.S. public course, *Brown Deer Park*
(Milwaukee, Wisconsin), e.g., is named after the most-hunted U.S. game
animal, the deer. The best-rated private course, the *Cypress Point*
Club at Pebble Beach in California, is named after a tree. Hell\'s Half
Acre, reputedly the world\'s largest sand trap, is located in New Jersey
on the 7th hole of a course named *Pine Valley*.
*Neuro-notes I*. Because the savannah experience took place during a
critical time in human evolution\--as *Homo\'s* brain was expanding
faster than any brain in the history of vertebrates\--grassland habitats
left an indelible mark on the species. Today, e.g., we remodel earth to
our liking by flattening and smoothing its surface, idealizing the
original plains upon which our ancestors hunted, gathered, and camped.
We still find psychic comfort in semi-open spaces; indeed, *Neo-Savannah
Grassland*, with its scattered bushes and reassuring clumps of trees, is
the landscaping theme of golf courses, college campuses, city parks, and
cemeteries.\
\
*Neuro-notes II: \"yips\"*. \"Physical and psychological factors may
contribute to a phenomenon in golf known as the \'yips\' \[a form of
dystonia, which \'. . . affects musicians, stenographers, dentists and
others who frequently are forced to repeatedly assume a prolonged,
abnormal posture\'\]\--an acquired problem of sudden tremors, jerking,
or freezing while putting\--according to a summary of current Mayo
Clinic research published this week \[January 8, 2001\] in *Sports
Medicine*. Aynsley Smith, PhD, director of sport psychology and sports
medicine research at the Mayo Clinic in Rochester, Minnesota, says
preliminary research indicates that more than 25% of avid golfers
develop the yips, which adds an estimated 4.7 strokes to the average
18-hole score of an affected player.\
\
\"Fast, downhill, and left-to-right breaking putts of 2-5 feet were most
likely to produce symptoms, although long putts caused problems for some
golfers. Playing in or leading a tournament, tricky putts, and playing
against specific competitors were also associated with yips episodes.
\"\'While pressure situations make the problem worse, it is difficult to
imagine why good golfers would suddenly begin having the yips after
years of successful performance if it was only a matter of anxiety or
\'choking,\' \' says Dr. Smith. \'Although performance anxiety may cause
the yips in many golfers, muscle and nervous system deterioration caused
by prolonged overuse may be at the root of the problem for other
players. This may explain why some get relief and play successfully by
changing their grip or by switching to a longer putter.\' In the second
phase of the Mayo Clinic research, investigators measured the heart
rate, arm muscle activity, and grip force while putting of 4
yips-affected golfers and 3 nonaffected counterparts. Those with the
yips had higher average heart rates and demonstrated increased muscle
activity, particularly in the wrists. In addition, while nonaffected
golfers were able to make an average of 9 out of 10 consecutive 5-foot
putts, the yips-affected golfers only made half of theirs\" (Anonymous
2001).
*Neuro-notes III*. \"It takes nearly a millisecond for the impact shock
to travel up the club shaft and milliseconds more for nerve pathways to
carry the sensation to the brain. So by the time a player can feel the
hit, the ball has already flown as much as a foot off the tee and is no
longer in contact with the club head\" (Suplee 1997:A3).\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/golf1.jpg"
height="35%" width="35%"}
See also [**LAWN
DISPLAY**](lawn1.htm){tppabs="http://members.aol.com/doder1/lawn1.htm"
target="_top"}, **[NONVERBAL
LEARNING](nvlearn1.htm){tppabs="http://members.aol.com/doder1/nvlearn1.htm"
target="_top"}**, **[NONVERBAL
WORLD](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**[](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
HANDSHAKE | https://ns1.omnitech.net/data/Nonverbal/touch1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>touch</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>TOUCH CUE</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Hand Held" SRC="touch1.jpg" tppabs="http://members.aol.com/doder1/objects/touch1.jpg" HEIGHT="42%" WIDTH="25%"><BR WP="BR1">
<BR>
<I><FONT SIZE="-1">Most decide by "the touch," that is, the feel</FONT></I><FONT SIZE="-1"> . . . . --Andrew Ure<BR>
<BR>
<I>Touch is infrequent and usually consists of a slight tap on a woman's shoulder. Or he may run his arm around the waist of a woman visitor. Men are never touched by [TV talk-show host, Phil] Donahue</I>. --Walburga von Raffler-Engel (1984:16).</FONT><FONT SIZE="-1"></FONT><BR>
<BR WP="BR2">
<FONT FACE="Times New Roman"><EM>Tactile <STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signal</A></STRONG></EM></FONT><FONT FACE="Times New Roman">. <STRONG>1.</STRONG> <I>Incoming</I>: A <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG> received through physical contact with a body part (e.g., a
<STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hand</A></STRONG> or <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lip</A></STRONG>), causing it to <EM>feel</EM> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/homuncul.htm" TARGET="_top">HOMUNCULUS</A></STRONG>). <STRONG>2.</STRONG> <I>Outgoing</I>: A sign of physical contact
(e.g., of <EM>pressure</EM>, <EM>temperature</EM>, or <EM>vibration</EM>) delivered to a body part (see, e.g., <STRONG><A HREF="kiss1.htm" tppabs="http://members.aol.com/doder1/kiss1.htm" TARGET="_top">KISS</A></STRONG>).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage I</EM>: Touch cues are powerfully real to human beings. If "seeing is believing," touching is
<I>knowing</I>-- i.e., "knowing for sure." Touch cues are used worldwide to show <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></STRONG>, e.g., in settings
of childcare, comforting, and <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courtship</A></STRONG>, and to establish personal <STRONG><A HREF="rapport1.htm" tppabs="http://members.aol.com/nonverbal3/rapport1.htm" TARGET="_top">rapport</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage II</EM>: <FONT FACE="Times New Roman"> <STRONG><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top">Self-touching</A></STRONG></FONT> is often seen in anxious or tense settings, as a form of self-consolation by means of <I>self-stimulation </I>(see below, <I>Usage IV</I>).</FONT></P>
<P><I>Usage III</I>: "Soft" or <I>protopathic</I> touch--which is found in hairless (or glabrous) areas of our skin--is partly responsible for itching, tickling, and sexual sensations (Diamond et al.1985:4-6). Protopathic touch is ancient, but gives little information about the size, shape, texture, or location of a tactile stimulus.<BR>
<BR>
<I>Usage IV</I>: "Itch" sensations may trigger the spinal cord's rhythmic, oscillating scratch reflex. Scratching stimulates pain receptors (or nociceptors) which drown out (i.e., block) the itchy feeling. Primates often scratch themselves in anxious social settings and when intimidated by dominant rivals.<BR>
<BR>
<I>Usage V</I>: <FONT FACE="Times New Roman">"<A HREF="tickle1.htm" tppabs="http://members.aol.com/doder1/tickle1.htm" TARGET="_top"><B>Tickle</B></A>" is a tingling sensation, considered both pleasant and unpleasant, which often results in <STRONG><A HREF="http://members.aol.com/nonverbal3/laugh.htm" TARGET="_top">laughter</A></STRONG>, smiling, and involuntary twitching movements of the head, limbs, and torso</FONT>. <BR>
<BR>
<FONT FACE="Times New Roman"><EM>Anatomy</EM>. The outer covering of skin is our body's largest "part." Skin makes up about 15% of the body's weight (ca. 23 lbs.), and occupies some 21 square feet of surface area (Wallace et al.1983:254). Pain and protopathic touch cues are received via free nerve endings in
the skin and hair follicles. More specialized nerve endings have evolved for finer touch and
temperature discrimination. <EM>Mechanoreceptors</EM> (including <EM>Pacinian corpuscles</EM>, <EM>Merkel's disks</EM>,
and <EM>Meissner's corpuscles</EM>) sense pressure, stretching, and indenting of the skin. <EM>Thermoreceptors</EM> (<EM>Krause
end bulbs</EM> for cold and <EM>organs of Ruffini</EM> for heat) are sensitive to changes in temperature.<BR>
<BR>
<I>Culture</I>. <B>1.</B> According <FONT FACE="Times New Roman">Edward Hall (1966)</FONT>, "contact cultures" (e.g., France, <FONT FACE="Times New Roman">Latin America, </FONT>and Saudi Arabia) use a greater frequency of aroma and touch cues than do "noncontact cultures" (e.g., Germany and North America), which use more visual cues. <B>2.</B> The <I>buttock pat</I>, used in American football as a sign of encouragement, has spread to European sports (Morris 1994:14). <B>3.</B> In Germany, Austria, Eastern Europe, and the Middle East, the <I>buttock slap</I>--in which the right buttock pushes out as if or to be slapped with one's own right hand--is given as a sign of insult (Morris 1994:14).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Evolution</EM>. The most primitive, specialized tactile-sense organ in vertebrates is the <EM>neuromast</EM>, a
fluid-filled pit in the skin of today's fishes, which picks up vibrations, heat, electrical, and (perhaps)
chemical signals in the surrounding water. Each neuromast contains a <EM>hair cell</EM>, which, when
moved by water currents generated by a nearby fish, e.g., stimulates a sensory nerve. Through the
neuromast, the current becomes a nonverbal sign of another fish's presence.<BR>
<BR>
<I><A NAME="Handshake">Handshake</A></I>. Grasping another's hand with a <A HREF="power1.htm" tppabs="http://members.aol.com/doder1/power1.htm" TARGET="_top"><B>power grip</B></A> is a widespread means of expressing congratulations, <FONT FACE="Times New Roman">contractual agreement, farewell, and greeting. The handshake is European in origin (Morris 1994), although many cultures touch hands and other body parts with the hand(s) to greet family members and fellow tribesmen. These socio-emotional touch cues developed from tactile signs originally used in <A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top"><B>mammalian</B></A> grooming and childcare. <B>1.</B> "We do know that the full Hand Shake occurred as early as the 16th century </FONT></FONT>because in Shakespeare's <I>As You Like It</I> there is the phrase: 'they shook hands and swore brothers'" (Morris 1994:125). <B>2.</B> In the <I>politician's</I> handshake, two hands reach out to clasp and surround another's hand, like a glove, to intensify the emotions aroused by physical closeness and "friendship." According to Morris (1994:126), the glove handshake is widespread in "diplomatic, political and business circles." <B>3.</B> A study reported in the July 2000 <I>Journal of Personality and Social Psychology</I> found that women ". . . who introduce themselves with an assertive gesture by way of a firm handshake were perceived as being intellectual and open to new experiences" (Lipsitz 2000:32).<BR>
<BR>
<I>Primates</I>. "A troop of [at least 100] furious monkeys in India's northeastern state of Assam brought traffic to a standstill after a baby monkey was hit by a car on a busy street. . . . . The angry monkeys kept traffic at bay for more than a half hour as they tried to care for the infant. A local shopkeeper said: 'It was very emotional . . . some of them massaged its [broken] legs'" (Newman 2000:C14).
</P>
<P><I>Space</I>. When Apollo 11's pilot, Michael Collins, flew above the Moon, he felt he could "almost reach out and touch it" (Collins1988:5).<BR>
<BR>
<I>Sports</I>. Many baseball players go through touch rituals before they come to bat. "Nomar Garciaparra, the shortstop for the Boston Red Sox, has a routine with his batting gloves [i.e., he compulsively adjusts and re-adjusts them] that would rival the machinations during the changing of the guard at Buckingham Palace" (Wilkens 1998:E-3). <BR>
<BR>
<B><I>RESEARCH REPORTS</I></B>: In a review of studies of people touching one another, Vrugt and Kerkstra (1984) concluded that <B>a.</B> touching of opposite-sex acquaintances, "even at an early age," is avoided (p. 14); <B>b.</B> young adults, "as when bowling," touch each other more in mixed than in same-sex interactions (p. 14); <B>c.</B> "old" women touch more than "old" men, seemingly due to declining sexual interests (pp. 14-15); <B>d.</B> while greeting and departing, men "behave less intimately toward each other" than women behave toward each other (p. 15 [Author's note: But hugging has become more prevalent among U.S. men since the 1980s.]); and <B>e.</B> women "<A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top"><B>shrink less</B></A> from being touched by <A TARGET="_top" HREF="strange1.htm" tppabs="http://members.aol.com/doder1/strange1.htm"><B>strangers</B></A> than men" (p. 15). <BR>
<BR>
<FONT FACE="Times New Roman"><EM>Neuro-notes</EM>: We find pleasure in a carpet's softness, as it stimulates the poorly localized tactile
sensations for soft or protopathic touch, carried by the anterior spinothalamic nerves (whose <A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top"><B>paleocircuits</B></A> are
phylogenetically older than those for the more precise sensations of pain and temperature, carried by the lateral
spinothalamic nerves.</FONT></P>
<P><FONT FACE="Times New Roman">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/nonverbal2/emotionq.htm" TARGET="_top">EMOTION 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 1998, 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 photo (James Dean holds Julie Harris's hand; copyright by Warner Bros., Inc.)</FONT></P>
</BODY>
</HTML> | **TOUCH CUE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/touch1.jpg" height="42%"
width="25%"}\
\
*Most decide by \"the touch,\" that is, the feel* . . . . \--Andrew Ure\
\
*Touch is infrequent and usually consists of a slight tap on a woman\'s
shoulder. Or he may run his arm around the waist of a woman visitor. Men
are never touched by \[TV talk-show host, Phil\] Donahue*. \--Walburga
von Raffler-Engel (1984:16).\
\
*Tactile
**[signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}***.
**1.** *Incoming*: A
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**
received through physical contact with a body part (e.g., a
**[hand](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**
or **[lip](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}**), causing it to *feel* (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**).
**2.** *Outgoing*: A sign of physical contact (e.g., of *pressure*,
*temperature*, or *vibration*) delivered to a body part (see, e.g.,
**[KISS](kiss1.htm){tppabs="http://members.aol.com/doder1/kiss1.htm"
target="_top"}**).
*Usage I*: Touch cues are powerfully real to human beings. If \"seeing
is believing,\" touching is *knowing*\-- i.e., \"knowing for sure.\"
Touch cues are used worldwide to show
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**,
e.g., in settings of childcare, comforting, and
**[courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}**, and to establish personal
**[rapport](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm"
target="_top"}**.
*Usage II*:
**[Self-touching](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**
is often seen in anxious or tense settings, as a form of
self-consolation by means of *self-stimulation* (see below, *Usage IV*).
*Usage III*: \"Soft\" or *protopathic* touch\--which is found in
hairless (or glabrous) areas of our skin\--is partly responsible for
itching, tickling, and sexual sensations (Diamond et al.1985:4-6).
Protopathic touch is ancient, but gives little information about the
size, shape, texture, or location of a tactile stimulus.\
\
*Usage IV*: \"Itch\" sensations may trigger the spinal cord\'s rhythmic,
oscillating scratch reflex. Scratching stimulates pain receptors (or
nociceptors) which drown out (i.e., block) the itchy feeling. Primates
often scratch themselves in anxious social settings and when intimidated
by dominant rivals.\
\
*Usage V*:
\"[**Tickle**](tickle1.htm){tppabs="http://members.aol.com/doder1/tickle1.htm"
target="_top"}\" is a tingling sensation, considered both pleasant and
unpleasant, which often results in
**[laughter](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}**,
smiling, and involuntary twitching movements of the head, limbs, and
torso.\
\
*Anatomy*. The outer covering of skin is our body\'s largest \"part.\"
Skin makes up about 15% of the body\'s weight (ca. 23 lbs.), and
occupies some 21 square feet of surface area (Wallace et al.1983:254).
Pain and protopathic touch cues are received via free nerve endings in
the skin and hair follicles. More specialized nerve endings have evolved
for finer touch and temperature discrimination. *Mechanoreceptors*
(including *Pacinian corpuscles*, *Merkel\'s disks*, and *Meissner\'s
corpuscles*) sense pressure, stretching, and indenting of the skin.
*Thermoreceptors* (*Krause end bulbs* for cold and *organs of Ruffini*
for heat) are sensitive to changes in temperature.\
\
*Culture*. **1.** According Edward Hall (1966), \"contact cultures\"
(e.g., France, Latin America, and Saudi Arabia) use a greater frequency
of aroma and touch cues than do \"noncontact cultures\" (e.g., Germany
and North America), which use more visual cues. **2.** The *buttock
pat*, used in American football as a sign of encouragement, has spread
to European sports (Morris 1994:14). **3.** In Germany, Austria, Eastern
Europe, and the Middle East, the *buttock slap*\--in which the right
buttock pushes out as if or to be slapped with one\'s own right
hand\--is given as a sign of insult (Morris 1994:14).
*Evolution*. The most primitive, specialized tactile-sense organ in
vertebrates is the *neuromast*, a fluid-filled pit in the skin of
today\'s fishes, which picks up vibrations, heat, electrical, and
(perhaps) chemical signals in the surrounding water. Each neuromast
contains a *hair cell*, which, when moved by water currents generated by
a nearby fish, e.g., stimulates a sensory nerve. Through the neuromast,
the current becomes a nonverbal sign of another fish\'s presence.\
\
*[Handshake]{#Handshake}*. Grasping another\'s hand with a [**power
grip**](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm"
target="_top"} is a widespread means of expressing congratulations,
contractual agreement, farewell, and greeting. The handshake is European
in origin (Morris 1994), although many cultures touch hands and other
body parts with the hand(s) to greet family members and fellow
tribesmen. These socio-emotional touch cues developed from tactile signs
originally used in
[**mammalian**](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"} grooming and childcare. **1.** \"We do know that the full
Hand Shake occurred as early as the 16th century because in
Shakespeare\'s *As You Like It* there is the phrase: \'they shook hands
and swore brothers\'\" (Morris 1994:125). **2.** In the *politician\'s*
handshake, two hands reach out to clasp and surround another\'s hand,
like a glove, to intensify the emotions aroused by physical closeness
and \"friendship.\" According to Morris (1994:126), the glove handshake
is widespread in \"diplomatic, political and business circles.\" **3.**
A study reported in the July 2000 *Journal of Personality and Social
Psychology* found that women \". . . who introduce themselves with an
assertive gesture by way of a firm handshake were perceived as being
intellectual and open to new experiences\" (Lipsitz 2000:32).\
\
*Primates*. \"A troop of \[at least 100\] furious monkeys in India\'s
northeastern state of Assam brought traffic to a standstill after a baby
monkey was hit by a car on a busy street. . . . . The angry monkeys kept
traffic at bay for more than a half hour as they tried to care for the
infant. A local shopkeeper said: \'It was very emotional . . . some of
them massaged its \[broken\] legs\'\" (Newman 2000:C14).
*Space*. When Apollo 11\'s pilot, Michael Collins, flew above the Moon,
he felt he could \"almost reach out and touch it\" (Collins1988:5).\
\
*Sports*. Many baseball players go through touch rituals before they
come to bat. \"Nomar Garciaparra, the shortstop for the Boston Red Sox,
has a routine with his batting gloves \[i.e., he compulsively adjusts
and re-adjusts them\] that would rival the machinations during the
changing of the guard at Buckingham Palace\" (Wilkens 1998:E-3).\
\
***RESEARCH REPORTS***: In a review of studies of people touching one
another, Vrugt and Kerkstra (1984) concluded that **a.** touching of
opposite-sex acquaintances, \"even at an early age,\" is avoided (p.
14); **b.** young adults, \"as when bowling,\" touch each other more in
mixed than in same-sex interactions (p. 14); **c.** \"old\" women touch
more than \"old\" men, seemingly due to declining sexual interests (pp.
14-15); **d.** while greeting and departing, men \"behave less
intimately toward each other\" than women behave toward each other (p.
15 \[Author\'s note: But hugging has become more prevalent among U.S.
men since the 1980s.\]); and **e.** women \"[**shrink
less**](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm"
target="_top"} from being touched by
[**strangers**](strange1.htm){target="_top"
tppabs="http://members.aol.com/doder1/strange1.htm"} than men\" (p.
15).\
\
*Neuro-notes*: We find pleasure in a carpet\'s softness, as it
stimulates the poorly localized tactile sensations for soft or
protopathic touch, carried by the anterior spinothalamic nerves (whose
[**paleocircuits**](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}
are phylogenetically older than those for the more precise sensations of
pain and temperature, carried by the lateral spinothalamic nerves.
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/nonverbal2/emotionq.htm){target="_top"}**,
**[TASTE
CUE](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo (James Dean holds Julie Harris\'s hand; copyright by
Warner Bros., Inc.)
|
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<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="HEAD-NOD">HEAD-NOD</A></STRONG></FONT></P>
<P><EM><B><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></B></EM>. <STRONG>1.</STRONG> A vertical, up-and-down movement of the head used to show agreement or
comprehension while listening. <STRONG>2.</STRONG> A flexed-forward, lowering motion of the skull, used to
emphasize an idea, an assertion, or a key speaking point.</P>
<P><EM>Usage</EM>: Rhythmically raised and lowered, the head-nod is an <EM>affirmative</EM> cue, widely used
throughout the world to show understanding, approval, and agreement. Emphatic head-nods
while speaking or listening may indicate powerful feelings of conviction, excitement, or superiority,
and sometimes even <B><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">rage</A></B>.</P>
<P><EM>Anatomy</EM>. <STRONG>1.</STRONG> In the affirmative head-nod, <EM>longus capitis</EM>, <EM>rectus capitis anterior</EM>, and <EM>longus colli</EM>
flex our neck and head forward, while <EM>splenius</EM> (a deep muscle of the back) and <EM>trapezius</EM> bend the
head and neck backward. <STRONG>2.</STRONG> In the emphatic head-nod, <EM>forced expiration</EM> while stressing an
important word contracts muscles of the abdominal wall (i.e., the <EM>oblique</EM> and <EM>transverse</EM> muscles, and
<EM>latissimus dorsi</EM>), which depress our lower ribs and bend our backbone and head forward
(Salmons 1995:818-19).</P>
<P><EM>Evolution</EM>. <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">Paleocircuits</A></STRONG> for the reptilian <EM>head-bobbing</EM> display (used aggressively by lizards, e.g., to affirm their presence in <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>) may underlie the nods we ourselves use to reinforce our words. The reptilian principle of <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">isopraxism</A></STRONG>
may explain why speakers and listeners often nod in synchrony.<BR>
<BR>
<STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <B>1.</B> Though other types of affirmative head movements have been observed cross-culturally (LaBarre 1947), the affirmative head-nod is well-documented as a nearly universal
indication of accord, agreement, and understanding (Darwin 1872; Eibl-Eibesfeldt 1970, 1971; Morris
1994). <B>2.</B> "Others see it [the head-nod] as an abbreviated form of submissive body-lowering - in other words, as a miniature <A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top"><B>bow</B></A>" (Morris 1994:142).</P>
<P><EM>Neuro-notes</EM>. That we head-nod in agreement may be due, in part, to trapezius's origin as a "gut reactive" branchiomeric muscle for <EM>respiration</EM> and <EM>feeding</EM> (see <A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top"><B>SPECIAL VISCERAL NERVE</B></A>). <STRONG>1.</STRONG> Today, e.g., it assists movements of
a baby's head in accepting the breast--a behavior some have used to explain the universality of the head-nod cue (e.g., Morris 1994:142). <STRONG>2.</STRONG> Moreover, the <EM>accessory nerve</EM> (cranial XI, which innervates
trapezius), has a relationship with the <EM>vagus nerve</EM> (cranial X, which innervates the larynx in
producing "hmm," "uh huh," and other "digestive" vocalizations). Thus, the affirmative head-nod may
reflect an agreeable response to food. <STRONG>3.</STRONG> Regarding the emphatic head-nod, the strong physical emphasis during
its downward phase suggests a separate origin from the "yes" nod, which begins with an upward
motion.</P>
<P>See also <STRONG><A HREF="headshak.htm" tppabs="http://members.aol.com/nonverbal3/headshak.htm" TARGET="_top">HEAD-SHAKE</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1998, 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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[HEAD-NOD]{#HEAD-NOD}**
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
**1.** A vertical, up-and-down movement of the head used to show
agreement or comprehension while listening. **2.** A flexed-forward,
lowering motion of the skull, used to emphasize an idea, an assertion,
or a key speaking point.
*Usage*: Rhythmically raised and lowered, the head-nod is an
*affirmative* cue, widely used throughout the world to show
understanding, approval, and agreement. Emphatic head-nods while
speaking or listening may indicate powerful feelings of conviction,
excitement, or superiority, and sometimes even
**[rage](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**.
*Anatomy*. **1.** In the affirmative head-nod, *longus capitis*, *rectus
capitis anterior*, and *longus colli* flex our neck and head forward,
while *splenius* (a deep muscle of the back) and *trapezius* bend the
head and neck backward. **2.** In the emphatic head-nod, *forced
expiration* while stressing an important word contracts muscles of the
abdominal wall (i.e., the *oblique* and *transverse* muscles, and
*latissimus dorsi*), which depress our lower ribs and bend our backbone
and head forward (Salmons 1995:818-19).
*Evolution*.
**[Paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
for the reptilian *head-bobbing* display (used aggressively by lizards,
e.g., to affirm their presence in **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**)
may underlie the nods we ourselves use to reinforce our words. The
reptilian principle of
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**
may explain why speakers and listeners often nod in synchrony.\
\
***RESEARCH REPORTS***: **1.** Though other types of affirmative head
movements have been observed cross-culturally (LaBarre 1947), the
affirmative head-nod is well-documented as a nearly universal indication
of accord, agreement, and understanding (Darwin 1872; Eibl-Eibesfeldt
1970, 1971; Morris 1994). **2.** \"Others see it \[the head-nod\] as an
abbreviated form of submissive body-lowering - in other words, as a
miniature
[**bow**](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}\" (Morris 1994:142).
*Neuro-notes*. That we head-nod in agreement may be due, in part, to
trapezius\'s origin as a \"gut reactive\" branchiomeric muscle for
*respiration* and *feeding* (see [**SPECIAL VISCERAL
NERVE**](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}). **1.** Today, e.g., it assists movements of a baby\'s
head in accepting the breast\--a behavior some have used to explain the
universality of the head-nod cue (e.g., Morris 1994:142). **2.**
Moreover, the *accessory nerve* (cranial XI, which innervates
trapezius), has a relationship with the *vagus nerve* (cranial X, which
innervates the larynx in producing \"hmm,\" \"uh huh,\" and other
\"digestive\" vocalizations). Thus, the affirmative head-nod may reflect
an agreeable response to food. **3.** Regarding the emphatic head-nod,
the strong physical emphasis during its downward phase suggests a
separate origin from the \"yes\" nod, which begins with an upward
motion.
See also
**[HEAD-SHAKE](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
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<P><FONT SIZE="+1"><STRONG><A NAME="HEAD-SHAKE">HEAD-SHAKE</A></STRONG></FONT></P>
<P><EM><B><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></B></EM>. <STRONG>1.</STRONG> Rotating the head horizontally from side-to-side <STRONG>a.</STRONG> to disagree, or <STRONG>b.</STRONG> to show misunderstanding of a speaker's words. <STRONG>2.</STRONG> In an emotional conversation, a rhythmic, side-to-side rotation of the head to express disbelief, sympathy, or grief.</P>
<P><EM>Usage</EM>: The head-shake is used to demonstrate <STRONG>a.</STRONG> cognitive dissonance, or <STRONG>b.</STRONG> emotional empathy.<BR>
<BR>
<EM>Anatomy</EM>. <EM>Longus colli</EM> and <EM>splenius</EM> rotate the head from side-to-side, in tandem with
<EM>sternocleidomastoid</EM>. The latter's prehistory as a branchiomeric muscle (originally used for
<EM>respiration</EM> and <EM>feeding</EM>) makes it responsive as a "gut-reactive" sign of refusal (see below; see also <A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top"><B>SPECIAL VISCERAL NERVE</B></A>).</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> The head-shake is a universal sign of disapproval, disbelief, and
negation (Darwin 1872; according to Morris [1994:144] it is "widespread"). <STRONG>2.</STRONG> The first nonverbal nay-saying may occur when babies head-shake to <EM>refuse</EM> food and drink. Rhesus monkeys, baboons, bonnet macaques, and gorillas
similarly <EM>turn their faces sideward</EM> in aversion (Altmann 1967). <STRONG>3.</STRONG> Children born deaf and blind
head-shake to refuse objects and to disapprove when being touched by an adult (Eibl-Eibesfeldt 1973). <STRONG>4.</STRONG>
Evasive action shows in <EM>sideward</EM> head movements of young children to avoid the gaze of adults
(Stern and Bender 1974). <STRONG>5.</STRONG> A <EM>single sharp turn</EM> to one side (e.g., the Ethiopian <EM>head side-turn</EM>)
can express negation as well (Morris 1994).</P>
<P>See also <STRONG><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">CUT-OFF</A></STRONG>, <STRONG><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">HEAD-NOD</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 1998, 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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[HEAD-SHAKE]{#HEAD-SHAKE}**
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
**1.** Rotating the head horizontally from side-to-side **a.** to
disagree, or **b.** to show misunderstanding of a speaker\'s words.
**2.** In an emotional conversation, a rhythmic, side-to-side rotation
of the head to express disbelief, sympathy, or grief.
*Usage*: The head-shake is used to demonstrate **a.** cognitive
dissonance, or **b.** emotional empathy.\
\
*Anatomy*. *Longus colli* and *splenius* rotate the head from
side-to-side, in tandem with *sternocleidomastoid*. The latter\'s
prehistory as a branchiomeric muscle (originally used for *respiration*
and *feeding*) makes it responsive as a \"gut-reactive\" sign of refusal
(see below; see also [**SPECIAL VISCERAL
NERVE**](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}).
***RESEARCH REPORTS***: **1.** The head-shake is a universal sign of
disapproval, disbelief, and negation (Darwin 1872; according to Morris
\[1994:144\] it is \"widespread\"). **2.** The first nonverbal
nay-saying may occur when babies head-shake to *refuse* food and drink.
Rhesus monkeys, baboons, bonnet macaques, and gorillas similarly *turn
their faces sideward* in aversion (Altmann 1967). **3.** Children born
deaf and blind head-shake to refuse objects and to disapprove when being
touched by an adult (Eibl-Eibesfeldt 1973). **4.** Evasive action shows
in *sideward* head movements of young children to avoid the gaze of
adults (Stern and Bender 1974). **5.** A *single sharp turn* to one side
(e.g., the Ethiopian *head side-turn*) can express negation as well
(Morris 1994).
See also
**[CUT-OFF](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**,
**[HEAD-NOD](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
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<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>HEAD-TILT-BACK</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Who's the Boss?" SRC="headback.jpg" tppabs="http://members.aol.com/doder1/objects/headback.jpg" HEIGHT="39%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>. Lifting the chin and leaning the head backward (dorsally, i.e., toward the shoulder blades or scapula bones).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: Lifting the chin and looking down the nose are used throughout the world as nonverbal
signs of superiority, arrogance, and disdain (Eibl-Eibesfeldt 1970, Hass 1970).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Anatomy</EM>. The prime mover of head-tilt-back (i.e., of extending the spine) is the <EM>erector spinae</EM> muscle group,
components of which reach to the skull's occipital bone to produce extension movements of the
head as well. These deep muscles of the back and neck are basic <A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top"><B>postural</B></A> muscles which are
innervated by the spinal nerves directly, without relay through the cervical plexus or brachial plexus.
Thus, we have less voluntary control of our haughty head-and-trunk postures than we have, e.g., of
our hand-and-arm gestures. (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Gross postural shifts which involve <EM>back-extension</EM> and <EM>head-raising</EM> may express unconscious attitudes of power and <STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominance</A></STRONG>.)<BR>
<BR>
<I>Culture</I>. <B>1.</B> In Greece and Saudi Arabia, a sudden head-tilt-back movement means "No," and may originate from the infantile head-tilt-back used to refuse food (Morris 1994:145; see also <A HREF="headshak.htm" tppabs="http://members.aol.com/nonverbal3/headshak.htm" TARGET="_top"><B>HEAD-SHAKE</B></A>). <B>2.</B> In Ethiopia, the same gesture means "Yes," and may originate from the backward head movment used as a greeting (Morris 1994:146).</FONT><BR>
<BR>
<FONT FACE="Times New Roman"><EM>Origin</EM>. In its "superior" sense, head-tilt-back is a constituent of the primeval <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">high-stand display</A></STRONG>.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Politics</EM>. Political leaders who used the head-tilt-back gesture in public speeches include Al Gore, <FONT FACE="Times New Roman"><FONT FACE="Times New Roman">Benito
Mussolini</FONT></FONT>, Franklin D. Roosevelt, and George Corley Wallace.<BR>
<BR>
<B><I>RESEARCH REPORT</I></B>: Head-tilt-back may be accompanied by "contempt-scorn" cues: one eyebrow lifts higher than the other, the eye openings narrow, the mouth corners depress, the lower lip raises and slightly protrudes, and one side of the upper lip may curl up in a sneer (Izard 1971:245). </FONT></FONT><BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "I was reading through the online </FONT><I><FONT SIZE="-1">Nonverbal Dictionary</FONT></I><FONT SIZE="-1"> and I believe they've left out an entry on 'chin thrusts.' I don't know how you all get the entries for the Dictionary but I figured I would comment on that one. I am finding the </FONT><I><FONT SIZE="-1">Dictionary</FONT></I><FONT SIZE="-1"> to be very informative and one of the best web resources on kinesics so far in my searches." --J.P., USA (4/16/00 12:12:54 AM Pacific Daylight Time</FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
</P>
<P><I>Chin jut</I>. A derivative gesture of head-tilt-back is the "chin jut," described by Desmond Morris (1994:30 ["The chin is thrust towards the companion"]) as an "'intention movement' of forward attack," which has become a worldwide sign of threat. The world's most exaggerated chin jut was that of <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman">the Italian dictator, Benito
Mussolini</FONT></FONT></FONT></FONT><BR>
<BR>
<B><I>
<HR>
<FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "Have you come across any research regarding a rapid multiple </FONT><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top"><B><FONT SIZE="-1">eye blink</FONT></B></A><FONT SIZE="-1"> that looks almost as if the person is rolling their eyes back in their head? It often is accompanied by a <I>head tilt back</I>. I have a client who does this, and have encountered others who do this, and am not sure the source of such a gesture, or what it might suggest nonverbally. My gut tells me it makes the guy look arrogant and a bit supercilious. Am I totally off base in thinking this may be a problem. Any suggestions? I'd be glad to send you a copy of videotape showing what I'm talking about." --L.G., Senior Communications Consultant, USA (9/30/99 12:24:16 PM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
<FONT FACE="Times New Roman">See also <A HREF="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top"><B>EYEBROW-RAISE</B></A>.</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 photo sequence by Ruth Orkin (copyright Ruth Orkin)</FONT></P>
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</HTML> | **HEAD-TILT-BACK**
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tppabs="http://members.aol.com/doder1/objects/headback.jpg" height="39%"
width="25%"}\
\
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
Lifting the chin and leaning the head backward (dorsally, i.e., toward
the shoulder blades or scapula bones).
*Usage*: Lifting the chin and looking down the nose are used throughout
the world as nonverbal signs of superiority, arrogance, and disdain
(Eibl-Eibesfeldt 1970, Hass 1970).
*Anatomy*. The prime mover of head-tilt-back (i.e., of extending the
spine) is the *erector spinae* muscle group, components of which reach
to the skull\'s occipital bone to produce extension movements of the
head as well. These deep muscles of the back and neck are basic
[**postural**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"} muscles which are innervated by the spinal nerves
directly, without relay through the cervical plexus or brachial plexus.
Thus, we have less voluntary control of our haughty head-and-trunk
postures than we have, e.g., of our hand-and-arm gestures. (***N.B.***:
Gross postural shifts which involve *back-extension* and *head-raising*
may express unconscious attitudes of power and
**[dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**.)\
\
*Culture*. **1.** In Greece and Saudi Arabia, a sudden head-tilt-back
movement means \"No,\" and may originate from the infantile
head-tilt-back used to refuse food (Morris 1994:145; see also
[**HEAD-SHAKE**](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}). **2.** In Ethiopia, the same gesture means \"Yes,\" and
may originate from the backward head movment used as a greeting (Morris
1994:146).\
\
*Origin*. In its \"superior\" sense, head-tilt-back is a constituent of
the primeval **[high-stand
display](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**.\
\
*Politics*. Political leaders who used the head-tilt-back gesture in
public speeches include Al Gore, Benito Mussolini, Franklin D.
Roosevelt, and George Corley Wallace.\
\
***RESEARCH REPORT***: Head-tilt-back may be accompanied by
\"contempt-scorn\" cues: one eyebrow lifts higher than the other, the
eye openings narrow, the mouth corners depress, the lower lip raises and
slightly protrudes, and one side of the upper lip may curl up in a sneer
(Izard 1971:245).\
\
------------------------------------------------------------------------
***E-Commentary***: \"I was reading through the online *Nonverbal
Dictionary* and I believe they\'ve left out an entry on \'chin
thrusts.\' I don\'t know how you all get the entries for the Dictionary
but I figured I would comment on that one. I am finding the *Dictionary*
to be very informative and one of the best web resources on kinesics so
far in my searches.\" \--J.P., USA (4/16/00 12:12:54 AM Pacific Daylight
Time)\
------------------------------------------------------------------------
*Chin jut*. A derivative gesture of head-tilt-back is the \"chin jut,\"
described by Desmond Morris (1994:30 \[\"The chin is thrust towards the
companion\"\]) as an \"\'intention movement\' of forward attack,\" which
has become a worldwide sign of threat. The world\'s most exaggerated
chin jut was that of the Italian dictator, Benito Mussolini\
\
****
------------------------------------------------------------------------
E-Commentary: \"Have you come across any research regarding a rapid
multiple [**eye
blink**](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}
that looks almost as if the person is rolling their eyes back in their
head? It often is accompanied by a *head tilt back*. I have a client who
does this, and have encountered others who do this, and am not sure the
source of such a gesture, or what it might suggest nonverbally. My gut
tells me it makes the guy look arrogant and a bit supercilious. Am I
totally off base in thinking this may be a problem. Any suggestions?
I\'d be glad to send you a copy of videotape showing what I\'m talking
about.\" \--L.G., Senior Communications Consultant, USA (9/30/99
12:24:16 PM Pacific Daylight Time)\
------------------------------------------------------------------------
\
See also
[**EYEBROW-RAISE**](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.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 sequence by Ruth Orkin (copyright Ruth Orkin)
\
\
\
\
\
\
|
HIGH-STAND DISPLAY | https://ns1.omnitech.net/data/Nonverbal/highstan.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>highstan</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="HIGH-STAND DISPLAY">HIGH-STAND DISPLAY</A></STRONG></FONT></P>
<P><EM><IMG BORDER="0" ALT="Looming Horse" SRC="B7209.jpg" tppabs="http://members.aol.com/nonverbal3/objects/B7209.jpg" HEIGHT="35%" WIDTH="25%"><BR>
<BR>
</EM><I><FONT SIZE="-1">Looking as tall as possible and expanding the chest is universally employed by human beings as a means of intimidating an adversary, as witness the behavior of small boys</FONT></I><FONT SIZE="-1">. --Hans Hass (</FONT><I><FONT SIZE="-1">The Human Animal</FONT></I><FONT SIZE="-1">, p. 146)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top"><B>Posture</B></A><B></B></EM>. <STRONG>1. </STRONG>A vertically <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">looming</A></STRONG> stance in which the body "enlarges" through extension of
the limbs. <STRONG>2.</STRONG> A primeval "pushup" intended to lift the quadrupedal body higher off the ground.</P>
<P><EM>Usage</EM>: The high-stand is an <STRONG><A HREF="http://members.aol.com/nonverbal2/antigrav.htm" TARGET="_top">antigravity</A></STRONG> display used to show a superior, confident,
haughty attitude or mood. It is a forerunner of the aggressive <I>pushup</I> used by some lizards, and of our
own assertive <STRONG><A HREF="http://members.aol.com/nonverbal2/palmdown.htm" TARGET="_top">palm-down</A></STRONG> cue as well.<BR>
<BR>
<I>Culture</I>. "Whereas high status communicators are generally relaxed in North America, in Japan they assume stiff, erect postures with feet firmly planted on the floor . . ." (Burgoon et al. 1989:194).</P>
<P><EM>Sea origin</EM>. It is likely that <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> for "standing tall" developed in sea creatures
before animals set foot on land. Fossil evidence is lacking, but in living fishes, such as gobies,
status and rank vary in proportion to physical <EM>body size</EM>. The very big dominate the merely large,
who in turn dominate the small. Gobies and other piscines, however, may appear "bigger"
through an array of nonverbal illusions. To loom larger, a goby <EM>stiffens</EM> and <EM>raises</EM> its fins, <EM>lifts</EM> its
head, <EM>puffs</EM> out its throat, and <EM>flares</EM> its gill covers. Cichlid fish, e.g., erect vertical fins and turn to
display a "bigger" <EM>broadside</EM> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/broadsid.htm" TARGET="_top">BROADSIDE DISPLAY</A></STRONG>). Puffer fish balloon in size, cod fish
bulge their heads and jut out their pelvic fins to threaten, and mudskippers raise their bodies on vertical
fins in aggressive displays.</P>
<P><EM>On terra firma</EM>. In land animals, forelimb extension lifts the body's front end to more vertically
imposing heights. Doing a pushup makes living iguanas and lizards, e.g., look "bigger" than they
appear with their bellies lowered to the ground. The Australian frilled lizard rears and erects its
<EM>frill</EM>, while the cobra rears and spreads its <EM>hood</EM>.</P>
<P><EM>Mammals</EM>. Mammals push up in aggressive <EM>stiff-walk</EM> postures.
Bulls, e.g., take several <EM>stiff-steps</EM> to loom "large" before galloping ahead at full charge. Bears, coyotes, and
wolves <EM>strut</EM> with a stiff-legged gait to carry their bodies higher off the ground. A dominant wolf
<EM>stands over</EM> its submissive foe. Primates show dominance by <EM>straightening their legs</EM> and
<EM>widening their arms</EM>. A gorilla, e.g., displays with a stiff-legged <EM>bluff charge</EM>. An aggressive
chimpanzee rises to a bipedal stance, <EM>widens</EM> its bristling arms, and <STRONG><A HREF="swagger1.htm" tppabs="http://members.aol.com/doder1/swagger1.htm" TARGET="_top">swaggers</A></STRONG> from side to
side to seem "big." Rearing on the hindlegs is a posture directed by adult or young adult baboons at other baboons in the wild; it can prelude attack or escape (Hall and DeVore 1972).</P>
<P><EM>Humans</EM>. To embody the vertebrate's natural weapon, sheer size, we assume a <EM>John-Wayne
stance</EM>, i.e., we stand tall, bristle, square our <STRONG><A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top">shoulders</A></STRONG>, broaden our bodies with the <STRONG><A HREF="http://members.aol.com/nonverbal2/handhips.htm" TARGET="_top">hands-on-hips</A></STRONG> gesture, talk in deep tones, and toe-out to military oblique. (<STRONG><I>N.B.</I></STRONG>: That the vertebrate eye
responds to changes in size makes it possible for different species to understand each other's cues.
Park rangers advise, e.g., that we <EM>stand up</EM> and <EM>wave our arms</EM> to threaten mountain lions
encountered in the wild [see below, Warning signs]. As a human-to-human cue: "Wave your arms if you need a lifeguard--this is an international distress signal, whether you are in the water or on the beach" [source: San Diego Lifesaving Association, <I>San Diego Union-Tribune</I>, July 4, 1998, E-1].)<BR>
<BR>
<I>U.S. politics</I>. Borrowing Winston Churchill's 1941 "V for Victory" hand gesture, Richard Milhous Nixon extended both arms fully outward and upward, and gave the American people two V for Victory hand gestures in his triumphant 1968 tickertape parade. This manic version of the high-stand display later became one of Mr. Nixon's trademark nonverbal cues (see also <A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top"><B>ANGULAR DISTANCE</B></A>). "Amid the din of a cheering crowd, the [i.e., Mr. Nixon's] fingers up for victory also signals acceptance of tribute to a powerful and confident leader" (Blum 1988:3-12).<BR>
<BR>
<I>Warning signs</I>. In 1996, the University of California at Berkeley put up a dozen 12" by 18" aluminum signs to warn students of the dangers of nearby mountain lions. The signs recommend ". . . that people raise their arms to make themselves appear larger to the lion, and, if attacked, to fight back and remain standing" (<I>Chronicle of Higher Education</I>, Sept. 27, 1996).
</P>
<P><EM>Neuro-notes</EM>. Paleocircuits mediating the high-stand display consist of small networks of spinal-cord
<EM>interneurons</EM> in charge of the <EM>muscle stretch reflex</EM>. These mini-networks mediate <EM>antigravity
responses</EM>, i.e., the muscular contractions which automatically extend our limbs to keep us standing
upright (without our consciously deciding to do so).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">BASAL GANGLIA</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 1998, 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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[HIGH-STAND DISPLAY]{#HIGH-STAND DISPLAY}**
*{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/B7209.jpg"
height="35%" width="25%"}\
\
Looking as tall as possible and expanding the chest is universally
employed by human beings as a means of intimidating an adversary, as
witness the behavior of small boys*. \--Hans Hass (*The Human Animal*,
p. 146)\
\
*[**Posture**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}*. **1.** A vertically
**[looming](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}** stance in which the body \"enlarges\" through extension
of the limbs. **2.** A primeval \"pushup\" intended to lift the
quadrupedal body higher off the ground.
*Usage*: The high-stand is an
**[antigravity](http://members.aol.com/nonverbal2/antigrav.htm){target="_top"}**
display used to show a superior, confident, haughty attitude or mood. It
is a forerunner of the aggressive *pushup* used by some lizards, and of
our own assertive
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
cue as well.\
\
*Culture*. \"Whereas high status communicators are generally relaxed in
North America, in Japan they assume stiff, erect postures with feet
firmly planted on the floor . . .\" (Burgoon et al. 1989:194).
*Sea origin*. It is likely that
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
for \"standing tall\" developed in sea creatures before animals set foot
on land. Fossil evidence is lacking, but in living fishes, such as
gobies, status and rank vary in proportion to physical *body size*. The
very big dominate the merely large, who in turn dominate the small.
Gobies and other piscines, however, may appear \"bigger\" through an
array of nonverbal illusions. To loom larger, a goby *stiffens* and
*raises* its fins, *lifts* its head, *puffs* out its throat, and
*flares* its gill covers. Cichlid fish, e.g., erect vertical fins and
turn to display a \"bigger\" *broadside* (see **[BROADSIDE
DISPLAY](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}**).
Puffer fish balloon in size, cod fish bulge their heads and jut out
their pelvic fins to threaten, and mudskippers raise their bodies on
vertical fins in aggressive displays.
*On terra firma*. In land animals, forelimb extension lifts the body\'s
front end to more vertically imposing heights. Doing a pushup makes
living iguanas and lizards, e.g., look \"bigger\" than they appear with
their bellies lowered to the ground. The Australian frilled lizard rears
and erects its *frill*, while the cobra rears and spreads its *hood*.
*Mammals*. Mammals push up in aggressive *stiff-walk* postures. Bulls,
e.g., take several *stiff-steps* to loom \"large\" before galloping
ahead at full charge. Bears, coyotes, and wolves *strut* with a
stiff-legged gait to carry their bodies higher off the ground. A
dominant wolf *stands over* its submissive foe. Primates show dominance
by *straightening their legs* and *widening their arms*. A gorilla,
e.g., displays with a stiff-legged *bluff charge*. An aggressive
chimpanzee rises to a bipedal stance, *widens* its bristling arms, and
**[swaggers](swagger1.htm){tppabs="http://members.aol.com/doder1/swagger1.htm"
target="_top"}** from side to side to seem \"big.\" Rearing on the
hindlegs is a posture directed by adult or young adult baboons at other
baboons in the wild; it can prelude attack or escape (Hall and DeVore
1972).
*Humans*. To embody the vertebrate\'s natural weapon, sheer size, we
assume a *John-Wayne stance*, i.e., we stand tall, bristle, square our
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**,
broaden our bodies with the
**[hands-on-hips](http://members.aol.com/nonverbal2/handhips.htm){target="_top"}**
gesture, talk in deep tones, and toe-out to military oblique.
(***N.B.***: That the vertebrate eye responds to changes in size makes
it possible for different species to understand each other\'s cues. Park
rangers advise, e.g., that we *stand up* and *wave our arms* to threaten
mountain lions encountered in the wild \[see below, Warning signs\]. As
a human-to-human cue: \"Wave your arms if you need a lifeguard\--this is
an international distress signal, whether you are in the water or on the
beach\" \[source: San Diego Lifesaving Association, *San Diego
Union-Tribune*, July 4, 1998, E-1\].)\
\
*U.S. politics*. Borrowing Winston Churchill\'s 1941 \"V for Victory\"
hand gesture, Richard Milhous Nixon extended both arms fully outward and
upward, and gave the American people two V for Victory hand gestures in
his triumphant 1968 tickertape parade. This manic version of the
high-stand display later became one of Mr. Nixon\'s trademark nonverbal
cues (see also [**ANGULAR
DISTANCE**](http://members.aol.com/nonverbal2/angular.htm){target="_top"}).
\"Amid the din of a cheering crowd, the \[i.e., Mr. Nixon\'s\] fingers
up for victory also signals acceptance of tribute to a powerful and
confident leader\" (Blum 1988:3-12).\
\
*Warning signs*. In 1996, the University of California at Berkeley put
up a dozen 12\" by 18\" aluminum signs to warn students of the dangers
of nearby mountain lions. The signs recommend \". . . that people raise
their arms to make themselves appear larger to the lion, and, if
attacked, to fight back and remain standing\" (*Chronicle of Higher
Education*, Sept. 27, 1996).
*Neuro-notes*. Paleocircuits mediating the high-stand display consist of
small networks of spinal-cord *interneurons* in charge of the *muscle
stretch reflex*. These mini-networks mediate *antigravity responses*,
i.e., the muscular contractions which automatically extend our limbs to
keep us standing upright (without our consciously deciding to do so).
See also **[BASAL
GANGLIA](http://members.aol.com/nonverbal2/basal.htm){target="_top"}**,
**[REPTILIAN
BRAIN](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
HYPOTHALAMUS | https://ns1.omnitech.net/data/Nonverbal/hypo.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>hypo</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="HYPOTHALAMUS">HYPOTHALAMUS</A><BR>
<BR>
<IMG BORDER="0" ALT="Nuclei of the Hypothalamus" SRC="hypo.jpg" tppabs="http://members.aol.com/nonverbal3/objects/hypo.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P>
<P><EM><B><A HREF="http://members.aol.com/nonverbal2/nvbrain.htm" TARGET="_top">Brain</A></B></EM>. <STRONG>1.</STRONG> A subcortical group of nuclei in the <EM>forebrain</EM> which serves <STRONG>a.</STRONG> the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG>,
<STRONG>b.</STRONG> the autonomic nervous system (see <STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">FIGHT-OR-FLIGHT</A></STRONG>), and <STRONG>c.</STRONG> the endocrine system. <STRONG>2.</STRONG> A
thumbnail-sized neuro structure which organizes basic nonverbal responses such as, e.g.,<EM> aggression</EM>,
<STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, <EM>sexuality</EM>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></STRONG>.</P>
<P><EM>Usage</EM>: Giving input to--and receiving output from--the limbic system, the hypothalamus mediates
diverse <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal signs</A></STRONG> associated with <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></STRONG>.</P>
<P><EM>Evolution I</EM>. The hypothalamus has deep evolutionary roots in the chemical sense of smell (see
<STRONG><A HREF="http://members.aol.com/nonverbal2/aroma.htm" TARGET="_top">AROMA CUE</A></STRONG>).</P>
<P><EM>Evolution II</EM>. As the forebrain's main chemical-control area, hypothalamus regulates the piscine's
<EM>adrenal medullae</EM>, chemical-releasing glands which, in living fish, consist of two lines of cells near
the kidneys. The adrenal medullae pump <EM>adrenaline</EM> into the bloodstream, where it effects every
cell in the fish's body. (<STRONG><I>N.B.</I></STRONG>: In humans, adrenaline <EM>speeds up</EM> body movements, <EM>strengthens</EM>
muscle contractions, and <EM>energizes</EM> the activity of spinal-cord <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG>.)<EM></EM></P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> Pathways involved in oral and genital functions "converge in that
part of the hypothalamus in which electrical stimulation results in <EM>angry</EM> and <EM>defensive</EM> behaviour"
(MacLean 1973:44). <STRONG>2.</STRONG> In higher vertebrates, the olfactory system and the hypophysis [i.e., the
pituitary gland (which is linked to the hypothalamus)] "are derived from a single patch of
embryonic [neuro]ectoderm" (Stoddart 1990:13). <STRONG>3.</STRONG> The hypothalamus mediates many nonvebal
behaviors through reticular nuclei in the brain stem (Guyton 1996).<BR>
<BR>
<I>Neuro-notes</I>. Regarding hypothalamic nuclei and nonverbal signs, <B>a.</B> the dorsomedial nucleus stimulates <I>savage</I> behavior; <B>b.</B> the posterior nucleus stimulates the sympathetic nervous system; <B>c.</B> the preoptic area houses the sexual dimorphic nucleus; and <B>d.</B> the anterior nucleus stimulates the parasympathetic nervous system (see <B><A HREF="rest.htm" tppabs="http://members.aol.com/nonverbal3/rest.htm" TARGET="_top">REST-AND-DIGEST</A></B>; Fix 1995).<BR>
<BR>
Copyright 1999 (David B. Givens/<B><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></B><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"></A>)<BR>
Detail of illustration from <I>Mapping the Mind</I>
(copyright Weidenfeld & Nicolson 1998)</P>
</BODY>
</HTML> | **[HYPOTHALAMUS]{#HYPOTHALAMUS}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/hypo.jpg" height="35%"
width="25%"}**
***[Brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}***.
**1.** A subcortical group of nuclei in the *forebrain* which serves
**a.** the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**, **b.** the autonomic nervous system (see
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**), and **c.** the endocrine system. **2.** A
thumbnail-sized neuro structure which organizes basic nonverbal
responses such as, e.g., *aggression*,
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
*sexuality*, and
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**.
*Usage*: Giving input to\--and receiving output from\--the limbic
system, the hypothalamus mediates diverse **[nonverbal
signs](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** associated with
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**.
*Evolution I*. The hypothalamus has deep evolutionary roots in the
chemical sense of smell (see **[AROMA
CUE](http://members.aol.com/nonverbal2/aroma.htm){target="_top"}**).
*Evolution II*. As the forebrain\'s main chemical-control area,
hypothalamus regulates the piscine\'s *adrenal medullae*,
chemical-releasing glands which, in living fish, consist of two lines of
cells near the kidneys. The adrenal medullae pump *adrenaline* into the
bloodstream, where it effects every cell in the fish\'s body.
(***N.B.***: In humans, adrenaline *speeds up* body movements,
*strengthens* muscle contractions, and *energizes* the activity of
spinal-cord
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**.)
***RESEARCH REPORTS***: **1.** Pathways involved in oral and genital
functions \"converge in that part of the hypothalamus in which
electrical stimulation results in *angry* and *defensive* behaviour\"
(MacLean 1973:44). **2.** In higher vertebrates, the olfactory system
and the hypophysis \[i.e., the pituitary gland (which is linked to the
hypothalamus)\] \"are derived from a single patch of embryonic
\[neuro\]ectoderm\" (Stoddart 1990:13). **3.** The hypothalamus mediates
many nonvebal behaviors through reticular nuclei in the brain stem
(Guyton 1996).\
\
*Neuro-notes*. Regarding hypothalamic nuclei and nonverbal signs, **a.**
the dorsomedial nucleus stimulates *savage* behavior; **b.** the
posterior nucleus stimulates the sympathetic nervous system; **c.** the
preoptic area houses the sexual dimorphic nucleus; and **d.** the
anterior nucleus stimulates the parasympathetic nervous system (see
**[REST-AND-DIGEST](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}**; Fix 1995).\
\
Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**[](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of illustration from *Mapping the Mind* (copyright Weidenfeld &
Nicolson 1998)
|
INTENTION CUE | https://ns1.omnitech.net/data/Nonverbal/intent1.htm | <HTML>
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<P><STRONG><FONT SIZE="+1">INTENTION CUE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Intending to Hug" SRC="intent.jpg" tppabs="http://members.aol.com/doder1/objects/intent.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">Body movement</A></EM></STRONG>. A <A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top"><B>gesture</B></A>, motion, or <A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top"><B>posture</B></A> of the fingers, hands, arms, feet, legs, face, head,
neck, shoulders, or torso which is preparatory to a nonverbal action, such as leaving a room,
rising from a table, or attacking an enemy.</P>
<P><EM>Usage</EM>: An intention cue--such as angling the <A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top"><B>feet</B></A> away from someone we dislike--is an
unconscious signal of how we truly feel about another person. Intention cues may also reflect
inner attitudes, unvoiced opinions, and emotions as aroused, e.g., in <STRONG><A HREF="deceive.htm" tppabs="http://members.aol.com/nonverbal3/deceive.htm" TARGET="_top">deception</A></STRONG>.<BR>
<BR>
<I>Animal behavior</I>. <B>1.</B> "These are the incomplete or preparatory movements which often appear at the beginning of an activity" (Hinde 1970:668). <B>2.</B> "Intention movements of biting or striking are a common source of the components of threat movements: the upright threat posture of the herring gull provides several examples. In other cases intention movements of preening, nesting, self-protection, copulation, and many other types of behaviour have given rise to display movements" (Hinde 1970:668).<BR>
<BR>
<I>Animal ethology</I>. Two animals may fight over a food item, but usually they bluff each other with aggressive displays to force a bloodless retreat (see below, <I>Snarl</I>). In ethology, early researchers such as N. Tinbergen and K. Lorenz suggested that bluffing and threat displays were <I>intention movements</I> which evolved through a process of "ritualization." As incoming or <A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top"><B>afferent cues</B></A>, intention movements are reliable signs with which to predict subsequent behaviors. <BR>
<BR>
<EM>Arm-reach</EM>. Sitting across a table from an attractive stranger, we may unwittingly extend our
arms toward that person in preparation to touch (see <A HREF="http://members.aol.com/nonverbal2/lovesig4.htm" TARGET="_top"><B>LOVE SIGNALS IV</B></A>). As with many intention cues, the preparatory
action is not completed (i.e., we stop short of making physical contact).<BR>
<BR>
<EM>Feet-pointing</EM>. Jurors may unwittingly point their feet away from attorneys with whom they
disagree, in an unconscious preparation to walk away.<BR>
<BR>
<I>Knees clasp</I>. In the seated position, leaning forward and clasping "both knees with the hands" means, "I am about to leave" (Morris 1994:149).<BR>
<BR>
<I>Ritualization</I>. "Since the behavior patterns of social care of skin and fur already expresses contact willingness, it is understandable that they sometimes become ritualized into expressive movements. The lemur (<I>Lemur mongoz</I>) greets others with a movement that is used to comb the fur, a behavior that is common to this group. This combing movement with the lower mandible is made into space, accompanied by rhythmic calls and even licking the air at high intensity" (Eibl-Eibesfeldt 1970:95).<BR>
<BR>
<I>Snarl</I>. "When your dog lifts his lips and shows you his teeth because you reached for the bone between his paws, you've witnessed an intention display. Rather than bite you there on the spot, your dog shows the beginning phase of the biting sequence to bluff you away" (Givens 1983:43).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright 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 Eric Schwab (copyright </FONT><I><FONT SIZE="-1">UN</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **INTENTION CUE**
{border="0"
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width="25%"}\
\
***[Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. A
[**gesture**](http://members.aol.com/nonverbal2/gesture.htm){target="_top"},
motion, or
[**posture**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"} of the fingers, hands, arms, feet, legs, face, head,
neck, shoulders, or torso which is preparatory to a nonverbal action,
such as leaving a room, rising from a table, or attacking an enemy.
*Usage*: An intention cue\--such as angling the
[**feet**](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm"
target="_top"} away from someone we dislike\--is an unconscious signal
of how we truly feel about another person. Intention cues may also
reflect inner attitudes, unvoiced opinions, and emotions as aroused,
e.g., in
**[deception](deceive.htm){tppabs="http://members.aol.com/nonverbal3/deceive.htm"
target="_top"}**.\
\
*Animal behavior*. **1.** \"These are the incomplete or preparatory
movements which often appear at the beginning of an activity\" (Hinde
1970:668). **2.** \"Intention movements of biting or striking are a
common source of the components of threat movements: the upright threat
posture of the herring gull provides several examples. In other cases
intention movements of preening, nesting, self-protection, copulation,
and many other types of behaviour have given rise to display movements\"
(Hinde 1970:668).\
\
*Animal ethology*. Two animals may fight over a food item, but usually
they bluff each other with aggressive displays to force a bloodless
retreat (see below, *Snarl*). In ethology, early researchers such as N.
Tinbergen and K. Lorenz suggested that bluffing and threat displays were
*intention movements* which evolved through a process of
\"ritualization.\" As incoming or [**afferent
cues**](http://members.aol.com/nonverbal2/afferent.htm){target="_top"},
intention movements are reliable signs with which to predict subsequent
behaviors.\
\
*Arm-reach*. Sitting across a table from an attractive stranger, we may
unwittingly extend our arms toward that person in preparation to touch
(see [**LOVE SIGNALS
IV**](http://members.aol.com/nonverbal2/lovesig4.htm){target="_top"}).
As with many intention cues, the preparatory action is not completed
(i.e., we stop short of making physical contact).\
\
*Feet-pointing*. Jurors may unwittingly point their feet away from
attorneys with whom they disagree, in an unconscious preparation to walk
away.\
\
*Knees clasp*. In the seated position, leaning forward and clasping
\"both knees with the hands\" means, \"I am about to leave\" (Morris
1994:149).\
\
*Ritualization*. \"Since the behavior patterns of social care of skin
and fur already expresses contact willingness, it is understandable that
they sometimes become ritualized into expressive movements. The lemur
(*Lemur mongoz*) greets others with a movement that is used to comb the
fur, a behavior that is common to this group. This combing movement with
the lower mandible is made into space, accompanied by rhythmic calls and
even licking the air at high intensity\" (Eibl-Eibesfeldt 1970:95).\
\
*Snarl*. \"When your dog lifts his lips and shows you his teeth because
you reached for the bone between his paws, you\'ve witnessed an
intention display. Rather than bite you there on the spot, your dog
shows the beginning phase of the biting sequence to bluff you away\"
(Givens 1983:43).
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**.
Copyright 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Eric Schwab (copyright *UN*)
|
INTERIOR DESIGN | https://ns1.omnitech.net/data/Nonverbal/interio1.htm | <HTML>
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<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>interior</TITLE>
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<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">INTERIOR DESIGN</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Outside In" SRC="interior.jpg" tppabs="http://members.aol.com/doder1/objects/interior.jpg" HEIGHT="45%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<I><FONT SIZE="-1">Here, then, was a wide and reasonably lofty hall, extending through the whole depth of the house and forming a medium of general communication, more or less directly, with all the other apartments</FONT></I>. <FONT SIZE="-1">--Nathaniel Hawthorne (</FONT><I><FONT SIZE="-1">The Scarlet Letter</FONT></I><FONT SIZE="-1">)<BR>
<BR>
<I>[Hollywood, California's Linoleum City manager Susan] Mannes said sales of all of the store's natural products (linoleum [invented in 1863 from linseed oil, rosin, limestone, and wood or cork ingredients, with jute backing], cork, sissal) have increased since the early 1990s</I>. --Candace Wedlan (2000:D1) </FONT><BR>
<EM><BR>
Humane Habitat</EM>. <STRONG>1.</STRONG> The practice of decorating an indoor space with lights, <A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"><B>colors</B></A>,
landscapes, textures, <A HREF="animal1.htm" tppabs="http://members.aol.com/doder1/animal1.htm" TARGET="_top"><B>animals</B></A>, <B><A HREF="tree1.htm" tppabs="http://members.aol.com/doder1/tree1.htm" TARGET="_top">plants</A></B>, and other natural objects found in the great outdoors. <STRONG>2. </STRONG>The
unconscious or deliberate act of bringing in the outside cues of <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>.</P>
<P><EM>Usage</EM>: Nothing in our evolutionary past prepared us for a life lived almost entirely indoors,
so we bring the outdoors in. Through ingeniously designed <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG>, we make home and
office spaces look and feel more like the outside world our forebears knew. (<STRONG><EM>N.B.</EM></STRONG><EM></EM>: Adding the nonverbal
signs of nature to the workplace makes it a more humane environment, and a more efficient
habitat as well.)</P>
<P><I>Color I</I>. "An East Coast factory gave its cafeteria a face-lift by painting its previously peach-colored walls a light blue. Patrons responded with complaints of being cold . . . . When the room was painted peach again, complaints stopped" (Vargas 1986:151).<BR>
<BR>
<I>Color II</I>. "Think about the colors used by the fast-food chains in your area. There's not a cool color to be seen. In the Midwest, Wendy's, Colonel Sanders, McDonald's, Hardee's, A & W, Burger King--all keep people moving with reds, oranges, and rich browns" (Vargas 1986:151).<BR>
<BR>
<I>Cover</I>. Our preference for having something behind our back when eating or resting (e.g., a partition or a wall) may be innate (Thorndike 1940). </P>
<P><EM>Nonverbal reminders</EM>. People are happy when their work and play spaces duplicate features
of the ancestral African plain. The best offices, e.g., provide obvious replicas as well as more
subtle reminders of the original <EM>savannah habitat</EM>, including its <EM>warmth</EM>, <EM>lighting</EM>, <EM>colors</EM>, <EM>vistas</EM>,
<EM>textures</EM>, and <EM>plants</EM>. Flowers, cacti, palms, ivy vines, leafy shrubs, and fig trees are cultivated
indoors today--for the outdoor look of yesterday.</P>
<P><EM>Sky & sun signs</EM>. We keep our homes heated (or cooled) to 72 F.--the savannah average--and
decorated with travel posters of oceans, mountains, and trees. We paint our ceilings in light
colors to suggest the sky, leaving them unadorned to seem "bigger," "higher," and less
enclosing.</P>
<P><EM>Sunshine I</EM>. We crave the natural brightness of sunlight. From isolation experiments
NASA found that we miss sunshine nearly as much as we miss the company of human
beings. In offices without direct sunlight, pictures and drawings of the sun may be added as
reminders of its heat, glow, and brilliance.</P>
<P><EM>Sunshine II</EM>. The sun's power has been acknowledged in prehistoric pictographs and rock art
throughout the world (Mallery 1972). Drawings of <EM>Ra</EM>, the Egyptian god of the sun and skies,
still decorate the dark walls of ancient tombs. Set on a pair of wings, or upon the head of Ra himself,
the round <EM>solar disk</EM> emblem works on the principle of a cubicle poster's tropical sun: to warm the
traveler and cheer the dead.</P>
<P><EM>Windows I</EM>. After sunlight itself comes the wish for a window, to see outside. Without
reference to landscapes or the far horizon, workers in windowless offices may feel
disoriented and disheartened. Industry studies suggest that staff members without scenic vistas are more apt to
display <EM>art prints</EM> (depicting natural <EM>earth scenes</EM>) and to feel lower in status than colleagues with
vistas and views.</P>
<P><EM>Windows II</EM>. Hospital studies show that patients get well sooner, have shorter stays, require less
painkiller, and receive fewer complaints from nurses when their rooms have pleasant landscape
views (Bell et al. 1990).</P>
<P><EM>Touch cue I</EM>. Too much <EM>smoothness</EM> may create a peculiar feeling of unreality. Foreign visitors to the
U.S., e.g., have been advised to carry unfinished stones or pieces of natural wood to satisfy their primate cravings for
<EM> texture</EM>, which urban America often seems to lack (Baldwin and Levine 1992). (<STRONG><EM>N.B.</EM></STRONG><EM></EM>:
With so many man-made, smooth artifacts--from desktops to copy machines--an office environment may be the most unreal place of all.)</P>
<P><EM>Touch cue II</EM>. Because large areas of our brain receive signals from nerves in the fingertips (see
<STRONG><A HREF="http://members.aol.com/nonverbal2/homuncul.htm" TARGET="_top">HOMUNCULUS</A></STRONG>), office spaces may stave off boredom and restore sensory awareness by adding
an assortment of tactile signs, signals, and cues. Linen-embossed wallpaper, terra-cotta pots,
natural stone facings, and walls of weathered brick, e.g., can add refreshing contrast to otherwise flat, featureless corporate surfaces. (<STRONG><EM>N.B.</EM></STRONG><EM></EM>: In 1973-74, Skylab 4 astronaut Gerald Carr spent 84
days in space. So boring was his drab workplace that Carr advised designers of the NASA space
station, Freedom, to make future cabins as "natural" as possible with interesting colors,
textures, and lighting.)</P>
<P><EM>Touch cue III</EM>. Because they replicate the softness of <EM>mammalian fur</EM>, carpets seem "friendlier"
than bare floors. A carpet's fuzzy nap stimulates sensations of "light" or <EM>protopathic</EM> touch.
Protopathic cues travel in spinal-cord pathways that evolved earlier than the pathways for heat and
pain. Thus, walking on carpets is more inviting to primate souls and feet than
concrete, hardwood, or linoleum floors.</P>
<P>See also <STRONG><A HREF="lawn1.htm" tppabs="http://members.aol.com/doder1/lawn1.htm" TARGET="_top">LAWN DISPLAY</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 copyright 1999 by </FONT><I><FONT SIZE="-1">Better Homes and Gardens</FONT><FONT SIZE="-1"></FONT></I></P>
</BODY>
</HTML> | **INTERIOR DESIGN**
{border="0"
tppabs="http://members.aol.com/doder1/objects/interior.jpg" height="45%"
width="25%"}\
\
*Here, then, was a wide and reasonably lofty hall, extending through the
whole depth of the house and forming a medium of general communication,
more or less directly, with all the other apartments*. \--Nathaniel
Hawthorne (*The Scarlet Letter*)\
\
*\[Hollywood, California\'s Linoleum City manager Susan\] Mannes said
sales of all of the store\'s natural products (linoleum \[invented in
1863 from linseed oil, rosin, limestone, and wood or cork ingredients,
with jute backing\], cork, sissal) have increased since the early
1990s*. \--Candace Wedlan (2000:D1)\
*\
Humane Habitat*. **1.** The practice of decorating an indoor space with
lights,
[**colors**](http://members.aol.com/nonverbal3/color.htm){target="_top"},
landscapes, textures,
[**animals**](animal1.htm){tppabs="http://members.aol.com/doder1/animal1.htm"
target="_top"},
**[plants](tree1.htm){tppabs="http://members.aol.com/doder1/tree1.htm"
target="_top"}**, and other natural objects found in the great outdoors.
**2.** The unconscious or deliberate act of bringing in the outside cues
of **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.
*Usage*: Nothing in our evolutionary past prepared us for a life lived
almost entirely indoors, so we bring the outdoors in. Through
ingeniously designed **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**, we make home and office spaces look and feel more like
the outside world our forebears knew. (***N.B.***: Adding the nonverbal
signs of nature to the workplace makes it a more humane environment, and
a more efficient habitat as well.)
*Color I*. \"An East Coast factory gave its cafeteria a face-lift by
painting its previously peach-colored walls a light blue. Patrons
responded with complaints of being cold . . . . When the room was
painted peach again, complaints stopped\" (Vargas 1986:151).\
\
*Color II*. \"Think about the colors used by the fast-food chains in
your area. There\'s not a cool color to be seen. In the Midwest,
Wendy\'s, Colonel Sanders, McDonald\'s, Hardee\'s, A & W, Burger
King\--all keep people moving with reds, oranges, and rich browns\"
(Vargas 1986:151).\
\
*Cover*. Our preference for having something behind our back when eating
or resting (e.g., a partition or a wall) may be innate (Thorndike 1940).
*Nonverbal reminders*. People are happy when their work and play spaces
duplicate features of the ancestral African plain. The best offices,
e.g., provide obvious replicas as well as more subtle reminders of the
original *savannah habitat*, including its *warmth*, *lighting*,
*colors*, *vistas*, *textures*, and *plants*. Flowers, cacti, palms, ivy
vines, leafy shrubs, and fig trees are cultivated indoors today\--for
the outdoor look of yesterday.
*Sky & sun signs*. We keep our homes heated (or cooled) to 72 F.\--the
savannah average\--and decorated with travel posters of oceans,
mountains, and trees. We paint our ceilings in light colors to suggest
the sky, leaving them unadorned to seem \"bigger,\" \"higher,\" and less
enclosing.
*Sunshine I*. We crave the natural brightness of sunlight. From
isolation experiments NASA found that we miss sunshine nearly as much as
we miss the company of human beings. In offices without direct sunlight,
pictures and drawings of the sun may be added as reminders of its heat,
glow, and brilliance.
*Sunshine II*. The sun\'s power has been acknowledged in prehistoric
pictographs and rock art throughout the world (Mallery 1972). Drawings
of *Ra*, the Egyptian god of the sun and skies, still decorate the dark
walls of ancient tombs. Set on a pair of wings, or upon the head of Ra
himself, the round *solar disk* emblem works on the principle of a
cubicle poster\'s tropical sun: to warm the traveler and cheer the dead.
*Windows I*. After sunlight itself comes the wish for a window, to see
outside. Without reference to landscapes or the far horizon, workers in
windowless offices may feel disoriented and disheartened. Industry
studies suggest that staff members without scenic vistas are more apt to
display *art prints* (depicting natural *earth scenes*) and to feel
lower in status than colleagues with vistas and views.
*Windows II*. Hospital studies show that patients get well sooner, have
shorter stays, require less painkiller, and receive fewer complaints
from nurses when their rooms have pleasant landscape views (Bell et al.
1990).
*Touch cue I*. Too much *smoothness* may create a peculiar feeling of
unreality. Foreign visitors to the U.S., e.g., have been advised to
carry unfinished stones or pieces of natural wood to satisfy their
primate cravings for *texture*, which urban America often seems to lack
(Baldwin and Levine 1992). (***N.B.***: With so many man-made, smooth
artifacts\--from desktops to copy machines\--an office environment may
be the most unreal place of all.)
*Touch cue II*. Because large areas of our brain receive signals from
nerves in the fingertips (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**),
office spaces may stave off boredom and restore sensory awareness by
adding an assortment of tactile signs, signals, and cues. Linen-embossed
wallpaper, terra-cotta pots, natural stone facings, and walls of
weathered brick, e.g., can add refreshing contrast to otherwise flat,
featureless corporate surfaces. (***N.B.***: In 1973-74, Skylab 4
astronaut Gerald Carr spent 84 days in space. So boring was his drab
workplace that Carr advised designers of the NASA space station,
Freedom, to make future cabins as \"natural\" as possible with
interesting colors, textures, and lighting.)
*Touch cue III*. Because they replicate the softness of *mammalian fur*,
carpets seem \"friendlier\" than bare floors. A carpet\'s fuzzy nap
stimulates sensations of \"light\" or *protopathic* touch. Protopathic
cues travel in spinal-cord pathways that evolved earlier than the
pathways for heat and pain. Thus, walking on carpets is more inviting to
primate souls and feet than concrete, hardwood, or linoleum floors.
See also **[LAWN
DISPLAY](lawn1.htm){tppabs="http://members.aol.com/doder1/lawn1.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 copyright 1999 by *Better Homes and Gardens*
|
INVISIBILITY | https://ns1.omnitech.net/data/Nonverbal/invisib1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>invisibl</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">INVISIBILITY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Transparent Claw" SRC="invisibl.jpg" tppabs="http://members.aol.com/doder1/objects/invisibl.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT SIZE="-1"><I>Come, my son, let us go look for a place where I may hide</I> . . . . --Cervantes (<I>Don Quixote</I>, 1605:565)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><FONT SIZE="-1">Keeping reflections to a minimum is necessary but not sufficient for invisibility. Light must also
pass unimpeded through the body</FONT></EM><FONT SIZE="-1"> . . . . --Sönke Johnsen (2000:88)</FONT></P>
<P><EM>Not seen</EM>. Nonverbally, the condition of being difficult or impossible to see, as in the use of
camouflage, concealment, flatness, thinness, hiding, or transparency.</P>
<P><EM>Usage</EM>: Animals from jellyfish to humans have devised ingenious ways to be stealthy and to
avoid detection.</P>
<P><EM>Jellyfish</EM>. In the featureless ocean depths which make up ca. 99 percent of Earth's living space,
jellyfish have no place to hide, and thus rely upon transparency to become "invisible." Their clear,
gelatinous bodies (the interior as well as the exterior surfaces) allow from 20 to 90
percent of light to pass through, thus enabling these simple creatures to sneak up on prey while
avoiding detection by sighted enemies (Johnsen 2000:88).</P>
<P><EM>Human beings</EM>. <B>1.</B> In the corporate world, humans may become functionally invisible by
keeping a low profile (e.g., by remaining <STRONG><A HREF="silence1.htm" tppabs="http://members.aol.com/doder1/silence1.htm" TARGET="_top">silent</A></STRONG>), and by covering their bodily exteriors with the
uniform of the day (see, e.g., <A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top"><B>BUSINESS SUIT</B></A>, <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">ISOPRAXISM</A></STRONG>). <B>2.</B> In private life, human beings spend a great deal of time in seclusion behind closed doors (e.g., in bathrooms and bedrooms) and other partitions designed to shield their bodies from prying eyes. Scientists have determined that too much visual monitoring can be harmful to human health.<BR>
<BR>
<I>Hunter's camouflage</I>. According to Konrad Spindler (1994:147), the 5,000-year-old grass cloak of the Copper Age Iceman would have provided "excellent camouflage" for a hunter.
</P>
<P><EM>Sighting distance</EM>. "At some distance, depending on the animal's original contrast and how the
water affects the light, the contrast drops below what the observer can see. This distance is
known as the sighting distance, and beyond it the animal is invisible (and safe)" (Johnsen
2000:87). <BR>
<BR>
<I>Underground</I>. "Throughout history, tunnels hidden below the earth were far from public gaze and thought" (Langrall 1994:4). </P>
<P><FONT SIZE="-1">Copyright 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 (copyright by Harbor Branch Oceanographic Institution)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **INVISIBILITY**
{border="0"
tppabs="http://members.aol.com/doder1/objects/invisibl.jpg" height="35%"
width="25%"}\
\
*Come, my son, let us go look for a place where I may hide* . . . .
\--Cervantes (*Don Quixote*, 1605:565)\
\
*Keeping reflections to a minimum is necessary but not sufficient for
invisibility. Light must also pass unimpeded through the body* . . . .
\--Sönke Johnsen (2000:88)
*Not seen*. Nonverbally, the condition of being difficult or impossible
to see, as in the use of camouflage, concealment, flatness, thinness,
hiding, or transparency.
*Usage*: Animals from jellyfish to humans have devised ingenious ways to
be stealthy and to avoid detection.
*Jellyfish*. In the featureless ocean depths which make up ca. 99
percent of Earth\'s living space, jellyfish have no place to hide, and
thus rely upon transparency to become \"invisible.\" Their clear,
gelatinous bodies (the interior as well as the exterior surfaces) allow
from 20 to 90 percent of light to pass through, thus enabling these
simple creatures to sneak up on prey while avoiding detection by sighted
enemies (Johnsen 2000:88).
*Human beings*. **1.** In the corporate world, humans may become
functionally invisible by keeping a low profile (e.g., by remaining
**[silent](silence1.htm){tppabs="http://members.aol.com/doder1/silence1.htm"
target="_top"}**), and by covering their bodily exteriors with the
uniform of the day (see, e.g., [**BUSINESS
SUIT**](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"},
**[ISOPRAXISM](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**).
**2.** In private life, human beings spend a great deal of time in
seclusion behind closed doors (e.g., in bathrooms and bedrooms) and
other partitions designed to shield their bodies from prying eyes.
Scientists have determined that too much visual monitoring can be
harmful to human health.\
\
*Hunter\'s camouflage*. According to Konrad Spindler (1994:147), the
5,000-year-old grass cloak of the Copper Age Iceman would have provided
\"excellent camouflage\" for a hunter.
*Sighting distance*. \"At some distance, depending on the animal\'s
original contrast and how the water affects the light, the contrast
drops below what the observer can see. This distance is known as the
sighting distance, and beyond it the animal is invisible (and safe)\"
(Johnsen 2000:87).\
\
*Underground*. \"Throughout history, tunnels hidden below the earth were
far from public gaze and thought\" (Langrall 1994:4).
Copyright 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo (copyright by Harbor Branch Oceanographic Institution)
|
ISOTYPE | https://ns1.omnitech.net/data/Nonverbal/isotype1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>isotype</TITLE>
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<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">ISOTYPE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Easy Reader" SRC="isotype.jpg" tppabs="http://members.aol.com/doder1/objects/isotype.jpg" HEIGHT="35%" WIDTH="20%"><BR WP="BR1">
<BR WP="BR2">
<EM>Pictorial <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG></EM>. <STRONG>1.</STRONG> Isotype (International System of Typographic Picture Education) was
introduced in 1936 by Otto Neurath. <STRONG>2.</STRONG> Isotype is a set of pictographic characters used "to create
narrative visual material, avoiding details which do not improve the narrative character" (Neurath
1936:240). <STRONG>3.</STRONG> Isotype was designed to be an alternative to written script ("adapted to the child's
mind"), as a pictorial means for communicating <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG> about <STRONG>a.</STRONG> directions, events, and
objects, and <STRONG>b.</STRONG> complex relationships in space and time.</P>
<P><EM>Usage</EM>: Though isotype ultimately failed as a means of communication (in part because educators favored
written <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG> over pictures), Neurath's "international picture language" laid the foundation for
<EM>international graphic symbols</EM>, i.e., for the pictographic signals of airport, train-station, and
highway signs. Today, the use of graphics at the human-computer interface further demonstrates
the power of pictographic communication. (<STRONG><I>N.B.</I></STRONG>: Words are unlikely ever to replace images in
<STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>.) </P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "The first step in Isotype is the development of easily understood
and easily remembered symbols. The next step is to combine these symbolic elements" (Neurath
1936:224-25). <STRONG>2.</STRONG> ". . . simple [pictographic] elements can be made to show the most complicated
facts and relationships. The visual method, fully developed, becomes the basis for a common
cultural life and a common cultural relationship" (Neurath 1936:226).</P>
<P><EM>Prehistory</EM>. "With Spanish Levantine rock art (dating to 11,500 B.P. ["before present"]), ancient sign artifacts begin
to show a quantum leap both in complexity and information content in scenes representing
hunters, singly and in groups, associated weapons, clothing, gender signals, social behaviors, and
complicated juxtapositionings of human beings with one another and with prey animals. Thus
begins pictographic<EM> narration</EM>--story telling, dramatization--showing consequences of actions,
portraying life-and-death encounters" (Givens 1982:162).</P>
<P><EM>Future</EM>. Semiotic principles of isotype are included in a U.S. Department of Energy warning
system, designed to send a cautionary message to human beings 10,000 years in the future about the dangers of nuclear waste (see
<STRONG><A HREF="http://www.wipp.carlsbad.nm.us/library/pioneering/Future.pdf">WIPP MARKER</A></STRONG>).</P>
<P><EM>Neuro-notes</EM>. "Pictographic traditions--both protowritings and true pictographic scripts--rest on
semiotic principles which seem to have deep roots in human perception and cognition" (Givens
1982:162-63).</P>
<P>See also <STRONG><A HREF="nvlearn1.htm" tppabs="http://members.aol.com/doder1/nvlearn1.htm" TARGET="_top">NONVERBAL LEARNING</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>
<BR WP="BR1">
<BR WP="BR2">
</BODY>
</HTML> | **ISOTYPE**
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tppabs="http://members.aol.com/doder1/objects/isotype.jpg" height="35%"
width="20%"}\
\
*Pictorial
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}***.
**1.** Isotype (International System of Typographic Picture Education)
was introduced in 1936 by Otto Neurath. **2.** Isotype is a set of
pictographic characters used \"to create narrative visual material,
avoiding details which do not improve the narrative character\" (Neurath
1936:240). **3.** Isotype was designed to be an alternative to written
script (\"adapted to the child\'s mind\"), as a pictorial means for
communicating
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**
about **a.** directions, events, and objects, and **b.** complex
relationships in space and time.
*Usage*: Though isotype ultimately failed as a means of communication
(in part because educators favored written
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}** over pictures), Neurath\'s \"international picture
language\" laid the foundation for *international graphic symbols*,
i.e., for the pictographic signals of airport, train-station, and
highway signs. Today, the use of graphics at the human-computer
interface further demonstrates the power of pictographic communication.
(***N.B.***: Words are unlikely ever to replace images in **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.)
***RESEARCH REPORTS***: **1.** \"The first step in Isotype is the
development of easily understood and easily remembered symbols. The next
step is to combine these symbolic elements\" (Neurath 1936:224-25).
**2.** \". . . simple \[pictographic\] elements can be made to show the
most complicated facts and relationships. The visual method, fully
developed, becomes the basis for a common cultural life and a common
cultural relationship\" (Neurath 1936:226).
*Prehistory*. \"With Spanish Levantine rock art (dating to 11,500 B.P.
\[\"before present\"\]), ancient sign artifacts begin to show a quantum
leap both in complexity and information content in scenes representing
hunters, singly and in groups, associated weapons, clothing, gender
signals, social behaviors, and complicated juxtapositionings of human
beings with one another and with prey animals. Thus begins pictographic
*narration*\--story telling, dramatization\--showing consequences of
actions, portraying life-and-death encounters\" (Givens 1982:162).
*Future*. Semiotic principles of isotype are included in a U.S.
Department of Energy warning system, designed to send a cautionary
message to human beings 10,000 years in the future about the dangers of
nuclear waste (see **[WIPP
MARKER](http://www.wipp.carlsbad.nm.us/library/pioneering/Future.pdf)**).
*Neuro-notes*. \"Pictographic traditions\--both protowritings and true
pictographic scripts\--rest on semiotic principles which seem to have
deep roots in human perception and cognition\" (Givens 1982:162-63).
See also **[NONVERBAL
LEARNING](nvlearn1.htm){tppabs="http://members.aol.com/doder1/nvlearn1.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
\
\
|
JUICE SUBSTITUTE | https://ns1.omnitech.net/data/Nonverbal/juice1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>juice</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">JUICE SUBSTITUTE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Sucrose Signal" SRC="juice.jpg" tppabs="http://members.aol.com/doder1/objects/juice.jpg" HEIGHT="35%" WIDTH="44%"><BR WP="BR1">
<BR WP="BR2">
<I><FONT SIZE="-1">It's the Real Thing</FONT></I><FONT SIZE="-1">. --Coca-Cola Bottling Co. (1969)<BR>
</FONT></P>
<P><STRONG><EM><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer product</A></EM></STRONG><EM></EM>. A usually <STRONG><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">colorful</A></STRONG>--but sometimes clear--frozen or liquid food product (e.g., a cherry popsicle, orange soda, or
strawberry milkshake) sweetened with sugar to resemble the taste of natural <EM>fruit juice</EM>.</P>
<P><EM>Usage</EM>: Historically, squeezed fruit juice has been one of humankind's favorite refreshments. Iced-fruit juices and French <EM>sorbets</EM>, e.g., date back some 300 years. In the late 1990s, <EM>Tropicana® <A HREF="orange1.htm" tppabs="http://members.aol.com/nonverbal3/orange1.htm" TARGET="_top"><B>orange
juice</B></A><B></B></EM> was among the top-ten most popular grocery-store items sold in the U.S. (<STRONG><I>N.B.</I></STRONG>: Orange
juice contains glucose, fructose, and sucrose; flavor compounds known as <EM>terpenes</EM>; and the
minerals potassium and phosphorus.)</P>
<P><EM>Evolution</EM>. The sweetness of a juice substitute is usually increased by adding table sugar (<EM>sucrose</EM>), a
crystalline carbohydrate which suggests the fruity sweetness of <EM>fructose</EM>, for which it stands (i.e., as a
nonverbal <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG>). Today, an incredible vocabulary of sucrose signals reconnects our species to its
fruit-eating, primate past (see <STRONG><A HREF="fruit1.htm" tppabs="http://members.aol.com/doder1/fruit1.htm" TARGET="_top">FRUIT SUBSTITUTE</A></STRONG>).</P>
<P><EM>Soda signs</EM>. In the modern diet, fresh-fruit drinks have been largely replaced by sweeter beverages
which suggest their presence and stand in their stead. In the U.S., e.g., soft drinks outsell fruit
juices three-to-one. Carbonated sodas contain high levels of sucrose, as well as of artificial colorings and
flavorings. Today, the most recognized brand name on earth belongs to a dark, bubbly
juice substitute known as <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/cocacola.htm" TARGET="_top">Coca-Cola</A></EM>®</STRONG>.</P>
<P><EM>Cola cues</EM>. Coke<STRONG>®</STRONG> is a complex harmony of cola seeds, vanilla, and spices; and oils of
orange, lemon, and lime--blended with evolutionary-unprecedented quantities of caffeine and
sucrose. In the 1990s, Coke Classic® and Pepsi® were, respectively, the 2nd and 3rd most
popular grocery-store items in annual sales (behind Marlboro® <STRONG><A HREF="nicotin1.htm" tppabs="http://members.aol.com/doder1/nicotin1.htm" TARGET="_top">cigarettes</A></STRONG>).</P>
<P>See also <STRONG><A HREF="nut1.htm" tppabs="http://members.aol.com/doder1/nut1.htm" TARGET="_top">NUT SUBSTITUTE</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><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><STRONG><FONT FACE="Times New Roman" SIZE="-1">Center for Nonverbal Studies</FONT></STRONG></A><STRONG></STRONG><FONT FACE="Times New Roman" SIZE="-1">)</FONT><BR>
<FONT FACE="Times New Roman" SIZE="-1">
Detail of photo by John Hedgecoe (copyright 1983 by John Hedgecoe)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P>
</BODY>
</HTML> | **JUICE SUBSTITUTE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/juice.jpg" height="35%"
width="44%"}\
\
*It\'s the Real Thing*. \--Coca-Cola Bottling Co. (1969)\
***[Consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. A usually
**[colorful](http://members.aol.com/nonverbal3/color.htm){target="_top"}**\--but
sometimes clear\--frozen or liquid food product (e.g., a cherry
popsicle, orange soda, or strawberry milkshake) sweetened with sugar to
resemble the taste of natural *fruit juice*.
*Usage*: Historically, squeezed fruit juice has been one of humankind\'s
favorite refreshments. Iced-fruit juices and French *sorbets*, e.g.,
date back some 300 years. In the late 1990s, *Tropicana® [**orange
juice**](orange1.htm){tppabs="http://members.aol.com/nonverbal3/orange1.htm"
target="_top"}* was among the top-ten most popular grocery-store items
sold in the U.S. (***N.B.***: Orange juice contains glucose, fructose,
and sucrose; flavor compounds known as *terpenes*; and the minerals
potassium and phosphorus.)
*Evolution*. The sweetness of a juice substitute is usually increased by
adding table sugar (*sucrose*), a crystalline carbohydrate which
suggests the fruity sweetness of *fructose*, for which it stands (i.e.,
as a nonverbal
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**).
Today, an incredible vocabulary of sucrose signals reconnects our
species to its fruit-eating, primate past (see **[FRUIT
SUBSTITUTE](fruit1.htm){tppabs="http://members.aol.com/doder1/fruit1.htm"
target="_top"}**).
*Soda signs*. In the modern diet, fresh-fruit drinks have been largely
replaced by sweeter beverages which suggest their presence and stand in
their stead. In the U.S., e.g., soft drinks outsell fruit juices
three-to-one. Carbonated sodas contain high levels of sucrose, as well
as of artificial colorings and flavorings. Today, the most recognized
brand name on earth belongs to a dark, bubbly juice substitute known as
***[Coca-Cola](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}*®**.
*Cola cues*. Coke**®** is a complex harmony of cola seeds, vanilla, and
spices; and oils of orange, lemon, and lime\--blended with
evolutionary-unprecedented quantities of caffeine and sucrose. In the
1990s, Coke Classic® and Pepsi® were, respectively, the 2nd and 3rd most
popular grocery-store items in annual sales (behind Marlboro®
**[cigarettes](nicotin1.htm){tppabs="http://members.aol.com/doder1/nicotin1.htm"
target="_top"}**).
See also **[NUT
SUBSTITUTE](nut1.htm){tppabs="http://members.aol.com/doder1/nut1.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 John Hedgecoe (copyright 1983 by John Hedgecoe)
|
KINESICS | https://ns1.omnitech.net/data/Nonverbal/kinesic1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>kinesics</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>KINESICS</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Birdwhistell's Notation" SRC="kinesics.jpg" tppabs="http://members.aol.com/doder1/objects/kinesics.jpg" HEIGHT="60%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1">A man stands inside of a closed glass phone booth. You cannot hear a word he says, but you see his postures, gestures, and facial expressions. You <I>see</I> his <I>kinesics</I>. --Marjorie F. Vargas (<I>Louder Than Words</I>, p. 67)</FONT><FONT><BR>
<BR>
<FONT FACE="Times New Roman"><EM>Linguistic analogy</EM>.</FONT><B> 1.</B> Founded by anthropologist Ray Birdwhistell (1952, 1970), kinesics is the
study of <A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top"><B>nonverbal communication</B></A> using the methods and concepts of American descriptive
linguistics of the late 1940s. <B>2.</B> The anthropological term for <FONT FACE="Times New Roman"><B><A HREF="bodylan1.htm" tppabs="http://members.aol.com/doder1/bodylan1.htm" TARGET="_top">body language</A></B></FONT>.<BR>
<BR>
<EM>Usage</EM>: Students of kinesics searched for a <I>grammar</I> of <B><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movements</A></B>, <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>, much as descriptive linguists formulated a grammatical structure of <B><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></B>.<BR>
<BR>
<I>Birdwhistell-isms</I>: <B>1.</B> "Social personality is a tempero-spacial system. All behaviors evinced by any such system are components of the system except as related to different levels of abstractions" (Birdwhistell 1952:5). <B>2.</B> "Even if no participant of an interaction field can recall, or repeat in a dramatized context, a given series or sequence of [body] motions, the appearance of a motion is of significance to the general study of the particular kinesic system even if the given problem can be rationalized without reference to it"<FONT> (Birdwhistell 1952:5). <B>3.</B> ". . . all meaningful [body] motion patterns are to be regarded as socially learned until empirical investigation reveals otherwise"<FONT> (Birdwhistell 1952:6). <B>4.</B> "No kine ever stands alone"<FONT> (Birdwhistell 1952:15).</FONT></FONT></FONT> </FONT></P>
<P><FONT FACE="Times New Roman"><STRONG><EM>RESEARCH REPORTS</EM></STRONG></FONT><FONT FACE="Times New Roman">: <B>1.</B> "I suggest that this separate burgeoning evolution of kinesics and paralanguage alongside the evolution of verbal language indicates that our iconic communication serves functions totally different from those of language and, indeed, performs functions which verbal language is unsuited to perform" (Bateson 1968:615). </FONT><FONT FACE="Times New Roman"><STRONG>2. </STRONG>
"The first premise in developing this type of notational system for body language, Dr.
Birdwhistell says, is to assume that all movements of the body have meaning. None are
accidental" (Fast 1970:157). </FONT><FONT FACE="Times New Roman"><STRONG>3.</STRONG></FONT><FONT FACE="Times New Roman"> "A <EM>kineme </EM>is similar to a phoneme because it consists of a
group of movements which are not identical, but which may be used interchangeably without
affecting social meaning" (Knapp 1972:94-95). <STRONG>4.</STRONG> "Not everyone agrees with Birdwhistell that
kinesics forms a communication system which is the same as spoken language" (Knapp
1972:96). <B>5.</B> The linguistic analogy was popular in the 1970s, e.g.: "This [the authors'] model draws its components from several social sciences, especially linguistics. Its basic idea is that face-to-face interaction can be construed as having a definite organization or structure, just as language is understood in terms of its grammar" (Duncan and Fiske 1977:xi). <STRONG>6.</STRONG> "The system developed by Birdwhistell (1970) is by far the most elaborate and
famous example of a structural approach" (Burgoon et al. 1989:42). <STRONG>7.</STRONG> "So as you can see,
Birdwhistell based his category system of behaviors on a model taken from the categories of
verbal communication (allophone, phone, phoneme, morpheme)" (Richmond et al. 1991:55). <STRONG> 8.</STRONG>
"Her [Margaret Mead's] dilemma was how to acknowledge universals in facial expression
[discovered by Paul Ekman] and not disavow [her student] Ray Birdwhistell's conclusion that
there were no universals" (Ekman 1998:388).</FONT></P>
<P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">PARALANGUAGE</A></STRONG>, <STRONG><A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top">PROXEMICS</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><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **KINESICS**
{border="0"
tppabs="http://members.aol.com/doder1/objects/kinesics.jpg" height="60%"
width="25%"}\
\
A man stands inside of a closed glass phone booth. You cannot hear a
word he says, but you see his postures, gestures, and facial
expressions. You *see* his *kinesics*. \--Marjorie F. Vargas (*Louder
Than Words*, p. 67)\
\
*Linguistic analogy*. **1.** Founded by anthropologist Ray Birdwhistell
(1952, 1970), kinesics is the study of [**nonverbal
communication**](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"} using the methods and concepts of American descriptive
linguistics of the late 1940s. **2.** The anthropological term for
**[body
language](bodylan1.htm){tppabs="http://members.aol.com/doder1/bodylan1.htm"
target="_top"}**.\
\
*Usage*: Students of kinesics searched for a *grammar* of **[body
movements](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.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"},
much as descriptive linguists formulated a grammatical structure of
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**.\
\
*Birdwhistell-isms*: **1.** \"Social personality is a tempero-spacial
system. All behaviors evinced by any such system are components of the
system except as related to different levels of abstractions\"
(Birdwhistell 1952:5). **2.** \"Even if no participant of an interaction
field can recall, or repeat in a dramatized context, a given series or
sequence of \[body\] motions, the appearance of a motion is of
significance to the general study of the particular kinesic system even
if the given problem can be rationalized without reference to it\"
(Birdwhistell 1952:5). **3.** \". . . all meaningful \[body\] motion
patterns are to be regarded as socially learned until empirical
investigation reveals otherwise\" (Birdwhistell 1952:6). **4.** \"No
kine ever stands alone\" (Birdwhistell 1952:15).
***RESEARCH REPORTS***: **1.** \"I suggest that this separate burgeoning
evolution of kinesics and paralanguage alongside the evolution of verbal
language indicates that our iconic communication serves functions
totally different from those of language and, indeed, performs functions
which verbal language is unsuited to perform\" (Bateson 1968:615).
**2.** \"The first premise in developing this type of notational system
for body language, Dr. Birdwhistell says, is to assume that all
movements of the body have meaning. None are accidental\" (Fast
1970:157). **3.** \"A *kineme* is similar to a phoneme because it
consists of a group of movements which are not identical, but which may
be used interchangeably without affecting social meaning\" (Knapp
1972:94-95). **4.** \"Not everyone agrees with Birdwhistell that
kinesics forms a communication system which is the same as spoken
language\" (Knapp 1972:96). **5.** The linguistic analogy was popular in
the 1970s, e.g.: \"This \[the authors\'\] model draws its components
from several social sciences, especially linguistics. Its basic idea is
that face-to-face interaction can be construed as having a definite
organization or structure, just as language is understood in terms of
its grammar\" (Duncan and Fiske 1977:xi). **6.** \"The system developed
by Birdwhistell (1970) is by far the most elaborate and famous example
of a structural approach\" (Burgoon et al. 1989:42). **7.** \"So as you
can see, Birdwhistell based his category system of behaviors on a model
taken from the categories of verbal communication (allophone, phone,
phoneme, morpheme)\" (Richmond et al. 1991:55). **8.** \"Her \[Margaret
Mead\'s\] dilemma was how to acknowledge universals in facial expression
\[discovered by Paul Ekman\] and not disavow \[her student\] Ray
Birdwhistell\'s conclusion that there were no universals\" (Ekman
1998:388).
See also
**[PARALANGUAGE](http://members.aol.com/nonverbal2/tone.htm){target="_top"}**,
**[PROXEMICS](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
KISS | https://ns1.omnitech.net/data/Nonverbal/kiss1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>kiss</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>KISS</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Me Kissing" SRC="kiss1.jpg" tppabs="http://members.aol.com/doder1/objects/kiss1.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><EM>Kiss me as if you made believe<BR>
You were not sure, this eve,<BR>
How my face, your flower, had pursed<BR>
Its petals up</EM>. --Robert Browning, <EM>In a Gondola</EM></FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1"><EM>The anatomical juxtaposition of two orbicularis oris muscles in a state of contraction</EM>. --Dr.
Henry Gibbons, <FONT FACE="Times New Roman" SIZE="-1"><I>Definition of a Kiss</I></FONT> <BR>
<BR>
<I>Blair walks in and gives Cristian a big sloppy kiss to make Max jealous</I>. --<I>One Life to Live</I> (<I>Soap Opera Digest</I> synopsis, May 2, 2000:109) </FONT><FONT FACE="Times New Roman" SIZE="-1"><I></I></FONT><FONT><BR>
<BR>
<STRONG><EM><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">Touch cue</A></EM></STRONG></FONT><FONT FACE="Times New Roman">. <STRONG>1.</STRONG> To caress, touch, or gently feel with the <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lips</A></STRONG>. <STRONG>2.</STRONG> To press one's lips against those
of another.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: We kiss to show our affection, as in kissing a child, parent, or lover (see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig4.htm" TARGET="_top">LOVE
SIGNALS IV</A></STRONG>).</FONT></P>
<P><B><I><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer products</A></I></B>. In 1995, Revlon claimed that its ColorStay Lipcolor® "won't kiss off on your teeth, your glass . . . or on him." Later in 1995, "Procter & Gamble, the manufacturer of Max Factor and Cover Girl cosmetics, asked Revlon to provide support for its claims within a week" (Hamilton 1995:F1). <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"><EM></EM>: "Ever so slowly, the couple's heads will loom closer and closer, like docking
spacecraft. Three inches away and closing, their faces will roll several degrees right or left, in
synchrony, so the noses will clear. And the lips begin a cautious link-up. The pair seals together
in the first kiss" (Givens 1983:91-2).<BR>
<BR>
<I>Culture</I>. <B>1.</B> In Latin countries, a man may kiss the back of a woman's hand to greet her with respect. His <I>hand kiss</I> should be "effortless, noiseless and moistureless" (Morris 1994:113). <B>2.</B> In Vatican City, kissing another's foot is a "humble salutation" (Morris 1994:76). Extremely rare, the <I>foot kiss</I> ". . . still survives in a ritual form when the Pope symbolically washes and kisses the feet of poor people in Holy Week" (Morris 1994:76; see also <A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top"><B>BOW</B></A>, <I>Humility</I>).</FONT><BR>
<BR>
<FONT FACE="Times New Roman"><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG><I> I</I>. Jane Wyman and Regis Toomey kissed for 185 seconds in the 1940 movie <EM>You're in the
Army Now</EM>.<BR>
<BR>
<I>Media II</I>. “I would like to think that someone who had respect for me and cared about me . . . would have kissed me on the cheek [rather than squarely on the lips] and said ‘I’m delighted to meet you’,” nurse Darva Conger confessed on the Feb. 23, 2000 "Good Morning America'' show, in an interview about how she felt after marrying a total stranger, Rick Rockwell, on the Feb. 15, 2000 Fox TV special, <I>Who Wants to Marry a Multimillionaire</I>.<BR>
<BR>
<I>Media III</I>. On kissing Leonardo DiCaprio: "Sharon Stone proclaimed that 'kissing him was like kissing your arm.' He got another scathing review from 'Romeo + Juliet' costar Claire Danes: 'Our chemistry ended when the cameras stopped.' Then 'Titanic's' Kate Winslet revealed: 'It was like kissing my brother'" (Davis 2000:53). <BR>
<BR>
<I>Primatology</I>. Chimpanzees may kiss and embrace after a fight.</FONT></P>
<P><FONT FACE="Times New Roman"><STRONG><EM>RESEARCH REPORTS</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: <STRONG>1.</STRONG> "Nuzzling, licking, sucking, playful biting, kissing, and so on,
which appear to have a broad geographical distribution as sexually meaningful signs, can be used
to communicate the emotional intimacy that is prerequisite to sexual intercourse" (Givens
1978:352). <STRONG>2.</STRONG> "Many mammals 'kiss' before mating as a way of stimulating a partner's maternal
instincts. Dolphins nibble, cats give playful bites, dogs lick faces or nuzzle flanks, and chimps
press lips in their courtship" (Givens 1983:93). <STRONG>3.</STRONG> "Our kiss originates from a mammal-wide
sucking reflex" (Givens 1983:93). <STRONG>4.</STRONG> "Mouth-to-mouth contact with the lips" is a worldwide
sign of <STRONG><A HREF="http://members.aol.com/nonverbal2/love.htm" TARGET="_top">love</A></STRONG> (Morris 1994:155).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Neuro-notes</EM>. The most sensitive area of our <A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top"><B>face</B></A> is the perioral area (which includes the lips and
<B><A HREF="nose1.htm" tppabs="http://members.aol.com/doder1/nose1.htm" TARGET="_top">nose</A></B>). Kissing sensations travel through the trigeminal nerve (cranial V), which carries impulses
received from the lips. Reflecting its importance, trigeminal is served by three sensory nuclei,
extending from the upper spinal cord through the brainstem to the <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibian midbrain</A></STRONG>.
Pleasurable <EM>protopathic</EM> or light-touch sensations travel from the principal and spinal nuclei
through evolutionary-old pathways to the thalamus, then to areas of the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG>
(including the <STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">cingulate gyrus</A></STRONG>, prefrontal cortex, and basal forebrain), as well as to primary
sensory areas of the parietal cortex (see <STRONG><A HREF="http://members.aol.com/nonverbal2/homuncul.htm" TARGET="_top">HOMUNCULUS</A></STRONG>).</FONT></P>
<P><FONT FACE="Times New Roman">See also <A HREF="http://members.aol.com/nonverbal2/emotionq.htm" TARGET="_top"><STRONG> EMOTION CUE</STRONG></A><STRONG></STRONG>, <STRONG><A HREF="rest.htm" tppabs="http://members.aol.com/nonverbal3/rest.htm" TARGET="_top">REST-AND-DIGEST</A></STRONG>.</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (David B. Givens/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B>Center for Nonverbal Studies</B></A>)<BR>
</FONT><FONT SIZE="-1">
Detail of photo by Bruce Weber (Madonna; copyright Bruce Weber)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **KISS**
{border="0"
tppabs="http://members.aol.com/doder1/objects/kiss1.jpg" height="40%"
width="25%"}\
\
*Kiss me as if you made believe\
You were not sure, this eve,\
How my face, your flower, had pursed\
Its petals up*. \--Robert Browning, *In a Gondola*
*The anatomical juxtaposition of two orbicularis oris muscles in a state
of contraction*. \--Dr. Henry Gibbons, *Definition of a Kiss*\
\
*Blair walks in and gives Cristian a big sloppy kiss to make Max
jealous*. \--*One Life to Live* (*Soap Opera Digest* synopsis, May 2,
2000:109) \
\
***[Touch
cue](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}***. **1.** To caress, touch, or gently feel with the
**[lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}**. **2.** To press one\'s lips against those of another.
*Usage*: We kiss to show our affection, as in kissing a child, parent,
or lover (see **[LOVE SIGNALS
IV](http://members.aol.com/nonverbal2/lovesig4.htm){target="_top"}**).
***[Consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. In 1995, Revlon claimed that its ColorStay Lipcolor®
\"won\'t kiss off on your teeth, your glass . . . or on him.\" Later in
1995, \"Procter & Gamble, the manufacturer of Max Factor and Cover Girl
cosmetics, asked Revlon to provide support for its claims within a
week\" (Hamilton 1995:F1).\
\
***[Courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}***: \"Ever so slowly, the couple\'s heads will loom
closer and closer, like docking spacecraft. Three inches away and
closing, their faces will roll several degrees right or left, in
synchrony, so the noses will clear. And the lips begin a cautious
link-up. The pair seals together in the first kiss\" (Givens
1983:91-2).\
\
*Culture*. **1.** In Latin countries, a man may kiss the back of a
woman\'s hand to greet her with respect. His *hand kiss* should be
\"effortless, noiseless and moistureless\" (Morris 1994:113). **2.** In
Vatican City, kissing another\'s foot is a \"humble salutation\" (Morris
1994:76). Extremely rare, the *foot kiss* \". . . still survives in a
ritual form when the Pope symbolically washes and kisses the feet of
poor people in Holy Week\" (Morris 1994:76; see also
[**BOW**](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}, *Humility*).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***
*I*. Jane Wyman and Regis Toomey kissed for 185 seconds in the 1940
movie *You\'re in the Army Now*.\
\
*Media II*. "I would like to think that someone who had respect for me
and cared about me . . . would have kissed me on the cheek \[rather than
squarely on the lips\] and said 'I'm delighted to meet you'," nurse
Darva Conger confessed on the Feb. 23, 2000 \"Good Morning America\'\'
show, in an interview about how she felt after marrying a total
stranger, Rick Rockwell, on the Feb. 15, 2000 Fox TV special, *Who Wants
to Marry a Multimillionaire*.\
\
*Media III*. On kissing Leonardo DiCaprio: \"Sharon Stone proclaimed
that \'kissing him was like kissing your arm.\' He got another scathing
review from \'Romeo + Juliet\' costar Claire Danes: \'Our chemistry
ended when the cameras stopped.\' Then \'Titanic\'s\' Kate Winslet
revealed: \'It was like kissing my brother\'\" (Davis 2000:53).\
\
*Primatology*. Chimpanzees may kiss and embrace after a fight.
***RESEARCH REPORTS***: **1.** \"Nuzzling, licking, sucking, playful
biting, kissing, and so on, which appear to have a broad geographical
distribution as sexually meaningful signs, can be used to communicate
the emotional intimacy that is prerequisite to sexual intercourse\"
(Givens 1978:352). **2.** \"Many mammals \'kiss\' before mating as a way
of stimulating a partner\'s maternal instincts. Dolphins nibble, cats
give playful bites, dogs lick faces or nuzzle flanks, and chimps press
lips in their courtship\" (Givens 1983:93). **3.** \"Our kiss originates
from a mammal-wide sucking reflex\" (Givens 1983:93). **4.**
\"Mouth-to-mouth contact with the lips\" is a worldwide sign of
**[love](http://members.aol.com/nonverbal2/love.htm){target="_top"}**
(Morris 1994:155).
*Neuro-notes*. The most sensitive area of our
[**face**](http://members.aol.com/nonverbal2/face.htm){target="_top"} is
the perioral area (which includes the lips and
**[nose](nose1.htm){tppabs="http://members.aol.com/doder1/nose1.htm"
target="_top"}**). Kissing sensations travel through the trigeminal
nerve (cranial V), which carries impulses received from the lips.
Reflecting its importance, trigeminal is served by three sensory nuclei,
extending from the upper spinal cord through the brainstem to the
**[amphibian
midbrain](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**.
Pleasurable *protopathic* or light-touch sensations travel from the
principal and spinal nuclei through evolutionary-old pathways to the
thalamus, then to areas of the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}** (including the **[cingulate
gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**, prefrontal cortex, and basal forebrain), as well as to
primary sensory areas of the parietal cortex (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**).
See also [**EMOTION
CUE**](http://members.aol.com/nonverbal2/emotionq.htm){target="_top"},
**[REST-AND-DIGEST](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.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 Bruce Weber (Madonna; copyright Bruce Weber)
|
LAWN DISPLAY | https://ns1.omnitech.net/data/Nonverbal/lawn1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>lawn</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">LAWN DISPLAY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="lendh-, "open land"" SRC="lawn.jpg" tppabs="http://members.aol.com/doder1/objects/lawn.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1">
<BR>
<I><FONT SIZE="-1">The poetry of earth is ceasing never</FONT></I><FONT SIZE="-1">. --Keats, <I><FONT SIZE="-1">On the Grasshopper and Cricket</FONT></I><BR>
<BR>
<I>Damn, I poured my whole life into this lawn, my heart, my soul, the tender feelings I've held back from my family . . . . Look, some people hoist a flag to show they love their country. Well, my lawn is my flag</I>. --Hank Hill, <I>King of the Hill</I> (quoted in The <I>Spokesman-Review</I>, May 28, 2000, F1) </FONT><BR>
<BR>
<BR>
<I><B><A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top">Spatial cue</A></B></I>. A plot of carefully groomed grass, and any of several decorative artifacts (e.g.,
white pickets or plastic pink flamingos) placed upon its surface.</P>
<P><EM>Usage</EM>: Lawns mark territory and betoken status. Each year, Americans buy an estimated 500,000
plastic pink flamingo ornaments to mark their yard space--and to provide tangible evidence that, "This
land is mine." </P>
<P><EM>Evolution</EM>. Two m.y.a. the first humans lived in eastern Africa on hot, flat, open countryside with
scattered trees and bushes and little shade, known as <EM>savannah grasslands</EM>. (<STRONG><I>N.B.</I></STRONG>: At this time, the
human brain was expanding faster than any brain ever had in animal history, and in the growing
process seemingly locked in a fondness for level grassland spaces.)</P>
<P><EM>Verbal prehistory</EM>. The word <EM>lawn</EM> itself may be traced to the ancient Indo-European root, lendh<STRONG>-</STRONG>, "open land." </P>
<P><EM>Today I</EM>. To make earth more to our liking, we flatten and smooth its surface to resemble the
original rolling plains our ancestors walked upon during the critical Pleistocene epoch two
m.y.a. <EM> Neo-Savannah Grassland</EM>--with its scattered bushes, trees, and lawns--is the
dominant theme of housing tracts, campuses, cemeteries, entertainment parks, and shopping
malls in almost every city today.<BR>
<BR>
<EM>Today II</EM>. So important are lawns as <A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top"><B>consumer products</B></A> that, at the University of Florida, a $700,000 campus laboratory--known as the <A HREF="http://www.turfgrass.org/" TARGET="_top"><B>TurfGrass</B></A> Envirotron--was fabricated so horticulturalists could watch grass grow.<BR>
<BR>
<EM>Today III</EM>. "Despite the view in some circles that lawns are a symbol of suburban conformity and repressed individualism, Americans traditionally have equated a green space around the home with freedom and power, said Washington State University horticulturalist Ken Struckmeyer" (Turner 2000:F8). <BR>
<BR>
<EM>Flatland, China</EM>. In 1999, Chinese leaders planted a few hundred square yards of grass from seed (shipped from USA's Inland Northwest) on Tiananmen Square. "Across China, cities are planting thousands of acres of lawns, parks and golf courses ['to reverse decades of environmental ruin and make drab cities more livable'] . . ." (McDonald 1999). (<I><B>N.B.</B></I>: On Tiananmen square, knee-high metal signs warn visitors: "Please don't enter the grass.")<BR>
<BR>
<EM>Flatland, USA</EM>. Taking the U.S. as a whole, 40 square feet of perfectly level shopping-center space
has been constructed for every child born since 1986. Due to our prehistory on grasslands, we
prefer to conduct our lives on plane-paved surfaces. In Los Angeles, ". . . 70 percent of the land area is devoted to the use of cars . . ." (Mathews 1974). Some 100,000 acres of land are now
occupied, e.g., by vast, table-terraced superstores. (<STRONG><I>N.B.</I></STRONG>: Inside air temperatures average 72
degrees F., the warmth of the primeval savannah.) And spreading in front of houses and
apartment buildings are closely cropped <EM>micro-savannahs</EM>, occupying an estimated 7.7 million
acres of level, home-lawn plots.<BR>
<BR>
<I>Interior design</I>. "Grass <B><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">green</A></B> [in the home environment] is not particularly popular in rural areas, where presumably people see a lot of it. But for those from inner city areas, green ranks high on their list of favorites" (Vargas 1986:142).<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. "Like the interstate highway system, fast food chains, telephones, televisions, and malls, the lawn occupies a central, and often unconsidered, place in America's cultural landscape." --Georges Teyssot ("The American Lawn," quoted in <I> Spokesman-Review</I>, May 28, 2000:F1)</P>
<P><I>Neuro-notes</I>. Like the cylindrical, filamentous projections covering our scalp, we respond to
grass blades as we do to our own hair. The compulsion to feed, clip, and groom our yard space is
prompted by the same preadapted modules of the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG> which motivate personal grooming and <STRONG><A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top">hair care</A></STRONG> (see <STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">CINGULATE GYRUS</A></STRONG>). Like thick, healthy locks, well-groomed
lawns bespeak health, vigor, and high status.<BR>
<BR>
See also <A HREF="golf.htm" tppabs="http://members.aol.com/nonverbal3/golf.htm" TARGET="_top"><B>GOLF</B></A>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"><FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> </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></P>
</BODY>
</HTML> | **LAWN DISPLAY**
{border="0"
tppabs="http://members.aol.com/doder1/objects/lawn.jpg" height="35%"
width="30%"}\
\
*The poetry of earth is ceasing never*. \--Keats, *On the Grasshopper
and Cricket*\
\
*Damn, I poured my whole life into this lawn, my heart, my soul, the
tender feelings I\'ve held back from my family . . . . Look, some people
hoist a flag to show they love their country. Well, my lawn is my flag*.
\--Hank Hill, *King of the Hill* (quoted in The *Spokesman-Review*, May
28, 2000, F1)\
\
\
***[Spatial
cue](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm"
target="_top"}***. A plot of carefully groomed grass, and any of several
decorative artifacts (e.g., white pickets or plastic pink flamingos)
placed upon its surface.
*Usage*: Lawns mark territory and betoken status. Each year, Americans
buy an estimated 500,000 plastic pink flamingo ornaments to mark their
yard space\--and to provide tangible evidence that, \"This land is
mine.\"
*Evolution*. Two m.y.a. the first humans lived in eastern Africa on hot,
flat, open countryside with scattered trees and bushes and little shade,
known as *savannah grasslands*. (***N.B.***: At this time, the human
brain was expanding faster than any brain ever had in animal history,
and in the growing process seemingly locked in a fondness for level
grassland spaces.)
*Verbal prehistory*. The word *lawn* itself may be traced to the ancient
Indo-European root, lendh**-**, \"open land.\"
*Today I*. To make earth more to our liking, we flatten and smooth its
surface to resemble the original rolling plains our ancestors walked
upon during the critical Pleistocene epoch two m.y.a. *Neo-Savannah
Grassland*\--with its scattered bushes, trees, and lawns\--is the
dominant theme of housing tracts, campuses, cemeteries, entertainment
parks, and shopping malls in almost every city today.\
\
*Today II*. So important are lawns as [**consumer
products**](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"} that, at the University of Florida, a \$700,000 campus
laboratory\--known as the
[**TurfGrass**](http://www.turfgrass.org/){target="_top"}
Envirotron\--was fabricated so horticulturalists could watch grass
grow.\
\
*Today III*. \"Despite the view in some circles that lawns are a symbol
of suburban conformity and repressed individualism, Americans
traditionally have equated a green space around the home with freedom
and power, said Washington State University horticulturalist Ken
Struckmeyer\" (Turner 2000:F8).\
\
*Flatland, China*. In 1999, Chinese leaders planted a few hundred square
yards of grass from seed (shipped from USA\'s Inland Northwest) on
Tiananmen Square. \"Across China, cities are planting thousands of acres
of lawns, parks and golf courses \[\'to reverse decades of environmental
ruin and make drab cities more livable\'\] . . .\" (McDonald 1999).
(***N.B.***: On Tiananmen square, knee-high metal signs warn visitors:
\"Please don\'t enter the grass.\")\
\
*Flatland, USA*. Taking the U.S. as a whole, 40 square feet of perfectly
level shopping-center space has been constructed for every child born
since 1986. Due to our prehistory on grasslands, we prefer to conduct
our lives on plane-paved surfaces. In Los Angeles, \". . . 70 percent of
the land area is devoted to the use of cars . . .\" (Mathews 1974). Some
100,000 acres of land are now occupied, e.g., by vast, table-terraced
superstores. (***N.B.***: Inside air temperatures average 72 degrees F.,
the warmth of the primeval savannah.) And spreading in front of houses
and apartment buildings are closely cropped *micro-savannahs*, occupying
an estimated 7.7 million acres of level, home-lawn plots.\
\
*Interior design*. \"Grass
**[green](http://members.aol.com/nonverbal3/color.htm){target="_top"}**
\[in the home environment\] is not particularly popular in rural areas,
where presumably people see a lot of it. But for those from inner city
areas, green ranks high on their list of favorites\" (Vargas 1986:142).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
\"Like the interstate highway system, fast food chains, telephones,
televisions, and malls, the lawn occupies a central, and often
unconsidered, place in America\'s cultural landscape.\" \--Georges
Teyssot (\"The American Lawn,\" quoted in *Spokesman-Review*, May 28,
2000:F1)
*Neuro-notes*. Like the cylindrical, filamentous projections covering
our scalp, we respond to grass blades as we do to our own hair. The
compulsion to feed, clip, and groom our yard space is prompted by the
same preadapted modules of the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}** which motivate personal grooming and **[hair
care](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**
(see **[CINGULATE
GYRUS](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**). Like thick, healthy locks, well-groomed lawns bespeak
health, vigor, and high status.\
\
See also
[**GOLF**](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm"
target="_top"}.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
LEG WEAR | https://ns1.omnitech.net/data/Nonverbal/legwear1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>legwear</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">LEG WEAR</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Relating to Earth" SRC="legwear.jpg" tppabs="http://members.aol.com/doder1/objects/legwear.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><I>Although skirt hemlines are no longer much of a concern, form and structure between your waist and your feet is always a critical issue</I>. --Véronique Vienne (1997:149)</FONT><FONT><BR>
<BR>
<FONT FACE="Times New Roman"><EM>Fashion statement</EM>. <STRONG>1.</STRONG> Clothing </FONT>worn <STRONG>a.</STRONG> to cover, and <STRONG>b.</STRONG> to modify the color, thickness, length,
shape, and texture of the legs (see, e.g., <A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top"><B>BLUE JEANS</B></A>). <STRONG>2.</STRONG> Ornaments (e.g., anklets and cuffs) worn <STRONG>a.</STRONG> to attract notice, and
<STRONG>b.</STRONG> to accent the leg's masculine or feminine traits.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: What we place upon our legs accents their thickness or taper</FONT>. <EM>Trousers</EM> widen the legs,
e.g., while <EM>dresses</EM> bare the turn of an ankle. <EM>Skirts</EM> reveal, while <EM>pants</EM> conceal, vulnerable
landscapes of skin.</P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG>. While fleeing from gorillas, giant lizards, and Martians, e.g., leading men (in pants and <A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top"><B>boots</B></A>) must help
leading women (in skirts and <A HREF="http://members.aol.com/nonverbal3/highheel.htm" TARGET="_top"><B>heels</B></A>) as the latter twist their ankles, stumble, and fall
to the ground.</P>
<P><I>Skirts, women</I>. Though the earliest skirts may have been made of thong-tied animal hides, the oldest-known skirts were more provocative and revealing than leather. Evidence for the ancient <EM>string
skirt </EM>consists of detailed carvings on Upper Paleolithic <EM>Venus figurines</EM> from Lespugue, France,
estimated to be ca. 23,000 to 25,000 years old (Troeng 1993). The string skirt (not
unlike the filamentous grass skirts of old Hawaii) revealed the legs and ankles, and when a woman <STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walked</A></STRONG>, made
sexually suggestive movements of its own as well (Barber 1991, 1994).<BR>
<BR>
<I>Skirts, men</I>. Japanese men wear kimonos, Samoan men wear sarongs, and bedouin men wear flowing robes. Men from Amazonia, Bali, Egypt, Fiji, Ghana, Greece, Hawaii, India, Kenya, Korea, Samoa, Scotland, and Tibet also wear skirts. <BR>
<BR>
<EM>Stance</EM>. Leg wear suggests how solidly--or how lightly--we trod upon the earth. In tandem with
heavy shoes, e.g., masculine <EM>cuffs</EM> define a solid connection with terra firma, as if a man "had
both feet on the ground." In thinner shoes and higher heels, feminine bare legs seem to lift a
woman above the earthly plain. (<STRONG><I>N.B.</I></STRONG>: From 9 a.m. to 5 p.m. in the corporate world, a woman must
balance her femininity against the stability of her stance.)</P>
<P><I>Trousers I</I>. The oldest-known pants were discovered on a glacier between Austria and Italy. The
crotchless leggings, made from animal hide whipstitched with sinew, were worn fur side out with
a leather loincloth. They belonged to a late-Neolithic wanderer known as the "Ice Man," who
died ca. 5,300 years ago. The deerskin pants covering his thighs and calves did not cling, but had
a loose fit to enable bending at the knees. Though he may have died in a fall, an artist's rendering
of his leather cuffs and shoes suggests that, unlike the Venus figurine, the Ice Man's leg wear
provided a stable platform upon which to stand (Spindler 1994).<BR>
<BR>
<I>Trousers II</I>. As consumer products, pants show an Indo-European design of equestrian origin: "To judge from their first distribution, trousers were invented about 1000 B.C. in response to the chafing of tender parts incurred in the new art of horesback riding. The man's chemise was then shortened (<I>shirt</I> means 'cut short') to allow the straddling position" (Barber 1994:142). </P>
<P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/armwear.htm" TARGET="_top">ARM WEAR</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top">BUSINESS SUIT</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top">FOOTWEAR</A></STRONG>. </FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1998, 1999, 2000 (David B. Givens/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B>Center for Nonverbal Studies</B></A>)<BR>
Detail of photo by Robert Doisneau (copyright <EM>Rapho Guillumette</EM></FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **LEG WEAR**
{border="0"
tppabs="http://members.aol.com/doder1/objects/legwear.jpg" height="40%"
width="25%"}\
\
*Although skirt hemlines are no longer much of a concern, form and
structure between your waist and your feet is always a critical issue*.
\--Véronique Vienne (1997:149)\
\
*Fashion statement*. **1.** Clothing worn **a.** to cover, and **b.** to
modify the color, thickness, length, shape, and texture of the legs
(see, e.g., [**BLUE
JEANS**](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"}).
**2.** Ornaments (e.g., anklets and cuffs) worn **a.** to attract
notice, and **b.** to accent the leg\'s masculine or feminine traits.
*Usage*: What we place upon our legs accents their thickness or taper.
*Trousers* widen the legs, e.g., while *dresses* bare the turn of an
ankle. *Skirts* reveal, while *pants* conceal, vulnerable landscapes of
skin.
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
While fleeing from gorillas, giant lizards, and Martians, e.g., leading
men (in pants and
[**boots**](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm"
target="_top"}) must help leading women (in skirts and
[**heels**](http://members.aol.com/nonverbal3/highheel.htm){target="_top"})
as the latter twist their ankles, stumble, and fall to the ground.
*Skirts, women*. Though the earliest skirts may have been made of
thong-tied animal hides, the oldest-known skirts were more provocative
and revealing than leather. Evidence for the ancient *string skirt*
consists of detailed carvings on Upper Paleolithic *Venus figurines*
from Lespugue, France, estimated to be ca. 23,000 to 25,000 years old
(Troeng 1993). The string skirt (not unlike the filamentous grass skirts
of old Hawaii) revealed the legs and ankles, and when a woman
**[walked](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}**, made sexually suggestive movements of its own as well
(Barber 1991, 1994).\
\
*Skirts, men*. Japanese men wear kimonos, Samoan men wear sarongs, and
bedouin men wear flowing robes. Men from Amazonia, Bali, Egypt, Fiji,
Ghana, Greece, Hawaii, India, Kenya, Korea, Samoa, Scotland, and Tibet
also wear skirts.\
\
*Stance*. Leg wear suggests how solidly\--or how lightly\--we trod upon
the earth. In tandem with heavy shoes, e.g., masculine *cuffs* define a
solid connection with terra firma, as if a man \"had both feet on the
ground.\" In thinner shoes and higher heels, feminine bare legs seem to
lift a woman above the earthly plain. (***N.B.***: From 9 a.m. to 5 p.m.
in the corporate world, a woman must balance her femininity against the
stability of her stance.)
*Trousers I*. The oldest-known pants were discovered on a glacier
between Austria and Italy. The crotchless leggings, made from animal
hide whipstitched with sinew, were worn fur side out with a leather
loincloth. They belonged to a late-Neolithic wanderer known as the \"Ice
Man,\" who died ca. 5,300 years ago. The deerskin pants covering his
thighs and calves did not cling, but had a loose fit to enable bending
at the knees. Though he may have died in a fall, an artist\'s rendering
of his leather cuffs and shoes suggests that, unlike the Venus figurine,
the Ice Man\'s leg wear provided a stable platform upon which to stand
(Spindler 1994).\
\
*Trousers II*. As consumer products, pants show an Indo-European design
of equestrian origin: \"To judge from their first distribution, trousers
were invented about 1000 B.C. in response to the chafing of tender parts
incurred in the new art of horesback riding. The man\'s chemise was then
shortened (*shirt* means \'cut short\') to allow the straddling
position\" (Barber 1994:142).
See also **[ARM
WEAR](http://members.aol.com/nonverbal2/armwear.htm){target="_top"}**,
**[BUSINESS
SUIT](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"}**,
**[FOOTWEAR](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photo by Robert Doisneau (copyright *Rapho Guillumette*)
|
LIMBIC SYSTEM | https://ns1.omnitech.net/data/Nonverbal/limbic.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>limbic</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="LIMBIC SYSTEM">LIMBIC SYSTEM</A><BR>
<BR>
<IMG BORDER="0" ALT="Modules and Pathways" SRC="limbic.jpg" tppabs="http://members.aol.com/nonverbal3/objects/limbic.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P>
<P><EM>Neuro term</EM>. <STRONG>1.</STRONG> Those interlinked modules and pathways of the brain in charge of <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotions</A></STRONG>,
feelings, and moods. <STRONG>2.</STRONG> The "entire neuronal circuitry that controls emotional behavior and
motivational drives" (Guyton 1996:752). <STRONG>3.</STRONG> The <EM>emotional core</EM> of the human nervous system
(Cytowic 1993). </P>
<P><EM>Usage</EM>: A great deal of our <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal communication</A></STRONG> reflects happenings in the
limbic system (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">FACE</A></STRONG>, <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">MAMMALIAN BRAIN</A></STRONG>). Nonverbal <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">signs</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signals</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">cues</A></STRONG>
disclose limbic emotions and attitudes more openly and with greater honesty than <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>.</P>
<P><EM>Observation</EM>. When shopping for <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG>, we heed limbic rather than
rational thoughts.</P>
<P><EM>Evolution</EM>. In human beings, the limbic system grew in tandem with the cerebral cortex
(Armstrong 1986). Thus, ours is the most emotional--as well as the most intellectual--species on
earth.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> The limbic system "plays a key role in the evolutionary survival and
eventual success of hominids" (Eccles 1989:97). <STRONG>2.</STRONG> Regarding nonverbal behavior, the limbic
system's <STRONG>a.</STRONG> <EM>amygdalar division</EM> promotes <EM>feeding</EM>, <EM>food-search</EM>, <EM>angry</EM>, and <EM>defensive behaviors</EM>
related to obtaining food; <STRONG>b.</STRONG> <EM>septal division</EM> promotes <EM>sexual pleasure</EM>, <EM>genital swelling</EM>,
<EM>grooming</EM>, <EM>courtship</EM>, and <EM>maternal behavior</EM>; and <STRONG>c.</STRONG> thalamocingulate division promotes <EM>play</EM>,
<EM>vocalization</EM> (e.g., the separation cry), and <EM>maternal behavior</EM> (MacLean 1993). <STRONG>3.</STRONG> "While the
cortex contains our model of reality and analyzes what exists outside ourselves, it is the limbic
brain that determines the salience of that information" (Cytowic 1993:156). <STRONG>4.</STRONG> The cerebral
cortex "has more inputs from the limbic system than the limbic system has coming from the
cortex" (Cytowic 1993:161). <STRONG>5.</STRONG> Many emotional systems, in addition to the limbic system, may
exist in the brain (LeDoux 1996:103). </P>
<P><EM>Neuro-notes</EM>. The limbic system includes the <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG>, anterior thalamic nucleus,
<STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">cingulate gyrus</A></STRONG>, fornix, hippocampus, <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">hypothalamus</A></STRONG>, mammillary bodies, medial
forebrain bundle, prefrontal lobes, septal nuclei, and other areas and pathways of the brain. The
hypothalamus, a key player, mediates nonverbal behaviors through the brain-stem <EM>reticular nuclei</EM>.
When excited, the reticular nuclei arouse cerebral as well as spinal circuits. (<STRONG><I>N.B.</I></STRONG>: An
important two-way link between the limbic system and brain stem is the <EM>medial forebrain bundle</EM>.)</P>
<P>Copyright 1999 (David B. Givens/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B>Center for Nonverbal Studies</B></A>)<BR>
Detail of illustration from <I>Mapping the Mind</I>
(copyright Weidenfeld & Nicolson 1998)</P>
</BODY>
</HTML> | **[LIMBIC SYSTEM]{#LIMBIC SYSTEM}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/limbic.jpg"
height="35%" width="25%"}**
*Neuro term*. **1.** Those interlinked modules and pathways of the brain
in charge of
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**,
feelings, and moods. **2.** The \"entire neuronal circuitry that
controls emotional behavior and motivational drives\" (Guyton 1996:752).
**3.** The *emotional core* of the human nervous system (Cytowic 1993).
*Usage*: A great deal of our **[nonverbal
communication](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** reflects happenings in the limbic system (see, e.g.,
**[FACE](http://members.aol.com/nonverbal2/face.htm){target="_top"}**,
**[MAMMALIAN
BRAIN](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**). Nonverbal
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**,
**[signals](http://members.aol.com/nonverbal2/signal.htm){target="_top"}**,
and **[cues](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**
disclose limbic emotions and attitudes more openly and with greater
honesty than
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**.
*Observation*. When shopping for **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**, we heed limbic rather than rational thoughts.
*Evolution*. In human beings, the limbic system grew in tandem with the
cerebral cortex (Armstrong 1986). Thus, ours is the most emotional\--as
well as the most intellectual\--species on earth.
***RESEARCH REPORTS***: **1.** The limbic system \"plays a key role in
the evolutionary survival and eventual success of hominids\" (Eccles
1989:97). **2.** Regarding nonverbal behavior, the limbic system\'s
**a.** *amygdalar division* promotes *feeding*, *food-search*, *angry*,
and *defensive behaviors* related to obtaining food; **b.** *septal
division* promotes *sexual pleasure*, *genital swelling*, *grooming*,
*courtship*, and *maternal behavior*; and **c.** thalamocingulate
division promotes *play*, *vocalization* (e.g., the separation cry), and
*maternal behavior* (MacLean 1993). **3.** \"While the cortex contains
our model of reality and analyzes what exists outside ourselves, it is
the limbic brain that determines the salience of that information\"
(Cytowic 1993:156). **4.** The cerebral cortex \"has more inputs from
the limbic system than the limbic system has coming from the cortex\"
(Cytowic 1993:161). **5.** Many emotional systems, in addition to the
limbic system, may exist in the brain (LeDoux 1996:103).
*Neuro-notes*. The limbic system includes the
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**,
anterior thalamic nucleus, **[cingulate
gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**, fornix, hippocampus,
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}**, mammillary bodies, medial forebrain bundle, prefrontal
lobes, septal nuclei, and other areas and pathways of the brain. The
hypothalamus, a key player, mediates nonverbal behaviors through the
brain-stem *reticular nuclei*. When excited, the reticular nuclei arouse
cerebral as well as spinal circuits. (***N.B.***: An important two-way
link between the limbic system and brain stem is the *medial forebrain
bundle*.)
Copyright 1999 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of illustration from *Mapping the Mind* (copyright Weidenfeld &
Nicolson 1998)
|
LIPS | https://ns1.omnitech.net/data/Nonverbal/lips.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>lips</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>LIPS<BR>
<BR>
<IMG BORDER="0" ALT="Lips Parted, Lips Closed " SRC="lips.jpg" tppabs="http://members.aol.com/doder1/objects/lips.jpg" HEIGHT="50%" WIDTH="25%"></STRONG></FONT></P>
<P><I><FONT SIZE="-1">He was a person of very striking aspect, with a white, lofty, and impending brow, large, brown, melancholy eyes, and a mouth which, unless when he forcibly compressed it, was apt to be tremulous, expressing both nervous sensibility and a vast power of self-restraint</FONT></I><FONT SIZE="-1">. --Nathaniel Hawthorne (</FONT><I><FONT SIZE="-1">The Scarlet Letter</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR>
<EM><BR>
Mood signals</EM>. <STRONG>1.</STRONG> The muscular, fleshy, hairless folds surrounding the mouth opening, which may
be moved <STRONG>a.</STRONG> to express <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/emotion.htm">emotions</A></STRONG>, <STRONG>b.</STRONG> to pronounce <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>, and <B>c.</B> to <B><A HREF="kiss1.htm" tppabs="http://members.aol.com/doder1/kiss1.htm" TARGET="_top">kiss</A></B>. <STRONG>2.</STRONG> The most emotionally
expressive parts of the human body.</P>
<P><EM>Usage</EM>: Lips give off telling <STRONG><B><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">cues</A></B></STRONG> about inner feelings and moods. So connected are lips <STRONG>a.</STRONG> to our
<EM>visceral nervous system</EM> and <STRONG>b.</STRONG> to <EM>companion muscles</EM> of our lower face, that we rarely keep them
still. Like <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>, lips are incredibly gifted communicators which always bear watching.<BR>
<BR>
<EM>Anatomy I</EM>. Lip size (full or thin), curvature (sinuous or straight), and eversion (everted or inverted)
vary in men and women, and in geographic populations as well. The principal lip muscle,
<EM>orbicularis oris</EM>, is a sphincter consisting <STRONG>a.</STRONG> of <EM>pars marginalis</EM> (beneath the margin of the lips
themselves), and <STRONG>b. </STRONG><EM>pars peripheralis</EM> (around the lips' periphery from the nostril bulbs to the
chin). (<STRONG><I>N.B.</I></STRONG>: P. marginalis is uniquely developed in humans for <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speech</A></STRONG>.) Contraction of
orbicularis oris tenses the lips and reduces their eversion.</P>
<P><EM>Anatomy II</EM>. Lips may be moved directly by orbicularis oris and by <EM>direct labial tractor</EM> muscles
in the upper and lower lips. Contraction of <EM>levator labii superioris alaeque nasi</EM>, <EM>levator labii
superioris</EM>, and/or <EM>zygomaticus minor</EM>, e.g., elevate and/or evert the upper lip; while <EM>depressor
labii inferioris</EM> and/or <EM>platysma par labialis</EM> depress and/or evert the lower lip. The complexity of
muscle interactions thus reflects the complexity of emotion blends.</P>
<P><EM>Anatomy III</EM>. Lips may also be moved indirectly by nine (or more) other facial muscles (e.g., by
<EM>zygomaticus major</EM> in <STRONG><A HREF="http://members.aol.com/nonverbal3/laugh.htm" TARGET="_top">laughing</A></STRONG>) through attachments to a fibromuscular mass known as the
<EM>modiolus</EM>. That so many facial muscles interlink via the modiolus makes our lips
extremely expressive of attitudes, opinions, and moods. </P>
<P><EM>Embryology</EM>. On day 22, <STRONG><A HREF="http://members.aol.com/nonverbal2/pharynx.htm" TARGET="_top">pharyngeal arches</A></STRONG> form, and by 20 weeks, orbicularis oris
(and other muscles of expression) form from the 2nd pharyngeal arch.</P>
<P><EM>Infancy</EM>. From 3-to-6 months, babies bring objects to their lips to be explored, and make sounds
with objects placed against their lips.</P>
<P><I>Lipreading</I>. Functional magnetic resonance imaging (fMRI) studies show that the linguistic visual cues afforded by lip movements activate areas of auditory cortex in normal hearing individuals (Calvert et al. 1997).<BR>
<BR>
<EM>Observation</EM>. Unconscious tension in lips reflects how we truly feel
about, e.g., a boss's work assignment, a friend's off-hand comment, or a colleague's "helpful" idea. A slight
drooping at the mouth corners (through unconscious contraction of <EM>depressor anguli oris</EM>) may be the first
visible sign of (unvoiced) sadness or disappointment.<BR>
<BR>
<EM>Primatology</EM>. Beginning with muscular contractions for suckling breast milk, the <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">primate brain</A></STRONG> added the ability to grasp food items with <EM>everted lips</EM>. Chimps, e.g., use <EM>prehensile lips</EM>
to pluck termites from twigs. (<STRONG><I>N.B.</I></STRONG>: Humans use their own prehensile lips to pluck french fries from
a bag.)</P>
<P><EM>Neuro-notes I</EM>. The <EM>facial nerve's</EM> (i.e., cranial VII's) <EM>lower nucleus</EM> controls the pouted-, curled-,
and tightened-lip expressions we unintentionally use to reveal our moods. Instructions for these
signals come from <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic</A></STRONG> modules, such as the <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> and <STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">cingulate gyrus</A></STRONG>, by
way of the brain stem. Because there is little or no conscious control from higher brain centers,
lip movements provide trustworthy cues.</P>
<P><EM>Neuro-notes II</EM>. Our brain devotes an unusually large part of its surface area to lips (see
<STRONG><A HREF="http://members.aol.com/nonverbal2/homuncul.htm" TARGET="_top">HOMUNCULUS</A></STRONG>). In the mind's eye, as a result <STRONG>a.</STRONG> of the generous space they occupy on the
sensory and motor strips of our neocortex, and <STRONG>b.</STRONG> of the older <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> linking them
to <EM>emotional</EM>, <EM>feeding</EM>, and <EM>grooming</EM> centers of the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG>, almost anything a
lip does holds potential as a <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG>.</P>
<P><EM>Neuro-notes III</EM>. Our <STRONG><A HREF="http://members.aol.com/nonverbal3/human.htm" TARGET="_top">human brain</A></STRONG> added precision to lip movements through nerve fibers
linked to the primary motor neocortex. Today, fiber links from this area descend through the
corticobulbar tract to motor neurons of the facial nerve, whose branches take charge of specific
muscle fibers of the lips. That we can whistle a tune (and that whistle languages are "spoken" in
some areas of the world) testifies to our lips' extremely high IQ as neurological smart parts.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/disgust.htm" TARGET="_top">DISGUST</A></STRONG>, <STRONG><A HREF="compress.htm" tppabs="http://members.aol.com/doder1/compress.htm" TARGET="_top">LIP-COMPRESSION</A></STRONG>, <STRONG><A HREF="pout.htm" tppabs="http://members.aol.com/doder1/pout.htm" TARGET="_top">LIP-POUT</A></STRONG>, <STRONG><A HREF="purse.htm" tppabs="http://members.aol.com/doder1/purse.htm" TARGET="_top">LIP-PURSE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top">SELF-TOUCH</A></STRONG>,
<STRONG><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">TENSE-MOUTH</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **LIPS\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/lips.jpg" height="50%"
width="25%"}**
*He was a person of very striking aspect, with a white, lofty, and
impending brow, large, brown, melancholy eyes, and a mouth which, unless
when he forcibly compressed it, was apt to be tremulous, expressing both
nervous sensibility and a vast power of self-restraint*. \--Nathaniel
Hawthorne (*The Scarlet Letter*)\
*\
Mood signals*. **1.** The muscular, fleshy, hairless folds surrounding
the mouth opening, which may be moved **a.** to express
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**,
**b.** to pronounce
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**, and **c.** to
**[kiss](kiss1.htm){tppabs="http://members.aol.com/doder1/kiss1.htm"
target="_top"}**. **2.** The most emotionally expressive parts of the
human body.
*Usage*: Lips give off telling
****[cues](http://members.aol.com/nonverbal2/cue.htm){target="_top"}****
about inner feelings and moods. So connected are lips **a.** to our
*visceral nervous system* and **b.** to *companion muscles* of our lower
face, that we rarely keep them still. Like
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
lips are incredibly gifted communicators which always bear watching.\
\
*Anatomy I*. Lip size (full or thin), curvature (sinuous or straight),
and eversion (everted or inverted) vary in men and women, and in
geographic populations as well. The principal lip muscle, *orbicularis
oris*, is a sphincter consisting **a.** of *pars marginalis* (beneath
the margin of the lips themselves), and **b.** *pars peripheralis*
(around the lips\' periphery from the nostril bulbs to the chin).
(***N.B.***: P. marginalis is uniquely developed in humans for
**[speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}**.) Contraction of orbicularis oris tenses the lips and
reduces their eversion.
*Anatomy II*. Lips may be moved directly by orbicularis oris and by
*direct labial tractor* muscles in the upper and lower lips. Contraction
of *levator labii superioris alaeque nasi*, *levator labii superioris*,
and/or *zygomaticus minor*, e.g., elevate and/or evert the upper lip;
while *depressor labii inferioris* and/or *platysma par labialis*
depress and/or evert the lower lip. The complexity of muscle
interactions thus reflects the complexity of emotion blends.
*Anatomy III*. Lips may also be moved indirectly by nine (or more) other
facial muscles (e.g., by *zygomaticus major* in
**[laughing](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}**)
through attachments to a fibromuscular mass known as the *modiolus*.
That so many facial muscles interlink via the modiolus makes our lips
extremely expressive of attitudes, opinions, and moods.
*Embryology*. On day 22, **[pharyngeal
arches](http://members.aol.com/nonverbal2/pharynx.htm){target="_top"}**
form, and by 20 weeks, orbicularis oris (and other muscles of
expression) form from the 2nd pharyngeal arch.
*Infancy*. From 3-to-6 months, babies bring objects to their lips to be
explored, and make sounds with objects placed against their lips.
*Lipreading*. Functional magnetic resonance imaging (fMRI) studies show
that the linguistic visual cues afforded by lip movements activate areas
of auditory cortex in normal hearing individuals (Calvert et al. 1997).\
\
*Observation*. Unconscious tension in lips reflects how we truly feel
about, e.g., a boss\'s work assignment, a friend\'s off-hand comment, or
a colleague\'s \"helpful\" idea. A slight drooping at the mouth corners
(through unconscious contraction of *depressor anguli oris*) may be the
first visible sign of (unvoiced) sadness or disappointment.\
\
*Primatology*. Beginning with muscular contractions for suckling breast
milk, the **[primate
brain](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**
added the ability to grasp food items with *everted lips*. Chimps, e.g.,
use *prehensile lips* to pluck termites from twigs. (***N.B.***: Humans
use their own prehensile lips to pluck french fries from a bag.)
*Neuro-notes I*. The *facial nerve\'s* (i.e., cranial VII\'s) *lower
nucleus* controls the pouted-, curled-, and tightened-lip expressions we
unintentionally use to reveal our moods. Instructions for these signals
come from
**[limbic](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}** modules, such as the
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
and **[cingulate
gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**, by way of the brain stem. Because there is little or
no conscious control from higher brain centers, lip movements provide
trustworthy cues.
*Neuro-notes II*. Our brain devotes an unusually large part of its
surface area to lips (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**).
In the mind\'s eye, as a result **a.** of the generous space they occupy
on the sensory and motor strips of our neocortex, and **b.** of the
older
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
linking them to *emotional*, *feeding*, and *grooming* centers of the
**[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**, almost anything a lip does holds potential as a
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**.
*Neuro-notes III*. Our **[human
brain](http://members.aol.com/nonverbal3/human.htm){target="_top"}**
added precision to lip movements through nerve fibers linked to the
primary motor neocortex. Today, fiber links from this area descend
through the corticobulbar tract to motor neurons of the facial nerve,
whose branches take charge of specific muscle fibers of the lips. That
we can whistle a tune (and that whistle languages are \"spoken\" in some
areas of the world) testifies to our lips\' extremely high IQ as
neurological smart parts.
See also
**[DISGUST](http://members.aol.com/nonverbal2/disgust.htm){target="_top"}**,
**[LIP-COMPRESSION](compress.htm){tppabs="http://members.aol.com/doder1/compress.htm"
target="_top"}**,
**[LIP-POUT](pout.htm){tppabs="http://members.aol.com/doder1/pout.htm"
target="_top"}**,
**[LIP-PURSE](purse.htm){tppabs="http://members.aol.com/doder1/purse.htm"
target="_top"}**,
**[SELF-TOUCH](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**,
**[TENSE-MOUTH](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
LIP-COMPRESSION | https://ns1.omnitech.net/data/Nonverbal/compress.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>compress</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>LIP-COMPRESSION<BR>
<BR>
<IMG BORDER="0" ALT="Thin-Lipped" SRC="compress.jpg" tppabs="http://members.aol.com/doder1/objects/compress.jpg" HEIGHT="50%" WIDTH="30%"></STRONG></FONT><BR>
<BR>
<STRONG><EM><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">Facial expression</A></EM></STRONG><EM></EM>. A usually negative cue produced by pressing the <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lips</A></STRONG> together into a thin line (see
<STRONG><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">TENSE-MOUTH</A></STRONG>).</P>
<P><EM>Usage</EM>: A sudden lip-compression may signal the onset of
<STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, disliking, grief, <STRONG><A HREF="http://members.aol.com/nonverbal2/sadness.htm" TARGET="_top">sadness</A></STRONG>, or <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>.</P>
<P><EM>Observation</EM>. Barely noticeable lip-clenching may signal unvoiced opposition or
disagreement. Like other lip cues, in-rolling is controlled by "gut reactive"
<STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">special visceral nerves</A></STRONG>.</P>
<P><EM>Anatomy</EM>. At rest, the lips make gentle contact, and the teeth are slightly separated (see <STRONG><A HREF="http://members.aol.com/nonverbal2/blank.htm" TARGET="_top">BLANK
FACE</A></STRONG>). In lip-compression, the prime mover is <EM>orbicularis oris</EM> (both <EM>pars peripheralis</EM> and
<EM>marginalis</EM> contract); the teeth may or may not touch.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> In rage, "The mouth is generally closed with firmness . . ." (Darwin
1872:236). <STRONG>2.</STRONG> Apes express anger by staring, clenching the jaws, and <EM>compressing the lips</EM>
(Chevalier-Skolnikoff 1973:80). <STRONG>3.</STRONG> In chimpanzees, a <EM>compressed-lips face</EM> "typically accompanies aggression"
(Goodall 1986:123). <B>4</B>. "In an aggressive mood, the [bonobo chimpanzee's] lips are compressed in a tense face with frowning eyebrows and piercing eyes" (Waal and Lanting 1997:33). <STRONG>5.</STRONG> In the Highlands of Papua New Guinea, when men were asked to show
what they would do when angry and were about to attack, "They pressed their lips together" (Ekman
1998:238).</P>
<P><EM>Neuro-notes</EM>. Lip-compression is an unconscious sign controlled by the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG>
acting through emotionally responsive <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of the <EM>facial nerve</EM> (cranial VII). </P>
<P>See also <STRONG><A HREF="pout.htm" tppabs="http://members.aol.com/doder1/pout.htm" TARGET="_top">LIP-POUT</A></STRONG>, <STRONG><A HREF="purse.htm" tppabs="http://members.aol.com/doder1/purse.htm" TARGET="_top">LIP-PURSE</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **LIP-COMPRESSION\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/compress.jpg" height="50%"
width="30%"}**\
\
***[Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
A usually negative cue produced by pressing the
**[lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}** together into a thin line (see
**[TENSE-MOUTH](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}**).
*Usage*: A sudden lip-compression may signal the onset of
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
disliking, grief,
**[sadness](http://members.aol.com/nonverbal2/sadness.htm){target="_top"}**,
or
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**.
*Observation*. Barely noticeable lip-clenching may signal unvoiced
opposition or disagreement. Like other lip cues, in-rolling is
controlled by \"gut reactive\" **[special visceral
nerves](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}**.
*Anatomy*. At rest, the lips make gentle contact, and the teeth are
slightly separated (see **[BLANK
FACE](http://members.aol.com/nonverbal2/blank.htm){target="_top"}**). In
lip-compression, the prime mover is *orbicularis oris* (both *pars
peripheralis* and *marginalis* contract); the teeth may or may not
touch.
***RESEARCH REPORTS***: **1.** In rage, \"The mouth is generally closed
with firmness . . .\" (Darwin 1872:236). **2.** Apes express anger by
staring, clenching the jaws, and *compressing the lips*
(Chevalier-Skolnikoff 1973:80). **3.** In chimpanzees, a
*compressed-lips face* \"typically accompanies aggression\" (Goodall
1986:123). **4**. \"In an aggressive mood, the \[bonobo chimpanzee\'s\]
lips are compressed in a tense face with frowning eyebrows and piercing
eyes\" (Waal and Lanting 1997:33). **5.** In the Highlands of Papua New
Guinea, when men were asked to show what they would do when angry and
were about to attack, \"They pressed their lips together\" (Ekman
1998:238).
*Neuro-notes*. Lip-compression is an unconscious sign controlled by the
**[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}** acting through emotionally responsive
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the *facial nerve* (cranial VII).
See also
**[LIP-POUT](pout.htm){tppabs="http://members.aol.com/doder1/pout.htm"
target="_top"}**,
**[LIP-PURSE](purse.htm){tppabs="http://members.aol.com/doder1/purse.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
LIP-POUT | https://ns1.omnitech.net/data/Nonverbal/pout.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>pout</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>LIP-POUT<BR>
<BR>
<IMG BORDER="0" ALT="Pout Face" SRC="pout.jpg" tppabs="http://members.aol.com/doder1/objects/pout.jpg" HEIGHT="50%" WIDTH="25%"></STRONG></FONT><STRONG></STRONG></P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">Facial expression</A></EM></STRONG><EM></EM>. To push the lower <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lip</A></STRONG> against the upper in a protruded look of
disappointment, displeasure, <STRONG><A HREF="http://members.aol.com/nonverbal2/sadness.htm" TARGET="_top">sadness</A></STRONG>, or <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>.</P>
<P><EM>Usage</EM>: <STRONG>1.</STRONG> Children throughout the world pout in sadness, frustration, and uncertainty. <STRONG>2.</STRONG> Adults
unthinkingly pout--or show fragments of the pouting cue (esp., contractions of the chin muscle [or
<EM>mentalis</EM>])--when disagreeing with comments presented face-to-face, e.g., at a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>. <STRONG>3.</STRONG> In courtship, men and women may unwittingly evert their lips in a pouty look to signal
harmlessness and availability (see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>).</P>
<P><EM>Anatomy</EM>. We pout by contracting our chin's <EM>mentalis</EM> muscle, in tandem with direct labial tractor
muscles of the lower lip (<EM>depressor labii inferioris</EM> and <EM>platysma pars labialis</EM>). Pouting closes
off the lower face <STRONG>a.</STRONG> by pressing the lips together, <STRONG>b.</STRONG> by pressing the tongue against the palate,
and <STRONG>c.</STRONG> by constricting the pharynx in preparation to swallow (see <STRONG><A HREF="http://members.aol.com/nonverbal2/adajum.htm" TARGET="_top">ADAM'S-APPLE-JUMP</A></STRONG>) or
<STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">cry</A></STRONG>.</P>
<P><EM>Evolution</EM>. The lower lip everts and pushes upward in a familiar movement used first in nursing,
and later in drinking from cups, glasses, and straws. As a feeding-related <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG>, pouting has roots
in the mammalian <EM>sucking reflex</EM>. The lip-pout is often a component of the <A HREF="shrugdis.htm" tppabs="http://members.aol.com/nonverbal3/shrugdis.htm" TARGET="_top"><B>shoulder-shrug display</B></A>.<BR>
<BR>
<I>U.S. politics</I>. Photos of President Bill Clinton taken during the Monica Lewinsky scandal often exhibit tense-mouth pouting and contraction of his chin's mentalis muscle (see <A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top"><B>TENSE-MOUTH</B></A>).</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1. </STRONG>". . .protrusion of the lips, especially with young children, is
characteristic of sulkiness throughout the greater part of the world" (Darwin 1872:237). <STRONG>2.</STRONG> The
lip-pout has been observed as a mood sign in old world monkeys and apes (van Hooff 1967). <STRONG>3.</STRONG>
Pouted lips are used as <EM>submissive signals</EM> in Bushman and deaf-and-blind-born children (Eibl-Eibesfeldt 1973, 1975), and in adults expressing <EM>shameful moods</EM> (Izard 1971). <STRONG>4.</STRONG> A brief pout or
<EM>mouth shrug</EM> (Morris 1994) reveals doubt or uncertainty (even as one says, e.g., "I am absolutely
sure").</P>
<P><EM>Neuro-notes</EM>. The lip-pout's feeding connection suggests control by diverse areas of the hindbrain
(medulla and pons), midbrain, and forebrain (<STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> and <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">hypothalamus</A></STRONG>).
Electromyographic studies show "fairly continuous activity" in the chin's mentalis (<I>Gray's Anatomy</I>, 38th edition, 1995:795),
reflecting a close link between this muscle and <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotions</A></STRONG> of the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG>.</P>
<P>See also <STRONG><A HREF="compress.htm" tppabs="http://members.aol.com/doder1/compress.htm" TARGET="_top">LIP-COMPRESSION</A></STRONG>, <STRONG><A HREF="purse.htm" tppabs="http://members.aol.com/doder1/purse.htm" TARGET="_top">LIP-PURSE</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></P>
</BODY>
</HTML> | **LIP-POUT\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/pout.jpg" height="50%"
width="25%"}**
***[Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
To push the lower
**[lip](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}** against the upper in a protruded look of
disappointment, displeasure,
**[sadness](http://members.aol.com/nonverbal2/sadness.htm){target="_top"}**,
or
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**.
*Usage*: **1.** Children throughout the world pout in sadness,
frustration, and uncertainty. **2.** Adults unthinkingly pout\--or show
fragments of the pouting cue (esp., contractions of the chin muscle \[or
*mentalis*\])\--when disagreeing with comments presented face-to-face,
e.g., at a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**. **3.** In courtship, men and women may unwittingly
evert their lips in a pouty look to signal harmlessness and availability
(see **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**).
*Anatomy*. We pout by contracting our chin\'s *mentalis* muscle, in
tandem with direct labial tractor muscles of the lower lip (*depressor
labii inferioris* and *platysma pars labialis*). Pouting closes off the
lower face **a.** by pressing the lips together, **b.** by pressing the
tongue against the palate, and **c.** by constricting the pharynx in
preparation to swallow (see
**[ADAM\'S-APPLE-JUMP](http://members.aol.com/nonverbal2/adajum.htm){target="_top"}**)
or **[cry](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**.
*Evolution*. The lower lip everts and pushes upward in a familiar
movement used first in nursing, and later in drinking from cups,
glasses, and straws. As a feeding-related
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**,
pouting has roots in the mammalian *sucking reflex*. The lip-pout is
often a component of the [**shoulder-shrug
display**](shrugdis.htm){tppabs="http://members.aol.com/nonverbal3/shrugdis.htm"
target="_top"}.\
\
*U.S. politics*. Photos of President Bill Clinton taken during the
Monica Lewinsky scandal often exhibit tense-mouth pouting and
contraction of his chin\'s mentalis muscle (see
[**TENSE-MOUTH**](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}).
***RESEARCH REPORTS***: **1.** \". . .protrusion of the lips, especially
with young children, is characteristic of sulkiness throughout the
greater part of the world\" (Darwin 1872:237). **2.** The lip-pout has
been observed as a mood sign in old world monkeys and apes (van Hooff
1967). **3.** Pouted lips are used as *submissive signals* in Bushman
and deaf-and-blind-born children (Eibl-Eibesfeldt 1973, 1975), and in
adults expressing *shameful moods* (Izard 1971). **4.** A brief pout or
*mouth shrug* (Morris 1994) reveals doubt or uncertainty (even as one
says, e.g., \"I am absolutely sure\").
*Neuro-notes*. The lip-pout\'s feeding connection suggests control by
diverse areas of the hindbrain (medulla and pons), midbrain, and
forebrain
(**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
and
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}**). Electromyographic studies show \"fairly continuous
activity\" in the chin\'s mentalis (*Gray\'s Anatomy*, 38th edition,
1995:795), reflecting a close link between this muscle and
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
of the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**.
See also
**[LIP-COMPRESSION](compress.htm){tppabs="http://members.aol.com/doder1/compress.htm"
target="_top"}**,
**[LIP-PURSE](purse.htm){tppabs="http://members.aol.com/doder1/purse.htm"
target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
LIP-PURSE | https://ns1.omnitech.net/data/Nonverbal/purse.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>purse</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>LIP-PURSE<BR>
<BR>
</STRONG></FONT><IMG BORDER="0" ALT="Broca's Purse" SRC="purse.jpg" tppabs="http://members.aol.com/doder1/objects/purse.jpg" HEIGHT="35%" WIDTH="35%"></P>
<P><I><FONT SIZE="-1">Still gazing at his hands, he pursed his lips a little, but this time made no hissing sound</FONT></I><FONT SIZE="-1">. --Joseph Conrad (</FONT><I><FONT SIZE="-1">Lord Jim</FONT></I><FONT SIZE="-1">; 1899)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<STRONG><EM><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">Facial expression</A></EM></STRONG>. To evert, pucker, and round the <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lips</A></STRONG> in a look of disagreement, scheming, or
calculated thought.</P>
<P><EM>Usage</EM>: The paramount <STRONG><A HREF="http://members.aol.com/nonverbal2/message.htm" TARGET="_top">message</A></STRONG> of lip-pursing is "thoughtful dissentience"--i.e., "I disagree." The
tightly screwed-out lips of the <EM>pig snout</EM> show that a listener has gone beyond the <STRONG><A HREF="pout.htm" tppabs="http://members.aol.com/doder1/pout.htm" TARGET="_top">pout</A></STRONG> of
<STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG> to a more dissenting frame of mind. As a mood sign, the lip-purse reflects
formation of <EM>an alternative verbal reply</EM> in the brain's primary speech center, Broca's area.<BR>
<BR>
<EM>Anatomy</EM>. In the lip-purse, <EM>orbicularis oris</EM>, <EM>buccinator</EM>, and direct <EM>labial tractor</EM>
muscles of the lips contract. The principal muscle, orbicularis oris, is a sphincter consisting <STRONG>a.</STRONG> of <EM>pars
marginalis</EM> (located beneath the margin of the lips themselves), and <STRONG>b.</STRONG><EM> pars peripheralis</EM> (located around
the lips' periphery, from the nostril bulbs to the chin). Pars marginalis is uniquely developed in
human beings for <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speech</A></STRONG>.<BR>
<BR>
<I>Observation</I>. Because the lip-purse signals mental resistance, speakers should immediately ask if listeners disagree before continuing a verbal argument. Clearing unvoiced resistance facilitates understanding. (<B><I>N.B.</I></B>: Moreover, listeners will appreciate your intuitive grasp of their thought processes.)</P>
<P><EM>Primatology</EM>. In the brain of our closest living relative, the chimpanzee, a motor area analogous
to Broca's controls the rounded, pursed-lip movements used to make facial grimaces and
emotional calls (Lieberman 1991). The <EM>pant-hoot</EM> cry of excitement is a case in point (Goodall
1990).</P>
<P><STRONG><EM>RESEARCH REPORT</EM></STRONG>: "Apprehension, scheming, or mere disinclination to speak may be
betrayed by tightly screwed [i.e., 'pursing of the'] lips" (Peck 1982:254). </P>
<P><EM>Neuroanatomy</EM>. Pursed-lips is a <EM>gestural fossil</EM> (from the <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">PRIMATE BRAIN</A></STRONG>) which unwittingly
appears when we disagree. As quarrelsome words form in Broca's area, a call goes out through
<STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic</A></STRONG> (i.e., <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotional</A></STRONG>) circuits to the brain stem's facial nerve (cranial VII). Forwarding the call,
motor branches of the facial nerve instruct our lips to round and purse in preparation to disagree.</P>
<P><EM>Neuro-notes</EM>. Pursed-lips is an orofacial gesture controlled, in part, by Broca's area, a finger-sized
patch of neocortex involved in the production of <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>. It is often the first sign of disagreement.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">TENSE-MOUTH</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **LIP-PURSE\
\
**{border="0"
tppabs="http://members.aol.com/doder1/objects/purse.jpg" height="35%"
width="35%"}
*Still gazing at his hands, he pursed his lips a little, but this time
made no hissing sound*. \--Joseph Conrad (*Lord Jim*; 1899)\
\
***[Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
To evert, pucker, and round the
**[lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}** in a look of disagreement, scheming, or calculated
thought.
*Usage*: The paramount
**[message](http://members.aol.com/nonverbal2/message.htm){target="_top"}**
of lip-pursing is \"thoughtful dissentience\"\--i.e., \"I disagree.\"
The tightly screwed-out lips of the *pig snout* show that a listener has
gone beyond the
**[pout](pout.htm){tppabs="http://members.aol.com/doder1/pout.htm"
target="_top"}** of
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**
to a more dissenting frame of mind. As a mood sign, the lip-purse
reflects formation of *an alternative verbal reply* in the brain\'s
primary speech center, Broca\'s area.\
\
*Anatomy*. In the lip-purse, *orbicularis oris*, *buccinator*, and
direct *labial tractor* muscles of the lips contract. The principal
muscle, orbicularis oris, is a sphincter consisting **a.** of *pars
marginalis* (located beneath the margin of the lips themselves), and
**b.** *pars peripheralis* (located around the lips\' periphery, from
the nostril bulbs to the chin). Pars marginalis is uniquely developed in
human beings for
**[speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}**.\
\
*Observation*. Because the lip-purse signals mental resistance, speakers
should immediately ask if listeners disagree before continuing a verbal
argument. Clearing unvoiced resistance facilitates understanding.
(***N.B.***: Moreover, listeners will appreciate your intuitive grasp of
their thought processes.)
*Primatology*. In the brain of our closest living relative, the
chimpanzee, a motor area analogous to Broca\'s controls the rounded,
pursed-lip movements used to make facial grimaces and emotional calls
(Lieberman 1991). The *pant-hoot* cry of excitement is a case in point
(Goodall 1990).
***RESEARCH REPORT***: \"Apprehension, scheming, or mere disinclination
to speak may be betrayed by tightly screwed \[i.e., \'pursing of the\'\]
lips\" (Peck 1982:254).
*Neuroanatomy*. Pursed-lips is a *gestural fossil* (from the **[PRIMATE
BRAIN](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**)
which unwittingly appears when we disagree. As quarrelsome words form in
Broca\'s area, a call goes out through
**[limbic](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}** (i.e.,
**[emotional](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**)
circuits to the brain stem\'s facial nerve (cranial VII). Forwarding the
call, motor branches of the facial nerve instruct our lips to round and
purse in preparation to disagree.
*Neuro-notes*. Pursed-lips is an orofacial gesture controlled, in part,
by Broca\'s area, a finger-sized patch of neocortex involved in the
production of
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**. It is often the first sign of disagreement.
See also
**[TENSE-MOUTH](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
LIP-TOUCH | https://ns1.omnitech.net/data/Nonverbal/liptouch.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>liptouch</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG>LIP-TOUCH</STRONG></FONT></P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> A brief or sustained <EM>tactile stimulation</EM> of the hypersensitive, fleshy folds around
the mouth. <STRONG>2.</STRONG> A touch delivered to one or both <A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top"><STRONG>lips</STRONG></A> with the knuckles, fingers, or tactile pads of
the fingertips, or with an object (e.g., a pencil or pen) held in the <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>.</P>
<P><EM>Usage</EM>: One of our most common <STRONG><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top">self-touch</A></STRONG> cues, the lip-touch signals a variety of moods
and mental states including <EM>anxiety</EM>, <EM>boredom</EM>, <EM>excitement</EM>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></EM></STRONG>, <EM>horror</EM>, and <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></EM></STRONG><EM></EM>.
Stimulating the lips diverts attention, e.g., from <STRONG>a.</STRONG> disturbing thoughts and <STRONG>b.</STRONG> people who may
upset us. As a self-consoling gesture, the lip-touch is equivalent to infntile <EM>thumb-sucking</EM>.</P>
<P><EM>Observation</EM>. In a conversation, cross-examination, or interview, the lip-touch marks a nonverbal
<STRONG><A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top">probing point</A></STRONG>, i.e., an unexpressed feeling, opinion, or thought to be explored.<BR>
<BR>
<I>Salesmanship</I>. "Make a note: <I>Do not touch the area between your nose and upper lip when you are lying to a prospect</I>" (Delmar 1984:47).</P>
<P><EM>Media</EM>. In the ninth inning of a nationally televised ball game at Busch Stadium, in which St.
Louis Cardinal first baseman, Mark McGwire, hit his record-breaking 62nd home run of the year,
McGuire <EM>touched his lips</EM> with his glove, in deep <A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top"><B>emotion</B></A>, while awaiting the end of the ball
game. (<EM><B>N.B.</B></EM>: In a nonverbal ritual before the game, McGwire <EM>rubbed his chest</EM> with the bat
Roger Maris used to hit his own record 61st home run.)</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> With adult strangers, girls show more <EM>hand-to-mouth</EM> gestures than
boys (Stern and Bender 1974:245). <STRONG>2.</STRONG> At 3-to-6 months, babies bring most objects to the mouth
to be touched and explored (Chase and Rubin 1978:186).</P>
<P><EM>Neuro-notes</EM>. Touching the mouth is emotionally <EM>analgesic</EM> (i.e., helps relieve physical and
psychic pain). Our brain's cerebral neocortex devotes a disproportionately large part of its surface
area to <EM>fingers</EM>, <EM>hands</EM>, and <EM>lips</EM> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/homuncul.htm" TARGET="_top">HOMUNCULUS</A></STRONG>). In the mind's eye, therefore, pressing
"huge" fingertips against "enormous" lips is an efficient form of <EM>acupressure</EM>.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/fingerti.htm" TARGET="_top">FINGERTIP CUE</A></STRONG>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1">t <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> | **LIP-TOUCH**
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
**1.** A brief or sustained *tactile stimulation* of the hypersensitive,
fleshy folds around the mouth. **2.** A touch delivered to one or both
[**lips**](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"} with the knuckles, fingers, or tactile pads of the
fingertips, or with an object (e.g., a pencil or pen) held in the
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**.
*Usage*: One of our most common
**[self-touch](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**
cues, the lip-touch signals a variety of moods and mental states
including *anxiety*, *boredom*, *excitement*,
***[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}***,
*horror*, and
***[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}***.
Stimulating the lips diverts attention, e.g., from **a.** disturbing
thoughts and **b.** people who may upset us. As a self-consoling
gesture, the lip-touch is equivalent to infntile *thumb-sucking*.
*Observation*. In a conversation, cross-examination, or interview, the
lip-touch marks a nonverbal **[probing
point](http://members.aol.com/nonverbal2/probe.htm){target="_top"}**,
i.e., an unexpressed feeling, opinion, or thought to be explored.\
\
*Salesmanship*. \"Make a note: *Do not touch the area between your nose
and upper lip when you are lying to a prospect*\" (Delmar 1984:47).
*Media*. In the ninth inning of a nationally televised ball game at
Busch Stadium, in which St. Louis Cardinal first baseman, Mark McGwire,
hit his record-breaking 62nd home run of the year, McGuire *touched his
lips* with his glove, in deep
[**emotion**](http://members.aol.com/nonverbal2/emotion.htm){target="_top"},
while awaiting the end of the ball game. (***N.B.***: In a nonverbal
ritual before the game, McGwire *rubbed his chest* with the bat Roger
Maris used to hit his own record 61st home run.)
***RESEARCH REPORTS***: **1.** With adult strangers, girls show more
*hand-to-mouth* gestures than boys (Stern and Bender 1974:245). **2.**
At 3-to-6 months, babies bring most objects to the mouth to be touched
and explored (Chase and Rubin 1978:186).
*Neuro-notes*. Touching the mouth is emotionally *analgesic* (i.e.,
helps relieve physical and psychic pain). Our brain\'s cerebral
neocortex devotes a disproportionately large part of its surface area to
*fingers*, *hands*, and *lips* (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**).
In the mind\'s eye, therefore, pressing \"huge\" fingertips against
\"enormous\" lips is an efficient form of *acupressure*.
See also **[FINGERTIP
CUE](http://members.aol.com/nonverbal2/fingerti.htm){target="_top"}**.
Copyrightt **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
LOOM | https://ns1.omnitech.net/data/Nonverbal/loom1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>loom</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">LOOM</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Designed to Loom Large" SRC="loom.jpg" tppabs="http://members.aol.com/doder1/objects/loom.jpg" HEIGHT="40%" WIDTH="25%"><BR>
<BR WP="BR2">
<I><FONT SIZE="-1">The good knight-errant, even though he may behold ten giants with heads that not merely touch but rise above the clouds; and even though each of these giants may have two tallest towers for legs while his arms resemble the masts of huge and powerful ships; even though each may have eyes that are like great mill wheels and that glow more brightly than any glass furnace--in spite of all this, he is not to be in the least frightened but with highborn mien and intrepid heart is to give them battle and if possible vanquish and destroy them in a moment's time.</FONT></I><FONT SIZE="-1"> --Miguel de Cervantes, <I>Don Quixote</I> (1605:545)</FONT><EM><BR>
<BR>
Size display</EM>. <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gestures</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging features</A></STRONG> which appear massive, magnified, and
powerful--and often dangerous or imminently threatening to the mind.</P>
<P><EM>Usage</EM>: The looming phenomenon gives innate meaning to <STRONG></STRONG>nonverbal cues of <EM>size</EM> (see, e.g.,
<STRONG><A HREF="antigrav.htm" tppabs="http://members.aol.com/nonverbal3/antigrav.htm" TARGET="_top">ANTIGRAVITY SIGN</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/broadsid.htm" TARGET="_top">BROADSIDE DISPLAY</A></STRONG>, and <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">HIGH-STAND
DISPLAY</A></STRONG>; cf. <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">CROUCH</A></STRONG>). Impressive mountains, large stones, and tall <A HREF="tree1.htm" tppabs="http://members.aol.com/doder1/tree1.htm" TARGET="_top"><B>trees</B></A> frequently are viewed with wonder and may be considered as sacred objects.<BR>
<BR>
<I>Evolution</I>. "Looming, on the other hand, is more recent in evolution than the tactile crouch, and it is at base a visual response. Without eyes to see it the loom literally would make no sense. But to those with eyes, the movements and postures of expansion evoke strong, automatic reactions. Big is innately threatening to the vertebrate eye itself" (Givens 1986:163).<BR>
<BR>
<I>Literature</I>. "It was a body capable of enormous leverage--a cruel body" (F. Scott Fitzgerald [of Tom Buchanan], <I>The Great Gatsby</I>).<BR>
<BR>
<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><I>Psychology</I>. Our aversion to large animals or objects approaching rapidly may be innate (Thorndike 1940).</FONT></FONT></P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>. <STRONG>1.</STRONG> A steady increase in the size of a shadow projected on a screen
produced <EM>avoidance</EM> movements in fiddler crabs, frogs, chicks, turtles, and human babies
(Russell 1979). <STRONG>2.</STRONG> "Absolute size--physical bulk itself--is a key biological variable in social status
and in relations of <STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominance</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submission</A></STRONG>" (Givens 1986:147). <STRONG>3.</STRONG> "Egyptian pyramids, for
example, give iconic testimony to a pharaoh's superior status; while the Japanese <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">bow</A></STRONG> (from the
waist) bespeaks humility through feigned shortness" (Givens 1986:146).</P>
<P><EM></EM><EM>Neuro-notes</EM>. Nonverbal "big" threatens <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> in the visual system, perhaps even within
the eye itself. Movements and postures of expansion evoke the strong, automatic reaction known
as the <EM>looming response</EM>, seen in birds only three hours after hatching, and in puppies at two-weeks of age. At 14 days, babies will avoid a rapidly dilating shape projected to "loom" on a
screen--as if they already knew the danger portended by large, moving objects.</P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top">BUSINESS SUIT</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">
Illustration detail (copyright Smithsonian Institution)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **LOOM**
{border="0"
tppabs="http://members.aol.com/doder1/objects/loom.jpg" height="40%"
width="25%"}\
\
*The good knight-errant, even though he may behold ten giants with heads
that not merely touch but rise above the clouds; and even though each of
these giants may have two tallest towers for legs while his arms
resemble the masts of huge and powerful ships; even though each may have
eyes that are like great mill wheels and that glow more brightly than
any glass furnace\--in spite of all this, he is not to be in the least
frightened but with highborn mien and intrepid heart is to give them
battle and if possible vanquish and destroy them in a moment\'s time.*
\--Miguel de Cervantes, *Don Quixote* (1605:545)*\
\
Size display*.
**[Gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**
and **[messaging
features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**
which appear massive, magnified, and powerful\--and often dangerous or
imminently threatening to the mind.
*Usage*: The looming phenomenon gives innate meaning to nonverbal cues
of *size* (see, e.g., **[ANTIGRAVITY
SIGN](antigrav.htm){tppabs="http://members.aol.com/nonverbal3/antigrav.htm"
target="_top"}**, **[BROADSIDE
DISPLAY](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}**,
and **[HIGH-STAND
DISPLAY](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**; cf.
**[CROUCH](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm"
target="_top"}**). Impressive mountains, large stones, and tall
[**trees**](tree1.htm){tppabs="http://members.aol.com/doder1/tree1.htm"
target="_top"} frequently are viewed with wonder and may be considered
as sacred objects.\
\
*Evolution*. \"Looming, on the other hand, is more recent in evolution
than the tactile crouch, and it is at base a visual response. Without
eyes to see it the loom literally would make no sense. But to those with
eyes, the movements and postures of expansion evoke strong, automatic
reactions. Big is innately threatening to the vertebrate eye itself\"
(Givens 1986:163).\
\
*Literature*. \"It was a body capable of enormous leverage\--a cruel
body\" (F. Scott Fitzgerald \[of Tom Buchanan\], *The Great Gatsby*).\
\
*Psychology*. Our aversion to large animals or objects approaching
rapidly may be innate (Thorndike 1940).
***RESEARCH REPORTS***. **1.** A steady increase in the size of a shadow
projected on a screen produced *avoidance* movements in fiddler crabs,
frogs, chicks, turtles, and human babies (Russell 1979). **2.**
\"Absolute size\--physical bulk itself\--is a key biological variable in
social status and in relations of
**[dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**
and
**[submission](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**\"
(Givens 1986:147). **3.** \"Egyptian pyramids, for example, give iconic
testimony to a pharaoh\'s superior status; while the Japanese
**[bow](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}** (from the waist) bespeaks humility through feigned
shortness\" (Givens 1986:146).
*Neuro-notes*. Nonverbal \"big\" threatens
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
in the visual system, perhaps even within the eye itself. Movements and
postures of expansion evoke the strong, automatic reaction known as the
*looming response*, seen in birds only three hours after hatching, and
in puppies at two-weeks of age. At 14 days, babies will avoid a rapidly
dilating shape projected to \"loom\" on a screen\--as if they already
knew the danger portended by large, moving objects.
See also **[BUSINESS
SUIT](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"}**.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Illustration detail (copyright Smithsonian Institution)
|
LOVE SIGN | https://ns1.omnitech.net/data/Nonverbal/lovesign.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>lovesign</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="LOVE SIGN">LOVE SIGN</A></STRONG></FONT></P>
<P><EM>Sexual icon</EM>. A drawing, photograph, or sculpted figure displaying male or female sexual traits.</P>
<P><EM>Usage</EM>: Easily aroused by visual cues, men enjoy erotic pictures, images, and movies, more
than women do. <EM>Playboy</EM> (a magazine featuring the female form), e.g., outsells <EM>Playgirl</EM> (featuring
the male anatomy)--and both are read predominantly by men.</P>
<P><EM>Prehistory I</EM>. The earliest sexual illustrations were realistic and abstract renderings of female and
male sex organs, painted on Upper Paleolithic cave walls in western Europe, ca. 34,000 to 12,000
years ago. (<STRONG><I>N.B.</I></STRONG>: The most common themes depicted on Paleolithic cave walls were <EM>food</EM> and
<EM>sex</EM>, in that order.)</P>
<P><EM>Prehistory II</EM>. Dating to ca. 25,000 years ago, female <EM>Venus figurines</EM> with exaggerated breasts,
buttocks, and tummies have been found across Europe from Spain to Russia. The figurines had
less to do with beauty than with <EM>fertility</EM>.</P>
<P><EM>Media I</EM>. In U.S. college bookstores, the number one, two and three best-selling magazines,
respectively, are <EM>Cosmopolitan</EM>, <EM>Glamour</EM>, and <EM>Vogue</EM>, read by young women seeking to enhance
their sex appeal and <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/lovesig.htm">love signals</A></STRONG>.</P>
<P><EM>Media II</EM>. From 13 years of <EM>Playboy</EM> emerges a composite centerfold who likes a man to <STRONG>a.</STRONG> pick
her up in his car, <STRONG>b.</STRONG> accompanied by his dog, <STRONG>c.</STRONG> with his stereo turned on, and <STRONG>d.</STRONG> offer her flowers
before <STRONG>e.</STRONG> driving her to the beach where <STRONG>f.</STRONG> they watch the sunset and <STRONG>g.</STRONG> dance in the rain. (<STRONG><I>N.B.</I></STRONG>:
From 1959 to 1995, the <EM>average weight</EM> of playmate centerfolds ranged from 82%-to-91% of the
average weights of American women of the same height and age. [Below 85% is considered
medically too thin.])</P>
<P><EM>Media III</EM>. Americans view an average of 9,230 sexually suggestive scenes a year on TV.</P>
<P><STRONG><EM>RESEARCH REPORT</EM></STRONG>: A study in the <EM>Journal of Public Policy and Marketing</EM> found that
"[U.S.] Women think men prefer bigger-bosomed women than men said they preferred. Similarly,
men are convinced that women want chestier guys than women said they
liked" (Morin 1995:C5).</P>
<P>See also <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/barbie.htm">BARBIE DOLL</A></STRONG>.</P>
<P>Copyright 1998, 1999 (David B. Givens/<A TARGET="_top" HREF="http://members.aol.com/nonverbal2/index.htm"><B>Center for Nonverbal Studies</B></A>)</P>
</BODY>
</HTML> | **[LOVE SIGN]{#LOVE SIGN}**
*Sexual icon*. A drawing, photograph, or sculpted figure displaying male
or female sexual traits.
*Usage*: Easily aroused by visual cues, men enjoy erotic pictures,
images, and movies, more than women do. *Playboy* (a magazine featuring
the female form), e.g., outsells *Playgirl* (featuring the male
anatomy)\--and both are read predominantly by men.
*Prehistory I*. The earliest sexual illustrations were realistic and
abstract renderings of female and male sex organs, painted on Upper
Paleolithic cave walls in western Europe, ca. 34,000 to 12,000 years
ago. (***N.B.***: The most common themes depicted on Paleolithic cave
walls were *food* and *sex*, in that order.)
*Prehistory II*. Dating to ca. 25,000 years ago, female *Venus
figurines* with exaggerated breasts, buttocks, and tummies have been
found across Europe from Spain to Russia. The figurines had less to do
with beauty than with *fertility*.
*Media I*. In U.S. college bookstores, the number one, two and three
best-selling magazines, respectively, are *Cosmopolitan*, *Glamour*, and
*Vogue*, read by young women seeking to enhance their sex appeal and
**[love
signals](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**.
*Media II*. From 13 years of *Playboy* emerges a composite centerfold
who likes a man to **a.** pick her up in his car, **b.** accompanied by
his dog, **c.** with his stereo turned on, and **d.** offer her flowers
before **e.** driving her to the beach where **f.** they watch the
sunset and **g.** dance in the rain. (***N.B.***: From 1959 to 1995, the
*average weight* of playmate centerfolds ranged from 82%-to-91% of the
average weights of American women of the same height and age. \[Below
85% is considered medically too thin.\])
*Media III*. Americans view an average of 9,230 sexually suggestive
scenes a year on TV.
***RESEARCH REPORT***: A study in the *Journal of Public Policy and
Marketing* found that \"\[U.S.\] Women think men prefer bigger-bosomed
women than men said they preferred. Similarly, men are convinced that
women want chestier guys than women said they liked\" (Morin 1995:C5).
See also **[BARBIE
DOLL](http://members.aol.com/nonverbal2/barbie.htm){target="_top"}**.
Copyright 1998, 1999 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
LOVE SIGNALS II | https://ns1.omnitech.net/data/Nonverbal/lovesig2.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>lovesig2</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="LOVE SIGNALS II">LOVE SIGNALS II</A><BR>
<BR>
<IMG BORDER="0" ALT="Coy Response" SRC="lovesig2.jpg" tppabs="http://members.aol.com/nonverbal2/objects/lovesig2.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P>
<P><I><FONT SIZE="-1">"In short, my son, note her every action and movement. If you report to me faithfully all these things, I shall be able to make out the hidden secret of her heart and discover how she feels with regard to my love; for I may tell you, Sancho, if you do not know it already, that among lovers exterior signs of this sort are the most reliable couriers that there are, bringing news of what goes on inside the heart."</FONT></I><FONT SIZE="-1"> --Miguel de Cervantes (</FONT><I><FONT SIZE="-1">Don Quixote</FONT></I><FONT SIZE="-1">, 1605:566)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM><B><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">Courtship</A></B></EM>. Any of several nonverbal <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">signs</A></STRONG> exchanged during the <EM>recognition phase</EM> of
courtship.</P>
<P><EM>Usage</EM>: In courtship's second stage, men and women seek nonverbal responses to signs beamed
out during the earlier <EM>attention phase</EM> (see <STRONG><A TARGET="_top" HREF="lovesig2.htm" tppabs="http://members.aol.com/nonverbal2/lovesig2.htm">LOVE SIGNALS I</A></STRONG>). E.g., a man's bid for attention
("I am here!"--"I am male!") is followed by efforts to determine, <EM>"Do you see me?"</EM> Recognition
cues thus provide <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG> about having been seen. They are the <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/afferent.htm">afferent</A></STRONG>
(incoming) body signals received in response to the <STRONG><A HREF="efferen1.htm" tppabs="http://members.aol.com/doder1/efferen1.htm" TARGET="_top">efferent</A></STRONG> (outgoing) cues previously sent.</P>
<P><EM>Responsive eyes</EM>. As primates, we respond to changes in gaze direction, and in courtship,
concern with <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/eyes.htm">eyes</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye contact</A></STRONG> is extreme. At a singles bar, e.g., eyes dart about and
make rapid <EM>saccadic</EM> movements as they bounce from face to face in the crowd. Even a fleeting
glance may suffice to answer the question: "I am female!" . . . <EM>Did you notice?</EM>.</P>
<P><EM>Responsive pupils</EM>. One of our tiniest cues, pupil size, is measured with a <EM>pupillometer</EM>. The
device detects <EM>dilation</EM> when we view attractive men and women, but <EM>constriction</EM> when we view
threatening or disliked people. Studies show that, while pupil size itself is out of awareness,
dilation can be a tell-tale recognition cue (Hess 1975). (<STRONG><I>N.B.</I></STRONG>: That enlarged pupils unconsciously
telegraph sexual interest was appreciated by European women, who once dilated their eyes
artificially with <EM>belladonna</EM>, a cosmetic extract of the nightshade family.)</P>
<P><EM>Neuro-notes</EM>. As with many recognition signs, the <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">hypothalamus</A></STRONG> plays a role in pupil size.
The hypothalamus coordinates our <EM>sympathetic nervous system's </EM><STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">fight-or-flight</A></STRONG>
response, over which we have little conscious control. Eye contact with an attractive woman or
man thus registers as emotional stimuli pass from the <EM>posterior</EM> hypothalamus (Guyton 1996)
downward to sympathetic nerves in the spinal cord (T1-2), which control our pupil's dilator
muscle. Mutual gaze brings people together quickly and powerfully, as the physical distance
separating them seems to close. As we lock eyes with a lovely face, information flows from visual
areas of the cerebral cortex to the hypothalamus, which influences our sexual behavior as a "prime
node" (LeVay 1993:60, 81). (<I><STRONG>N.B.</STRONG></I>: Mutual eye-contact is important in the courtship of our
primate relatives, as well. In marmosets, e.g., males must meet a female's attention-phase <EM>stare</EM>
with several seconds of <EM>returned gaze</EM> before mating can occur [LeVay 1993:60].)</P>
<P><EM>Body response</EM>. <EM>Positive</EM> recognition signs include <STRONG>a. </STRONG><STRONG><A HREF="align1.htm" tppabs="http://members.aol.com/doder1/align1.htm" TARGET="_top">body alignment</A></STRONG> (e.g., <EM>aiming</EM> or
<EM>squaring</EM> the upper body with a partner), <STRONG>b.</STRONG> rapid <STRONG><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top">eye-blink</A></STRONG>, <STRONG>c. </STRONG><STRONG><A HREF="blush.htm" tppabs="http://members.aol.com/nonverbal3/blush.htm" TARGET="_top"> facial flushing</A></STRONG> (<STRONG><I>N.B.</I></STRONG>:
<EM>blush</EM> applied to a woman's cheeks simulates the red, rosy glow of sexual attraction as well), <STRONG>d.</STRONG> gaze-crossing (i.e., sweeping the eyes back and forth across a partner's view field--without
actually looking or seeming to notice his or her presence--to test a willingness to be looked at), <STRONG>e.</STRONG>
submissive <STRONG><A HREF="http://members.aol.com/nonverbal2/gazedown.htm" TARGET="_top">gaze-down</A></STRONG>, <STRONG>f.</STRONG> head-toss, <STRONG>g. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">isopraxism</A></STRONG> (e.g., <EM>mirroring</EM>, <EM>postural echo</EM>,
<EM>synchrony</EM>), <STRONG>h.</STRONG> anxious <STRONG><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top">self-touching</A></STRONG>, <STRONG>i. <A TARGET="_top" HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"> shoulder-shrugging</A></STRONG>, <STRONG>j. <A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top"> smiling</A></STRONG>, and
<STRONG>k.</STRONG> nervous <STRONG><A TARGET="_top" HREF="yawn.htm" tppabs="http://members.aol.com/nonverbal2/yawn.htm">yawning</A></STRONG>. Negative recognition cues include <STRONG>a. </STRONG><STRONG><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">cut-off</A></STRONG> (i.e., sideward gaze-aversion or angling the upper body away ["<EM>cold shoulder</EM>"], and <STRONG>b.</STRONG><EM> no reaction</EM> (i.e., the most
cutting cue of all: no response [see <STRONG><A HREF="http://members.aol.com/nonverbal2/blank.htm" TARGET="_top">BLANK FACE</A></STRONG>]).</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> A study summarizing research on North American college students
found <STRONG>a.</STRONG> that women and men aligned upper bodies <EM>midway</EM> between direct (i.e., frontal) and
indirect (i.e., turned 90 degrees away) with liked partners; and <STRONG>b.</STRONG> that women assumed <EM>open arm
positions</EM> with men they liked and <EM>crossed arms</EM> with disliked men (men
did not show these signs; Vrugt and Kerkstra 1984). <STRONG>2.</STRONG> "The next stage is <EM>recognition</EM> [Givens
1978], or what Scheflen (1965) calls <EM>courtship readiness</EM>. If the response of one party . . . is a
stare, blank face, negative facial expression, or orienting away, that ends it" (Burgoon et al.
1989:325).</P>
<P>See also <A HREF="http://members.aol.com/nonverbal2/lovesig3.htm" TARGET="_top"><B>LOVE SIGNALS III</B></A>.
</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><BR>
<FONT SIZE="-1">
Detail of photo (copyright Esther Bubley)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[LOVE SIGNALS II]{#LOVE SIGNALS II}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal2/objects/lovesig2.jpg"
height="35%" width="25%"}**
*\"In short, my son, note her every action and movement. If you report
to me faithfully all these things, I shall be able to make out the
hidden secret of her heart and discover how she feels with regard to my
love; for I may tell you, Sancho, if you do not know it already, that
among lovers exterior signs of this sort are the most reliable couriers
that there are, bringing news of what goes on inside the heart.\"*
\--Miguel de Cervantes (*Don Quixote*, 1605:566)\
\
***[Courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}***. Any of several nonverbal
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**
exchanged during the *recognition phase* of courtship.
*Usage*: In courtship\'s second stage, men and women seek nonverbal
responses to signs beamed out during the earlier *attention phase* (see
**[LOVE SIGNALS I](lovesig2.htm){target="_top"
tppabs="http://members.aol.com/nonverbal2/lovesig2.htm"}**). E.g., a
man\'s bid for attention (\"I am here!\"\--\"I am male!\") is followed
by efforts to determine, *\"Do you see me?\"* Recognition cues thus
provide
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**
about having been seen. They are the
**[afferent](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}**
(incoming) body signals received in response to the
**[efferent](efferen1.htm){tppabs="http://members.aol.com/doder1/efferen1.htm"
target="_top"}** (outgoing) cues previously sent.
*Responsive eyes*. As primates, we respond to changes in gaze direction,
and in courtship, concern with
**[eyes](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**
and **[eye
contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}**
is extreme. At a singles bar, e.g., eyes dart about and make rapid
*saccadic* movements as they bounce from face to face in the crowd. Even
a fleeting glance may suffice to answer the question: \"I am female!\" .
. . *Did you notice?*.
*Responsive pupils*. One of our tiniest cues, pupil size, is measured
with a *pupillometer*. The device detects *dilation* when we view
attractive men and women, but *constriction* when we view threatening or
disliked people. Studies show that, while pupil size itself is out of
awareness, dilation can be a tell-tale recognition cue (Hess 1975).
(***N.B.***: That enlarged pupils unconsciously telegraph sexual
interest was appreciated by European women, who once dilated their eyes
artificially with *belladonna*, a cosmetic extract of the nightshade
family.)
*Neuro-notes*. As with many recognition signs, the
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}** plays a role in pupil size. The hypothalamus
coordinates our *sympathetic nervous system\'s*
**[fight-or-flight](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}** response, over which we have little conscious control.
Eye contact with an attractive woman or man thus registers as emotional
stimuli pass from the *posterior* hypothalamus (Guyton 1996) downward to
sympathetic nerves in the spinal cord (T1-2), which control our pupil\'s
dilator muscle. Mutual gaze brings people together quickly and
powerfully, as the physical distance separating them seems to close. As
we lock eyes with a lovely face, information flows from visual areas of
the cerebral cortex to the hypothalamus, which influences our sexual
behavior as a \"prime node\" (LeVay 1993:60, 81). (***N.B.***: Mutual
eye-contact is important in the courtship of our primate relatives, as
well. In marmosets, e.g., males must meet a female\'s attention-phase
*stare* with several seconds of *returned gaze* before mating can occur
\[LeVay 1993:60\].)
*Body response*. *Positive* recognition signs include **a.** **[body
alignment](align1.htm){tppabs="http://members.aol.com/doder1/align1.htm"
target="_top"}** (e.g., *aiming* or *squaring* the upper body with a
partner), **b.** rapid
**[eye-blink](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**c.** **[facial
flushing](blush.htm){tppabs="http://members.aol.com/nonverbal3/blush.htm"
target="_top"}** (***N.B.***: *blush* applied to a woman\'s cheeks
simulates the red, rosy glow of sexual attraction as well), **d.**
gaze-crossing (i.e., sweeping the eyes back and forth across a
partner\'s view field\--without actually looking or seeming to notice
his or her presence\--to test a willingness to be looked at), **e.**
submissive
**[gaze-down](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"}**,
**f.** head-toss, **g.**
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**
(e.g., *mirroring*, *postural echo*, *synchrony*), **h.** anxious
**[self-touching](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**,
**i. [shoulder-shrugging](shoshrug.htm){target="_top"
tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"}**, **j.
[smiling](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}**,
and **k.** nervous **[yawning](yawn.htm){target="_top"
tppabs="http://members.aol.com/nonverbal2/yawn.htm"}**. Negative
recognition cues include **a.**
**[cut-off](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}** (i.e., sideward gaze-aversion or angling the upper body
away \[\"*cold shoulder*\"\], and **b.** *no reaction* (i.e., the most
cutting cue of all: no response \[see **[BLANK
FACE](http://members.aol.com/nonverbal2/blank.htm){target="_top"}**\]).
***RESEARCH REPORTS***: **1.** A study summarizing research on North
American college students found **a.** that women and men aligned upper
bodies *midway* between direct (i.e., frontal) and indirect (i.e.,
turned 90 degrees away) with liked partners; and **b.** that women
assumed *open arm positions* with men they liked and *crossed arms* with
disliked men (men did not show these signs; Vrugt and Kerkstra 1984).
**2.** \"The next stage is *recognition* \[Givens 1978\], or what
Scheflen (1965) calls *courtship readiness*. If the response of one
party . . . is a stare, blank face, negative facial expression, or
orienting away, that ends it\" (Burgoon et al. 1989:325).
See also [**LOVE SIGNALS
III**](http://members.aol.com/nonverbal2/lovesig3.htm){target="_top"}.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photo (copyright Esther Bubley)
|
LUNCH | https://ns1.omnitech.net/data/Nonverbal/lunch1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>lunch</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">LUNCH</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Lunchtime Laugh" SRC="lunch.jpg" tppabs="http://members.aol.com/doder1/objects/lunch.jpg" HEIGHT="45%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<I>Ritual</I>. The usually friendly patterns of <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye contact</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></STRONG>, and words exchanged at
midday while consuming food products.</P>
<P><EM>Usage</EM>: We "do lunch," schedule luncheon meetings, and conduct business over lunch because
eating together <STRONG>a.</STRONG> reduces anxiety as the parasympathetic nervous system switches to <STRONG><A HREF="rest.htm" tppabs="http://members.aol.com/nonverbal3/rest.htm" TARGET="_top">rest-and-digest</A></STRONG>, and <STRONG>b.</STRONG> promotes sociability through the reptilian principle of "acting alike" and "doing the
same thing" (see <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">ISOPRAXISM</A></STRONG>).</P>
<P><STRONG><EM><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">Courtship</A></EM></STRONG>. Because lunch is conducted in the light of day, it is an effective venue for the
early exchange of <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">love signals</A></STRONG>. As in the more serious dinnertime rite (usually conducted after dark; see below, <I>Media</I>),
couples find eating together less stressful than conversing without the shared focus of utensiles, food, and drink.</P>
<P><I>Media</I>. "The next day, Vicki offers to cook Gary dinner at his apartment. Thinking quickly, Gary says his place is too messy; they decide to have dinner at the ranch instead." --<I>Young and Restless</I> (<I>Soap Opera Digest</I> synopsis, May 2, 2000:114)<BR>
<BR>
<EM>Corporate culture</EM>. Office rituals inevitably involve eating and drinking together. Nonverbally,
food consumption allies staff and draws employer and employees closer together. (But note that food is
rarely served during the performance review.) To win friends and influence people in the firm, chocolates work better than <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>.</P>
<P><EM>Ancient history</EM>. Food is a powerful symbol, as the Egyptian artists who drew ritual offerings of
food and drink on tomb walls understood 2,500 years ago.</P>
<P><EM>Prehistory</EM>. Unlike other primates, human beings have been <EM>sharing edibles</EM> for at least two
million years, as evidenced by arrangements of cut and broken big-game bones found in sites at
Olduvai Gorge, Tanzania. The earliest-known ritual involving food is found in Upper Paleolithic
cave paintings dating to between 34,000 and 12,000 years ago. The cave walls show big-game
animals speared or caught in what may have been "magical" traps (Wenke 1990).</P>
<P>See also <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">CONFERENCE TABLE</A></STRONG>, <STRONG><A HREF="dance1.htm" tppabs="http://members.aol.com/doder1/dance1.htm" TARGET="_top">DANCE</A></STRONG>.</P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (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 Robert Frank (copyright Robert Frank)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P>
</BODY>
</HTML> | **LUNCH**
{border="0"
tppabs="http://members.aol.com/doder1/objects/lunch.jpg" height="45%"
width="25%"}\
\
*Ritual*. The usually friendly patterns of **[eye
contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}**,
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
and words exchanged at midday while consuming food products.
*Usage*: We \"do lunch,\" schedule luncheon meetings, and conduct
business over lunch because eating together **a.** reduces anxiety as
the parasympathetic nervous system switches to
**[rest-and-digest](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}**, and **b.** promotes sociability through the reptilian
principle of \"acting alike\" and \"doing the same thing\" (see
**[ISOPRAXISM](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**).
***[Courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}***. Because lunch is conducted in the light of day, it is
an effective venue for the early exchange of **[love
signals](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**.
As in the more serious dinnertime rite (usually conducted after dark;
see below, *Media*), couples find eating together less stressful than
conversing without the shared focus of utensiles, food, and drink.
*Media*. \"The next day, Vicki offers to cook Gary dinner at his
apartment. Thinking quickly, Gary says his place is too messy; they
decide to have dinner at the ranch instead.\" \--*Young and Restless*
(*Soap Opera Digest* synopsis, May 2, 2000:114)\
\
*Corporate culture*. Office rituals inevitably involve eating and
drinking together. Nonverbally, food consumption allies staff and draws
employer and employees closer together. (But note that food is rarely
served during the performance review.) To win friends and influence
people in the firm, chocolates work better than
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**.
*Ancient history*. Food is a powerful symbol, as the Egyptian artists
who drew ritual offerings of food and drink on tomb walls understood
2,500 years ago.
*Prehistory*. Unlike other primates, human beings have been *sharing
edibles* for at least two million years, as evidenced by arrangements of
cut and broken big-game bones found in sites at Olduvai Gorge, Tanzania.
The earliest-known ritual involving food is found in Upper Paleolithic
cave paintings dating to between 34,000 and 12,000 years ago. The cave
walls show big-game animals speared or caught in what may have been
\"magical\" traps (Wenke 1990).
See also **[CONFERENCE
TABLE](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**,
**[DANCE](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.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 Robert Frank (copyright Robert Frank)
|
MAMMALIAN BRAIN | https://ns1.omnitech.net/data/Nonverbal/mammal.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>mammal</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="MAMMALIAN BRAIN">MAMMALIAN BRAIN</A><BR>
<BR>
<IMG BORDER="0" ALT="Ancient Mammal" SRC="mammal.jpg" tppabs="http://members.aol.com/nonverbal3/objects/mammal.jpg" HEIGHT="25%" WIDTH="45%"><BR>
</STRONG></FONT></P>
<P><EM>Evolution</EM>. <STRONG>1.</STRONG> Any of several parts of the human brain to emerge during the mammalian
adaptation <STRONG>a.</STRONG> to nocturnal (i.e., night) life, and <STRONG>b.</STRONG> to competition with reptilian foes. <STRONG>2.</STRONG> Specifically, those <EM>forebrain</EM>
areas at the heart of the <B><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></B> which generate emotions for parental care, playfulness, and vocal calling (MacLean 1990).</P>
<P><EM>Usage I</EM>: By ca. 150 m.y.a., our mammalian forbears had entrusted their evolutionary future to a
new and powerful form of arousal: <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/emotion.htm">emotion</A></STRONG>. In significant measure, the nerve network for emotions, feelings,
and moods evolved from neural structures earlier committed to <EM><B><A HREF="http://members.aol.com/nonverbal2aromacue.htm" TARGET="_top">smell</A></B></EM>.</P>
<P><EM>Usage II</EM>: That emotions are like aromas--pleasant or unpleasant--is because they were designed
from an <EM>olfactory model</EM>. Nonverbally, this shows, e.g., in the <EM>curled-upper-lip</EM> display, which
reveals <STRONG>a. </STRONG><EM>nausea</EM>, should we smell a fowl odor, and <STRONG>b. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/disgust.htm" TARGET="_top">disgust</A></STRONG>, as we listen to a colleague's
"rotten" idea. When something looks, sounds, or smells "fishy," the muscles of our <B><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></B> telegraph
the reaction for all to see.</P>
<P><EM>Usage III</EM>: The fourth great epoch of <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal communication</A></STRONG> took place during
the evolution of the mammalian brain. In earlier brains, body movements appeared as <EM>reflexes</EM>.
Neither learning nor memory was required, e.g., to <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">crouch</A></STRONG> from a looming object,
<STRONG><A HREF="startle1.htm" tppabs="http://members.aol.com/doder1/startle1.htm" TARGET="_top">startle</A></STRONG> to a sound, or <STRONG><A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top">withdraw</A></STRONG> from a painful bite.</P>
<P><EM>Embryology</EM>. The mammalian brain is visible by the end of the 5th week of life, as nerve cells
project fibers from early nasal tissue to the front end of the rapidly growing cerebral hemispheres
(i.e., the <EM>telencephalon</EM>). By week 6, <EM>olfactory bulbs</EM> begin to form, which eventually connect to
an interpretive center for smell in the neocortex (in the <EM>neopallium</EM> or "new cloak") of the
temporal lobe. The olfactory "smell brain" (i.e., the <EM>paleopallium</EM> or "old cloak") has important
links to the limbic system.<BR>
<BR>
<STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <EM>In proportion to brain size, humans have the largest limbic system of
any vertebrate, making them the most emotional animals yet to walk the earth</EM>. <STRONG>1.</STRONG> The earliest
mammals ". . . were 'reptiles' that were active at night" (Jerison 1976:11). <STRONG>2.</STRONG> "The evolution of
hearing and smell to supplement vision as a distance sense is sufficient reason for the evolution of
an enlarged brain in the earliest mammals" (Jerison 1976:11-12). <STRONG>3.</STRONG> "Progressive evolution of
encephalization within the mammals came late in their history, in the last 50 million years of a time
span of about 200 million years" (Jerison 1976:7).<BR>
<BR>
<I><B><A HREF="nvcons1.htm" tppabs="http://members.aol.com/doder1/nvcons1.htm" TARGET="_top">Consciousness</A></B></I>. Consciousness first appeared in vertebrates ca. 200 m.y.a., in mammals, according to neurophysiologist John Eccles of the Max Planck Institute for Brain Research in Frankfurt (Bower 1992:234). To seek primordial self-awareness, we go to great lengths to quiet the verbal dialogue, e.g., through meditation, chanting, or staring into a candle flame, in order to re-enter the original consciousness which lies beneath the chatty stream in a region of the brain stem known as the <I>thalamus</I>. We experience a deeper-level, mammalian form of consciousness in the evolutionary older thalamus, which is the central processing station for all the senses (except smell) on their routes to the cerebral cortex. It is within the thalamus that a human's central nervous system first experiences consciousness of incoming sensations, before they are re-examined upstream in the neocortex.</P>
<P><EM>Neuro-notes</EM>. <STRONG>1.</STRONG> "The paleomammalian brain is represented by the limbic system . . ." (MacLean
1975:75). <STRONG>2.</STRONG> "The neomammalian brain is represented by the rapidly evolving neocortex and
structures of the brainstem with which it is primarily connected" (MacLean 1975:75).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">PRIMATE BRAIN</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 SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> </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">
Illustration detail from </FONT><I><FONT SIZE="-1">Getting There</FONT></I><FONT SIZE="-1"> (copyright 1993 by William Howells)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[MAMMALIAN BRAIN]{#MAMMALIAN BRAIN}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/mammal.jpg"
height="25%" width="45%"}\
**
*Evolution*. **1.** Any of several parts of the human brain to emerge
during the mammalian adaptation **a.** to nocturnal (i.e., night) life,
and **b.** to competition with reptilian foes. **2.** Specifically,
those *forebrain* areas at the heart of the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}** which generate emotions for parental care, playfulness,
and vocal calling (MacLean 1990).
*Usage I*: By ca. 150 m.y.a., our mammalian forbears had entrusted their
evolutionary future to a new and powerful form of arousal:
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**.
In significant measure, the nerve network for emotions, feelings, and
moods evolved from neural structures earlier committed to
***[smell](http://members.aol.com/nonverbal2aromacue.htm){target="_top"}***.
*Usage II*: That emotions are like aromas\--pleasant or unpleasant\--is
because they were designed from an *olfactory model*. Nonverbally, this
shows, e.g., in the *curled-upper-lip* display, which reveals **a.**
*nausea*, should we smell a fowl odor, and **b.**
**[disgust](http://members.aol.com/nonverbal2/disgust.htm){target="_top"}**,
as we listen to a colleague\'s \"rotten\" idea. When something looks,
sounds, or smells \"fishy,\" the muscles of our
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
telegraph the reaction for all to see.
*Usage III*: The fourth great epoch of **[nonverbal
communication](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** took place during the evolution of the mammalian brain.
In earlier brains, body movements appeared as *reflexes*. Neither
learning nor memory was required, e.g., to
**[crouch](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm"
target="_top"}** from a looming object,
**[startle](startle1.htm){tppabs="http://members.aol.com/doder1/startle1.htm"
target="_top"}** to a sound, or
**[withdraw](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm"
target="_top"}** from a painful bite.
*Embryology*. The mammalian brain is visible by the end of the 5th week
of life, as nerve cells project fibers from early nasal tissue to the
front end of the rapidly growing cerebral hemispheres (i.e., the
*telencephalon*). By week 6, *olfactory bulbs* begin to form, which
eventually connect to an interpretive center for smell in the neocortex
(in the *neopallium* or \"new cloak\") of the temporal lobe. The
olfactory \"smell brain\" (i.e., the *paleopallium* or \"old cloak\")
has important links to the limbic system.\
\
***RESEARCH REPORTS***: *In proportion to brain size, humans have the
largest limbic system of any vertebrate, making them the most emotional
animals yet to walk the earth*. **1.** The earliest mammals \". . . were
\'reptiles\' that were active at night\" (Jerison 1976:11). **2.** \"The
evolution of hearing and smell to supplement vision as a distance sense
is sufficient reason for the evolution of an enlarged brain in the
earliest mammals\" (Jerison 1976:11-12). **3.** \"Progressive evolution
of encephalization within the mammals came late in their history, in the
last 50 million years of a time span of about 200 million years\"
(Jerison 1976:7).\
\
***[Consciousness](nvcons1.htm){tppabs="http://members.aol.com/doder1/nvcons1.htm"
target="_top"}***. Consciousness first appeared in vertebrates ca. 200
m.y.a., in mammals, according to neurophysiologist John Eccles of the
Max Planck Institute for Brain Research in Frankfurt (Bower 1992:234).
To seek primordial self-awareness, we go to great lengths to quiet the
verbal dialogue, e.g., through meditation, chanting, or staring into a
candle flame, in order to re-enter the original consciousness which lies
beneath the chatty stream in a region of the brain stem known as the
*thalamus*. We experience a deeper-level, mammalian form of
consciousness in the evolutionary older thalamus, which is the central
processing station for all the senses (except smell) on their routes to
the cerebral cortex. It is within the thalamus that a human\'s central
nervous system first experiences consciousness of incoming sensations,
before they are re-examined upstream in the neocortex.
*Neuro-notes*. **1.** \"The paleomammalian brain is represented by the
limbic system . . .\" (MacLean 1975:75). **2.** \"The neomammalian brain
is represented by the rapidly evolving neocortex and structures of the
brainstem with which it is primarily connected\" (MacLean 1975:75).
See also **[PRIMATE
BRAIN](http://members.aol.com/nonverbal3/primate.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"})\
Illustration detail from *Getting There* (copyright 1993 by William
Howells)
|
MEATY TASTE | https://ns1.omnitech.net/data/Nonverbal/meaty.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>meaty</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="MEATY TASTE">MEATY TASTE</A><BR>
<BR>
<IMG BORDER="0" ALT="The Fruit Connection" SRC="meaty.jpg" tppabs="http://members.aol.com/nonverbal3/objects/meaty.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P>
<P><I><FONT SIZE="-1">A stew with more beef than mutton in it, chopped meat for his evening meal, scraps for a Saturday, lentils on Friday, and a young pigeon as a special delicacy for Sunday</FONT></I><FONT SIZE="-1"> . . . --Miguel de Cervantes (</FONT><I><FONT SIZE="-1">Don Quixote</FONT></I><FONT SIZE="-1">; 1605:25)<BR>
<BR>
<I>It's a fun product. When I meet someone at a party and tell them where I work, they <A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top"><B>smile</B></A>. People love hot dogs</I>. --Bob Schwartz, VP of Sales, Vienna Beef in Chicago (Jackson 1999:106; see below, <I>Hot dogs</I>)<BR>
</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM>Flavor cue</EM>. <STRONG>1.</STRONG> The usually pleasant aroma and taste of cooked animal flesh (i.e., muscles and
skin). <STRONG>2.</STRONG> Intensely flavorful molecules created <STRONG>a.</STRONG> as <EM>myoglobin</EM>, the red pigment of raw steak,
turns brown and a flavor-rich coating forms (as juices evaporate from the meat's surface), and <STRONG>b.</STRONG>
as the <EM>browning reaction</EM> releases <EM>furans</EM>, <EM>pyrones</EM>, and other carbon, hydrogen, and oxygen
molecules which provide the complex oniony, nutty, fruity, chocolate, and caramel-like tastes we
prefer to the bland taste of uncooked meat and raw vegetables (McGee 1990).</P>
<P><EM>Usage I</EM>: The aroma of sizzling <EM>beefsteak</EM> basted with <EM>sage</EM> and <EM>garlic sauce</EM> is an irresistible
chemical <STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signal</A></STRONG> transmitted when a chef brushes the meat with seasonings and sears it with
flame. According to McGee, "All cooked foods aspire to the [rich and flavorful] condition of fruit" (1990:304). </P>
<P><EM>Usage II</EM>: In <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>, the essence of charbroiled steak evokes an
<STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotional</A></STRONG> desire to <EM>approach</EM> the aroma. Among the most evocative of all chemical signals
processed by the brain are those emanating from meats and meaty <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG>,
such as the <STRONG><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">Big Mac</A></STRONG>® sandwich and fried Spam®.<BR>
<BR>
<EM>Evolution I</EM>. As did late-Devonian amphibians, early mammals of the Cretaceous and early primates
of the Paleocene epoch passed through a predominantly <EM>flesh-eating</EM> stage. Acting in accordance
with a primeval <EM>chemical code</EM>, amphibians pursued <EM>fish</EM> (and fellow <EM>amphibians</EM>), while mammals
and primates pursued mainly <EM>insects</EM>. With so many <EM>carnivores</EM> and <EM>insectivores</EM> on the
family tree, we respond to meats with an extreme alertness, as if scripted to do so by the ancient
code.<BR>
<BR>
<EM>Evolution II</EM>. "Scientists
theorize that the shift to hunting and meat eating was a key adaptation that
let our ancestors spread beyond Africa and led to the dramatic increase in
brain size associated with our human lineage. This 'dietary revolution,' as one paleontologist put it, could have changed
the human facial structure by reducing the size of the molars, which
previously needed to be large to chew tubers and raw vegetables. As the
protruding jaw began to recede, more of the skull could be used to house the
brain. And a diet of fat-rich bone marrow could lead to the development of the
brain cells" (McCafferty 1999:22).<BR>
<BR>
<IMG BORDER="0" ALT="Meat Eater" SRC="meaty2.jpg" tppabs="http://members.aol.com/nonverbal3/objects/meaty2.jpg" HEIGHT="50%" WIDTH="28%">
<BR>
<BR>
<I>Hot dogs</I>. <B>1.</B> An estimated 20 billion hot dogs are consumed in the U.S. each year (Jackson 1999:110). <B>2.</B> "But the <A HREF="http://members.aol.com/nonverbal2/palmdown.htm" TARGET="_top"><B>hands-down</B></A> wiener and still champion of frankfurter flackery is the annual Fourth of July hot-dog eating contest at Coney Island . . ." (Jackson 1999:110; as of June 1999, the record was 19 dogs consumed in 12 minutes [Jackson 1999:112]).<BR>
<BR>
<I>Kebabs</I>. "A huge kebab made with 1,500 chickens was cooked at this tourist resort [in Limassol, Cyprus] Sunday [June 10, 2001] in a bid to make the <I>Guinness Book of Records</I>" (Anonymous 2001:A3). <BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. According to <I>Scientific American</I> magazine, in 1999 the per capita U.S. consumption of beef was 64.7 pounds (chicken = 49.2, pork = 48.8; Anonymous 2000D). </P>
<P><EM>Prehistory I</EM>. Two m.y.a. our first human ancestor, <EM>Homo habilis</EM>, wandered east Africa's arid
savannah grasslands in search of ripe fruit, nuts, tubers, and berries--and <EM>small game</EM>, <EM>bird eggs</EM>,
<EM>insects</EM>, and <EM>edible grubs</EM>. It is likely that <EM>Homo's</EM> original "hunting instinct" involved the
<EM>corticomedial division</EM> of the <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG>, which plays a role in mammalian hunting
psychology today (Carlson 1986:486).</P>
<P><EM>Prehistory II</EM>. On the savannah, meat made up 20-to-30 percent of the early human diet, as it did
that of historical hunter-gatherers such as the !Kung San Bushmen of Botswana.<BR>
<BR>
<I>Prehistory III</I>. So appealing is the taste of cooked meat that ". . . after early humans migrated into Australia and the Americas, the heavyweight animals of these new continents were driven to extinction within a few thousand years" (Anonymous 2001F:A1), according to reports in <I>Science </I>(June 2001). Mammoths, camels, mastodons, and the glyptodont, as well as giant sloths, snakes, lizards, birds and marsupials, were hunted, cooked, and eaten to extinction, according to the now more widely accepted "blitzkrieg model" of anthropologists.<BR>
<BR>
<STRONG><EM>RESEARCH REPORT</EM></STRONG>: A craving known as <EM>meat hunger</EM> is a "widespread phenomenon among
peoples living at a subsistence level [i.e., who are not vegetarians by choice]"
(Simoons 1994:6). (<STRONG><I>N.B.</I></STRONG>: In the U.S., despite well-stocked produce displays, shoppers spend the
largest portion of their supermarket dollar on <EM>beef</EM>, <EM>chicken</EM>, <EM>fish</EM>, and <EM>pork</EM>.)<BR>
<BR>
<EM>Neuro-notes</EM>. <STRONG>1.</STRONG> We crave meaty taste because the <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibian brain's</A></STRONG> hunger for flesh is
older than the <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">primate brain's</A></STRONG> "acquired taste" for fruits and nuts. <STRONG>2.</STRONG> As it influenced
the pursuit, handling, and killing of game, the amygdala also stimulated the release of digestive juices in
preparation for eating the kill. Thus, today, hidden <EM>aggressiveness</EM> in the meat-eater's code makes a
sizzling steak more exciting than a bowl of fruit. This explains, in part, why (when possible and affordable)
meals throughout the world are planned around a meat dish.</P>
<P>See also <STRONG><A HREF="glutamat.htm" tppabs="http://members.aol.com/nonverbal3/glutamat.htm" TARGET="_top">GLUTAMATE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/herb.htm" TARGET="_top">HERBS & SPICES</A></STRONG>, <STRONG><A HREF="shellfis.htm" tppabs="http://members.aol.com/nonverbal3/shellfis.htm" TARGET="_top">SHELLFISH TASTE</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> | **[MEATY TASTE]{#MEATY TASTE}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/meaty.jpg"
height="35%" width="25%"}**
*A stew with more beef than mutton in it, chopped meat for his evening
meal, scraps for a Saturday, lentils on Friday, and a young pigeon as a
special delicacy for Sunday* . . . \--Miguel de Cervantes (*Don
Quixote*; 1605:25)\
\
*It\'s a fun product. When I meet someone at a party and tell them where
I work, they
[**smile**](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}.
People love hot dogs*. \--Bob Schwartz, VP of Sales, Vienna Beef in
Chicago (Jackson 1999:106; see below, *Hot dogs*)\
\
\
*Flavor cue*. **1.** The usually pleasant aroma and taste of cooked
animal flesh (i.e., muscles and skin). **2.** Intensely flavorful
molecules created **a.** as *myoglobin*, the red pigment of raw steak,
turns brown and a flavor-rich coating forms (as juices evaporate from
the meat\'s surface), and **b.** as the *browning reaction* releases
*furans*, *pyrones*, and other carbon, hydrogen, and oxygen molecules
which provide the complex oniony, nutty, fruity, chocolate, and
caramel-like tastes we prefer to the bland taste of uncooked meat and
raw vegetables (McGee 1990).
*Usage I*: The aroma of sizzling *beefsteak* basted with *sage* and
*garlic sauce* is an irresistible chemical
**[signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}**
transmitted when a chef brushes the meat with seasonings and sears it
with flame. According to McGee, \"All cooked foods aspire to the \[rich
and flavorful\] condition of fruit\" (1990:304).
*Usage II*: In **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**,
the essence of charbroiled steak evokes an
**[emotional](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
desire to *approach* the aroma. Among the most evocative of all chemical
signals processed by the brain are those emanating from meats and meaty
**[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**, such as the **[Big
Mac](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}**®
sandwich and fried Spam®.\
\
*Evolution I*. As did late-Devonian amphibians, early mammals of the
Cretaceous and early primates of the Paleocene epoch passed through a
predominantly *flesh-eating* stage. Acting in accordance with a primeval
*chemical code*, amphibians pursued *fish* (and fellow *amphibians*),
while mammals and primates pursued mainly *insects*. With so many
*carnivores* and *insectivores* on the family tree, we respond to meats
with an extreme alertness, as if scripted to do so by the ancient code.\
\
*Evolution II*. \"Scientists theorize that the shift to hunting and meat
eating was a key adaptation that let our ancestors spread beyond Africa
and led to the dramatic increase in brain size associated with our human
lineage. This \'dietary revolution,\' as one paleontologist put it,
could have changed the human facial structure by reducing the size of
the molars, which previously needed to be large to chew tubers and raw
vegetables. As the protruding jaw began to recede, more of the skull
could be used to house the brain. And a diet of fat-rich bone marrow
could lead to the development of the brain cells\" (McCafferty
1999:22).\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/meaty2.jpg"
height="50%" width="28%"}\
\
*Hot dogs*. **1.** An estimated 20 billion hot dogs are consumed in the
U.S. each year (Jackson 1999:110). **2.** \"But the
[**hands-down**](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}
wiener and still champion of frankfurter flackery is the annual Fourth
of July hot-dog eating contest at Coney Island . . .\" (Jackson
1999:110; as of June 1999, the record was 19 dogs consumed in 12 minutes
\[Jackson 1999:112\]).\
\
*Kebabs*. \"A huge kebab made with 1,500 chickens was cooked at this
tourist resort \[in Limassol, Cyprus\] Sunday \[June 10, 2001\] in a bid
to make the *Guinness Book of Records*\" (Anonymous 2001:A3).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
According to *Scientific American* magazine, in 1999 the per capita U.S.
consumption of beef was 64.7 pounds (chicken = 49.2, pork = 48.8;
Anonymous 2000D).
*Prehistory I*. Two m.y.a. our first human ancestor, *Homo habilis*,
wandered east Africa\'s arid savannah grasslands in search of ripe
fruit, nuts, tubers, and berries\--and *small game*, *bird eggs*,
*insects*, and *edible grubs*. It is likely that *Homo\'s* original
\"hunting instinct\" involved the *corticomedial division* of the
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**,
which plays a role in mammalian hunting psychology today (Carlson
1986:486).
*Prehistory II*. On the savannah, meat made up 20-to-30 percent of the
early human diet, as it did that of historical hunter-gatherers such as
the !Kung San Bushmen of Botswana.\
\
*Prehistory III*. So appealing is the taste of cooked meat that \". . .
after early humans migrated into Australia and the Americas, the
heavyweight animals of these new continents were driven to extinction
within a few thousand years\" (Anonymous 2001F:A1), according to reports
in *Science* (June 2001). Mammoths, camels, mastodons, and the
glyptodont, as well as giant sloths, snakes, lizards, birds and
marsupials, were hunted, cooked, and eaten to extinction, according to
the now more widely accepted \"blitzkrieg model\" of anthropologists.\
\
***RESEARCH REPORT***: A craving known as *meat hunger* is a
\"widespread phenomenon among peoples living at a subsistence level
\[i.e., who are not vegetarians by choice\]\" (Simoons 1994:6).
(***N.B.***: In the U.S., despite well-stocked produce displays,
shoppers spend the largest portion of their supermarket dollar on
*beef*, *chicken*, *fish*, and *pork*.)\
\
*Neuro-notes*. **1.** We crave meaty taste because the **[amphibian
brain\'s](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**
hunger for flesh is older than the **[primate
brain\'s](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**
\"acquired taste\" for fruits and nuts. **2.** As it influenced the
pursuit, handling, and killing of game, the amygdala also stimulated the
release of digestive juices in preparation for eating the kill. Thus,
today, hidden *aggressiveness* in the meat-eater\'s code makes a
sizzling steak more exciting than a bowl of fruit. This explains, in
part, why (when possible and affordable) meals throughout the world are
planned around a meat dish.
See also
**[GLUTAMATE](glutamat.htm){tppabs="http://members.aol.com/nonverbal3/glutamat.htm"
target="_top"}**, **[HERBS &
SPICES](http://members.aol.com/nonverbal2/herb.htm){target="_top"}**,
**[SHELLFISH
TASTE](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
MEN'S SHOES | https://ns1.omnitech.net/data/Nonverbal/mens.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>mens</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="MEN'S SHOES">MEN'S SHOES</A></STRONG></FONT><STRONG></STRONG><BR>
<BR>
<IMG BORDER="0" ALT="Neutral Shoes" SRC="mens.jpg" tppabs="http://members.aol.com/nonverbal3/objects/mens.jpg" HEIGHT="35%" WIDTH="25%"></P>
<P><FONT SIZE="-1"><FONT SIZE="-1"><I>Three out of four women said their fellow has an old pair of shoes he should throw out, but won't</I>. --A Johnson & Murphy footwear poll of U.S. women aged 25 to 44 (Bonino 1994:B1)<BR>
<BR>
Everyone <I>has a shoe fetish</I>. --Sonja Bata, founder of the Bata Shoe Museum in Toronto (Trueheart 1995:C10) </FONT></FONT><BR>
<BR>
<EM><B><A HREF="adorn.htm" tppabs="http://members.aol.com/doder1/adorn.htm" TARGET="_top">Clothing cue</A></B></EM>. A masculine style of <STRONG><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top">footwear</A></STRONG> marked with <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging features</A></STRONG>
designed to contrast with those of <STRONG><A HREF="womens.htm" tppabs="http://members.aol.com/nonverbal3/womens.htm" TARGET="_top">women's shoes</A></STRONG> (see <B><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">CONSUMER PRODUCT</A></B>).</P>
<P><EM>Usage</EM>: In expressive style, men's leather shoes are <STRONG>a. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominant</A></STRONG>, <STRONG>b. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissive</A></STRONG>, or <STRONG>c.</STRONG><EM> neutral</EM>.</P>
<P><EM>Stomping I</EM>. Dominant shoes are typified <STRONG>a.</STRONG> by thick, crepe-soled "beetle crushers" worn by
English Teddy boys of the 1950s; <STRONG>b.</STRONG> by middle-class Desert Boots® of the 1950s and 1960s; <STRONG>c.</STRONG> by
urbane Timberland® boots of the 1970s; and <STRONG>d.</STRONG> by aggressive Doc Marten® boots worn by
alienated young men and women of the 1990s. Dominant styles are <EM>robust</EM>--wide, thick, and
heavy--to accent the size of the foot and its ability to stomp (see <STRONG><A HREF="http://members.aol.com/nonverbal2/goose.htm" TARGET="_top">GOOSE-STEP</A></STRONG>).</P>
<P><EM>Stomping II</EM>. The oldest stomping shoes are <EM>sandals</EM> from ancient Egypt with pictures of enemies
painted on the soles. More recently, by popularizing thick, buckled motorcycle boots in the
<STRONG><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">media</A></STRONG>, 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 (i.e., with which to figuratively "stomp" the powers-that-be).</P>
<P><EM>Mincing</EM>. Men's submissive shoes are narrow, with lightweight uppers, thin soles, and tapering
toes. Styles include <STRONG>a.</STRONG> pointed "winkle-pickers" worn by British Mods of the 1950s; <STRONG>b.</STRONG> pointed-toed Beatle boots of the 1960s; and <STRONG>c.</STRONG> Gucci® loafers, the late-20th century's premier power
slipper. Submissive styles are <EM>gracile</EM> to suggest vulnerability, and to downplay the foot's size and
bluntness. Moreover, they stand wearers precariously on their metatarsal bones in a tip-toed
position. Unstable, high-heeled styles (e.g., the Beatle boot) make it harder for wearers to stomp.</P>
<P><EM>Hushing</EM>. The third prototype in men's footwear is the neutral shoe, which is neither dominant nor
submissive, but fashionably bland and introverted. It is neither wide nor narrow, neither pointed
nor blunt; the sole is neither thick nor thin, nor is the shoe obviously masculine or feminine. The
neutral shoe is personified by dark-gray, brushed-pigskin Hush Puppies® (1950s-to-1990s [see below, <I>Media</I>]), and
by Ivy League saddle shoes and penny loafers (1950s-to-1990s), worn by men and women alike.<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. "When those techni<A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"><B>color</B></A> [e.g., bubble gum pink, lemon yellow] Hush Puppies appeared on the New York runway, fashion wags went berserk. The shoes began appearing in GQ magazine. Stylists snapped them up to dress musicians for videos. They were used to accessorize pricey clothes with puffed-up designer labels. Forrest Gump wore them. Fashion insiders began publicly proclaiming their love for Hush Puppies" (Givhan 1995:C2).</P>
<P><EM>Observation</EM>. Neutral shoes are a successful family of footwear, specialized neither for stomping,
mincing, or showing attitude--but for comfort. The casual, low-profile, laid-back style makes
neutral shoes unsuitable for fast-track careers, but convenient for projecting a non-rebellious, non-dominant, anti-corporate mood on campus or in the workplace.<BR>
<BR>
See also <STRONG><A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top">BOOT</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[MEN\'S SHOES]{#MEN'S SHOES}**\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/mens.jpg" height="35%"
width="25%"}
*Three out of four women said their fellow has an old pair of shoes he
should throw out, but won\'t*. \--A Johnson & Murphy footwear poll of
U.S. women aged 25 to 44 (Bonino 1994:B1)\
\
Everyone *has a shoe fetish*. \--Sonja Bata, founder of the Bata Shoe
Museum in Toronto (Trueheart 1995:C10)\
\
***[Clothing
cue](adorn.htm){tppabs="http://members.aol.com/doder1/adorn.htm"
target="_top"}***. A masculine style of
**[footwear](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**
marked with **[messaging
features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**
designed to contrast with those of **[women\'s
shoes](womens.htm){tppabs="http://members.aol.com/nonverbal3/womens.htm"
target="_top"}** (see **[CONSUMER
PRODUCT](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**).
*Usage*: In expressive style, men\'s leather shoes are **a.**
**[dominant](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**,
**b.**
**[submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**,
or **c.** *neutral*.
*Stomping I*. Dominant shoes are typified **a.** by thick, crepe-soled
\"beetle crushers\" worn by English Teddy boys of the 1950s; **b.** by
middle-class Desert Boots® of the 1950s and 1960s; **c.** by urbane
Timberland® boots of the 1970s; and **d.** by aggressive Doc Marten®
boots worn by alienated young men and women of the 1990s. Dominant
styles are *robust*\--wide, thick, and heavy\--to accent the size of the
foot and its ability to stomp (see
**[GOOSE-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}**).
*Stomping II*. The oldest stomping shoes are *sandals* from ancient
Egypt with pictures of enemies painted on the soles. More recently, by
popularizing thick, buckled motorcycle boots in the
**[media](http://members.aol.com/nonverbal3/media.htm){target="_top"}**,
Marlon Brando (*The Wild One*, 1954) and Peter Fonda (*Easy Rider*,
1969) furthered the role of footwear as a fashion statement (i.e., with
which to figuratively \"stomp\" the powers-that-be).
*Mincing*. Men\'s submissive shoes are narrow, with lightweight uppers,
thin soles, and tapering toes. Styles include **a.** pointed
\"winkle-pickers\" worn by British Mods of the 1950s; **b.**
pointed-toed Beatle boots of the 1960s; and **c.** Gucci® loafers, the
late-20th century\'s premier power slipper. Submissive styles are
*gracile* to suggest vulnerability, and to downplay the foot\'s size and
bluntness. Moreover, they stand wearers precariously on their metatarsal
bones in a tip-toed position. Unstable, high-heeled styles (e.g., the
Beatle boot) make it harder for wearers to stomp.
*Hushing*. The third prototype in men\'s footwear is the neutral shoe,
which is neither dominant nor submissive, but fashionably bland and
introverted. It is neither wide nor narrow, neither pointed nor blunt;
the sole is neither thick nor thin, nor is the shoe obviously masculine
or feminine. The neutral shoe is personified by dark-gray,
brushed-pigskin Hush Puppies® (1950s-to-1990s \[see below, *Media*\]),
and by Ivy League saddle shoes and penny loafers (1950s-to-1990s), worn
by men and women alike.\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
\"When those
techni[**color**](http://members.aol.com/nonverbal3/color.htm){target="_top"}
\[e.g., bubble gum pink, lemon yellow\] Hush Puppies appeared on the New
York runway, fashion wags went berserk. The shoes began appearing in GQ
magazine. Stylists snapped them up to dress musicians for videos. They
were used to accessorize pricey clothes with puffed-up designer labels.
Forrest Gump wore them. Fashion insiders began publicly proclaiming
their love for Hush Puppies\" (Givhan 1995:C2).
*Observation*. Neutral shoes are a successful family of footwear,
specialized neither for stomping, mincing, or showing attitude\--but for
comfort. The casual, low-profile, laid-back style makes neutral shoes
unsuitable for fast-track careers, but convenient for projecting a
non-rebellious, non-dominant, anti-corporate mood on campus or in the
workplace.\
\
See also
**[BOOT](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm"
target="_top"}** .
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
MINT | https://ns1.omnitech.net/data/Nonverbal/mint1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>mint</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">MINT</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">Aroma cue</A></EM></STRONG>. Any of several plants of the aromatic genus, <EM>Mentha</EM>, used in diverse consumer
products (e.g., cakes, candies, cookies, and toothpaste).</P>
<P><EM>Usage</EM>:<FONT FACE="Courier"> P</FONT><FONT FACE="Times New Roman">eppermint is used to flavor sweets, candies, and various liquor drinks. Spearmint is
often used in cooking. The distinct flavor of mint does not blend well with other herbs. Mint
adds a refreshing taste to fruits, and to certain cooked meats such as lamb. </FONT><FONT FACE="Courier"></FONT></P>
<P><EM>Evolution</EM>. Many plant-odor signals (e.g., pyrazines) evolved as nontoxic warning signs (McGee
1990:311). Ever popular <EM>true mints</EM>, including <EM>sage</EM>, <EM>rosemary</EM>, <EM>marjoram</EM>, <EM>oregano</EM>, and <EM>thyme</EM>,
evolved strong odors of <EM>camphor</EM>, <EM>eucalyptol</EM>, and <EM>limonene</EM> (see <STRONG><A HREF="http://members.aol.com/nonverbal2/cocacola.htm" TARGET="_top">COCA-COLA</A></STRONG>) to keep insects
at bay.</P>
<P><I>Anatomy</I>. Menthol (a crystalline alcohol obtained from peppermint oil) tricks heat-sensing organs (thermoreceptors) of the tongue and skin into sending messages to the brain that the sensation tastes and feels "cool" (Feldman 1991:192).<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Consumer product</EM>. Crest</FONT>®<FONT FACE="Times New Roman">, a toothpaste by Procter & Gamble, was introduced in 1955. The
flavor of Regular Crest is primarily wintergreen, while Mint Crest is primarily spearmint.
According to web documents published by Procter & Gamble, "Good flavor is important in toothpaste since people will not
brush regularly and carefully unless they like the taste." (<I><STRONG>N.B.</STRONG></I><STRONG></STRONG>: Crest is advertised on network
TV and in family magazines. "Our TV schedule is split between daytime and nighttime
programs. Daytime programs enable us to reach a sizeable audience of homemakers, while
nighttime shows provide broad exposure to an 'all family' audience." See <STRONG><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">MEDIA</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>)</FONT></P>
</BODY>
</HTML> | **MINT**
***[Aroma
cue](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}***.
Any of several plants of the aromatic genus, *Mentha*, used in diverse
consumer products (e.g., cakes, candies, cookies, and toothpaste).
*Usage*: Peppermint is used to flavor sweets, candies, and various
liquor drinks. Spearmint is often used in cooking. The distinct flavor
of mint does not blend well with other herbs. Mint adds a refreshing
taste to fruits, and to certain cooked meats such as lamb.
*Evolution*. Many plant-odor signals (e.g., pyrazines) evolved as
nontoxic warning signs (McGee 1990:311). Ever popular *true mints*,
including *sage*, *rosemary*, *marjoram*, *oregano*, and *thyme*,
evolved strong odors of *camphor*, *eucalyptol*, and *limonene* (see
**[COCA-COLA](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}**)
to keep insects at bay.
*Anatomy*. Menthol (a crystalline alcohol obtained from peppermint oil)
tricks heat-sensing organs (thermoreceptors) of the tongue and skin into
sending messages to the brain that the sensation tastes and feels
\"cool\" (Feldman 1991:192).\
\
*Consumer product*. Crest®, a toothpaste by Procter & Gamble, was
introduced in 1955. The flavor of Regular Crest is primarily
wintergreen, while Mint Crest is primarily spearmint. According to web
documents published by Procter & Gamble, \"Good flavor is important in
toothpaste since people will not brush regularly and carefully unless
they like the taste.\" (***N.B.***: Crest is advertised on network TV
and in family magazines. \"Our TV schedule is split between daytime and
nighttime programs. Daytime programs enable us to reach a sizeable
audience of homemakers, while nighttime shows provide broad exposure to
an \'all family\' audience.\" See
**[MEDIA](http://members.aol.com/nonverbal3/media.htm){target="_top"}**.)
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
MOTION ENERGY MAP | https://ns1.omnitech.net/data/Nonverbal/motion.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>motion</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="MOTION ENERGY MAP">MOTION ENERGY MAP</A></STRONG></FONT></P>
<P><EM><IMG BORDER="0" ALT="Happy Cheeks Smile" SRC="motion.jpg" tppabs="http://members.aol.com/nonverbal2/objects/motion.jpg" HEIGHT="40%" WIDTH="25%"><BR>
<BR>
Observation tool</EM>. <STRONG>1.</STRONG> A computerized rendering of facial energy patterns used to read
<STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/emotion.htm">emotions</A></STRONG>, feelings, and moods. <STRONG>2.</STRONG> A digitalized camera image with which to display the
facial-muscle contractions of specific emotions (e.g., of <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/sadness.htm">sadness</A></STRONG>, <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/anger.htm">anger</A></STRONG>, and <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/fear.htm">fear</A></STRONG>).</P>
<P><EM>Usage</EM>: Motion energy maps show which areas of the face move to express given emotions.
They may someday enable computers to recognize and respond to <STRONG><A HREF="http://members.aol.com/nonverbal2/emotionq.htm" TARGET="_top">emotion cues</A></STRONG> of the
face.</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "In pilot tests with people making deliberate expressions of
emotions, the computer read the emotions with up to 98 percent accuracy" (Goleman 1997:C1).
<STRONG>2.</STRONG> "What we've done so far," said Georgia Tech computer scientist Irfan Essa, "is just the very
first step in building a machine that can read emotions" (Goleman 1997:C9). <B>3.</B> "Dr [Roz] Picard and her associates at M.I.T.'s Media Lab are developing prototypes of . . . [emotionally] sensitive machines that are not just portable, but wearable. 'A computer that monitors your emotions might be worn on your shoulders, waist, in your shoes, anywhere,' Dr. Picard said" (Goleman 1997:C9).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">FACE</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> | **[MOTION ENERGY MAP]{#MOTION ENERGY MAP}**
*{border="0"
tppabs="http://members.aol.com/nonverbal2/objects/motion.jpg"
height="40%" width="25%"}\
\
Observation tool*. **1.** A computerized rendering of facial energy
patterns used to read
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**,
feelings, and moods. **2.** A digitalized camera image with which to
display the facial-muscle contractions of specific emotions (e.g., of
**[sadness](http://members.aol.com/nonverbal2/sadness.htm){target="_top"}**,
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
and
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**).
*Usage*: Motion energy maps show which areas of the face move to express
given emotions. They may someday enable computers to recognize and
respond to **[emotion
cues](http://members.aol.com/nonverbal2/emotionq.htm){target="_top"}**
of the face.
***RESEARCH REPORTS***: **1.** \"In pilot tests with people making
deliberate expressions of emotions, the computer read the emotions with
up to 98 percent accuracy\" (Goleman 1997:C1). **2.** \"What we\'ve done
so far,\" said Georgia Tech computer scientist Irfan Essa, \"is just the
very first step in building a machine that can read emotions\" (Goleman
1997:C9). **3.** \"Dr \[Roz\] Picard and her associates at M.I.T.\'s
Media Lab are developing prototypes of . . . \[emotionally\] sensitive
machines that are not just portable, but wearable. \'A computer that
monitors your emotions might be worn on your shoulders, waist, in your
shoes, anywhere,\' Dr. Picard said\" (Goleman 1997:C9).
See also
**[FACE](http://members.aol.com/nonverbal2/face.htm){target="_top"}**.
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
MUSIC | https://ns1.omnitech.net/data/Nonverbal/music11.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>music1</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">MUSIC</FONT></STRONG></P>
<P><I><FONT SIZE="-1"><A HREF="tree1.htm" tppabs="http://members.aol.com/doder1/tree1.htm" TARGET="_top"><IMG BORDER="0" ALT="Arboreal Musicians" SRC="music.jpg" tppabs="http://members.aol.com/doder1/objects/music.jpg" HEIGHT="50%" WIDTH="25%"></A><BR>
<BR>
Music hath charms to soothe a savage beast,</FONT><BR>
<FONT SIZE="-1">To soften rocks, or bend a knotted oak</FONT></I><FONT SIZE="-1">. --Congreve (</FONT><I><FONT SIZE="-1">The Mourning Bride, I, 1</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR WP="BR1">
<BR WP="BR2">
<EM><BR>
Auditory signals</EM>. A usually pleasing, sequential arrangement of vocal or instrumental sounds.</P>
<P><EM>Usage</EM>: Music produces a highly evocative, <A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top"><B>emotional</B></A> message through harmony, melody,
rhythm, and timbre.</P>
<P><EM>Amusia</EM>. "Cases of amusia, i.e., loss of ability to produce or comprehend music--an abnormality
as regards music analogous to aphasia as regards the faculty of <A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top"><B>speech</B></A>--conclusively demonstrate
that the musical faculties do not depend on the speech faculty [i.e., one may suffer from amusia
without aphasia, and vice versa, though some may suffer from both]" (Reiling 1999:218).</P>
<P><EM>Anthropology</EM>. So diverse are the world's musical "languages" that some sociocultural anthropologists
specialize entirely in <EM>ethnomusicology</EM>.</P>
<P><I>Head bangers</I>. <B>1.</B> In a study of early-childhood head bangers, mothers described their children as ". . . prone to rhythmic activity in response to musical stimuli" (De Lissovoy 1962:56; see <A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top"><B>SELF-TOUCH</B></A>, <I>Neuro-notes</I>). <B>2.</B> ". . . all of the [33] subjects had a history of other rhythmic activities, such as head or body rolling, prior to the head banging" (De Lissovoy 1962:56). <B>3.</B> Girls head banged 19-to-52, while boys head banged 26-to-121, times per minute (De Lissovoy 1962). <BR>
<BR>
<I>Lullaby</I>. "A Chinese lullaby is just as soothing to a child as a German song or any other. When listening to lullabyes, breathing becomes shallow and regular like that of a sleeping person. The characteristics of this form of breathing are also in the structure of the lullaby" (Eibl-Eibesfeldt 1970:439). <BR>
<BR>
<EM>Prehistory</EM>. "During the last two decades many investigators--Kussmaul, Stumpf, Preyer, Oppenheim, Knoblouch, Charcot, etc.--have conclusively demonstrated that the musical faculty
is older than that of speech; that music is a primary and simple phenomenon, while speech is
secondary and complex" (Reiling 1999:218).<BR>
<BR>
<I>Symphony</I>. "The highs and lows of emotional experiences are touched in an ever-changing pattern that cannot be experienced in everyday life" (Eibl-Eibesfeldt 1970:440).<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">FIELD NOTES</FONT></I></B><FONT SIZE="-1">: To study the special role music plays in human <A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top"><B>courtship</B></A>, CNS conducted field observations at a large outdoor rock concert–</FONT><I><FONT SIZE="-1">Endfest 2000</FONT></I><FONT SIZE="-1">–held on Saturday, August 5, 2000, on the Kitsap Peninsula, west of Seattle, Washington, USA.</FONT></P>
<P><FONT SIZE="-1">The question: "<I>Why is the sound of music so important in human courting rituals?</I>"</FONT><BR>
<BR>
<I><FONT SIZE="-1">Ethnographic background</FONT></I><FONT SIZE="-1">. Thousands of Endfesters arrived, who were <FONT SIZE="-1">17-to-30 years old,</FONT> mostly unmarried, urban, white, heterosexual fans of alternative rock music. Showing up in groups of 2, 3, and 4--all-male, all-female, or mixed female-and-male--they were visibly excited and definitely ready to rock.</FONT><BR>
<BR>
<I><B><A HREF="adorn.htm" tppabs="http://members.aol.com/doder1/adorn.htm" TARGET="_top"><FONT SIZE="-1">Adornment</FONT></A></B></I><FONT SIZE="-1">. Endfesters dressed to show off their essential male or female gender cues, and to display individuality, personality, and allegiance to the alternative lifestyle. Fans wore identity-proclaiming belts, <A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top"><B>boots</B></A>, bracelets, caps and hats, cut-through <A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top"><B>jeans</B></A>, dark glasses, earrings, necklaces, foot-revealing sandals, conspicuously displayed underwear, idiosyncratic watches, and <FONT SIZE="-1">screaming tatoos</FONT>. Band members dressed mostly in black (see <A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top"><B>COLOR CUE</B></A>, <B>BLACK</B>).<BR>
<BR>
<I>Hair</I>. Endfesters went to great lengths to display head hair (see <A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top"><B>HAIR CUE</B></A>). The most outstanding display was that of a young man's very well-groomed, magenta topknot, projecting stiffly above his close-cropped hair's jet-black sidewalls. Clearly visible from a distance of over 100 yards, his nonverbal message was aposematic, like the coloration of a stinging insect: "Danger, danger, danger!" (see <A HREF="http://members.aol.com/nonverbal2/hat.htm" TARGET="_top"><B>HAT</B></A>, <I>Cap III</I>).<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. In poster photographs published in the August 5, 2000 Bremerton <I>Sun</I> newspaper, unsmiling, <A HREF="http://members.aol.com/nonverbal2/blank.htm" TARGET="_top"><B>blank-faced</B></A> <FONT SIZE="-1">band members of </FONT> Third Eye Blind <A HREF="bendawa1.htm" tppabs="http://members.aol.com/doder1/bendawa1.htm" TARGET="_top"><B>lean away</B></A> to the side to show a defiant attitude. Unsmiling, blank-faced members of 3 Doors Down stare menacingly straight ahead (see <A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top"><B>EYE CONTACT</B></A>, <I>Usage</I>). Unsmiling, blank-faced members of Papa Roach pose with their heads <A HREF="http://members.aol.com/nonverbal3/headside.htm" TARGET="_top"><B>tilted sideward</B></A> in a posture popularized by the method actor, James Dean (see <A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top"><B>SHOULDER-SHRUG</B></A>, <I>Media</I>).</FONT><BR>
<BR>
<I><FONT SIZE="-1">Motion I</FONT></I><FONT SIZE="-1">. Because both our auditory and vestibular senses involve sensors housed within the ears, music powerfully suggests movement. The phrase "rock and roll," e.g., is a vestibular metaphor for the sound of music. The loud rock music at Endfest joined listeners as psychic "fellow travelers," and thus enhanced the <A HREF="http://members.aol.com/doder1/rapport1.htm" TARGET="_top"><B>rapport</B></A> of strangers in the crowd.<BR>
<BR>
<I><FONT SIZE="-1">Motion II</FONT></I><FONT SIZE="-1">. Set to music, Endfester body movements <FONT SIZE="-1"><FONT SIZE="-1">took on a more palpable, emotional appeal</FONT></FONT>. Submerged in the loud electronic beat, group <A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top"><B>isopraxism</B></A> bourgeoned and enhanced as well.<BR>
<BR>
<I>Emotion I</I>. Not only were the rock-music lyrics spoken in heightened emotional voice tones, but the guitar and organ sounds, which mimic the sound-range of the human voice itself, also "spoke" to the crowd's feelings and moods.<BR>
<BR>
<FONT SIZE="-1"><FONT SIZE="-1"><I>Emotion II</I>. Singers used aggressive, angry voice tones to scream and shout--in order to target negative emotion centers of the brain's <A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top"><B>amygdala</B></A>. Threatening sounds, venomous shrieks, and harmful, biting words put into the summer air, very amplified, from tensed throats, touched off feelings of group belonging and "togetherness" via the biological principle of <I>aggression-out</I>. Just as monkeys mob outsiders, by sharing dislike for and distrust of mainstream (i.e., non-alternative) values, Endfesters became a close-knit group in which courtship could take place.</FONT></FONT><BR>
<BR>
<I>Speech</I>. Amplified (16 coaxial cables fed into the main stage), the words of the rock musicians
fully engaged listeners' brains. Addressed to the crowd through eye contact, listeners felt emotionally and personally connected--not only to the singers but to each other as well.<BR>
<BR>
<I>Sound</I>. In mating rituals throughout the world, auditory cues play a tactile role as they pave the way for physical touching itself (see <A HREF="auditor1.htm" tppabs="http://members.aol.com/doder1/auditor1.htm" TARGET="_top"><B>AUDITORY CUE</B></A>, <I>Courtship</I>).<BR>
<BR>
<I><B><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">Touch</A></B></I>. In the crowds surrounding Stage A, men formed ad hoc combat circles and pushed each other to and fro, with their hands held in aggressively pronated (i.e., <A HREF="http://members.aol.com/nonverbal2/palmdown.htm" TARGET="_top"><B>palm-down</B></A>) positions, as Harvey Danger played its hit song, "Flagpole Sitta." Surrounded by women, the pushing and shoving was not unlike the ritual clash of elk antlers in the season of the rut.<BR>
</FONT>
</FONT><FONT SIZE="-1"></FONT>
<HR>
</P>
<P><EM>Neuro-notes I</EM>. Research on amusia suggests ". . . that there is only one musical center in the
cerebrum, and that it is situated in the anterior two-thirds of the first temporal convolution and in
the anterior half of the second temporal convolution of the left lobe, i.e., in front of the [speech-comprehension] center of
Wernicke" (Reiling 1999:218). </P>
<P><EM>Neuro-notes II</EM>. "Larionoff has made numerous ingenious experiments on dogs, with a view of defining the localization of the auditory centers, and has come to the following conclusions:
There are several sensory musical centers situated in the posterior halves of the hemispheres, and
several motor centers situated in the anterior halves of the hemispheres of the cerebrum. Of the
sensory, two tone centers are situated in the temporal lobes, and one optic center, for the reading
of notes, situated alongside of the center for ordinary reading, in the gyrus angularis. The motor
center of notewriting probably develops alongside of the center for ordinary writing, in the
second frontal convolution. The singing center is situated a little behind the motor center of speech of Broca, in the third frontal convolution, and is otherwise known as the center of
Krause. The motor center presiding over the functions of performing on various instruments
develops on exercising, in the anterior part of the central convolution alongside of the motor
center of note writing. The center for playing wind instruments is developed in the region
governing the movements of the lips, a little above the center of Krause . . ." (Reiling 1999:218).<BR>
<BR>
<I>Neuro-notes III</I>. PET studies of listening to familiar melodies show involvement of the right superior temporal cortex, the right inferior temporal cortex, and the supplementary motor area (Halpern and Zatorre 1999). Retrieval of a familiar melody activates the right frontal area and right superior temporal gyrus (Halpern and Zatorre 1999). No significant activity was observed in the left temporal lobe (Halpern and Zatorre 1999). "It is concluded that areas of right auditory association cortex, together with right and left frontal cortices, are implicated in imagery for familiar melodies" (Halpern and Zatorre 1999). "Retrieval from musical semantic memory is mediated by structures in the right frontal lobe" (Halpern and Zatorre 1999).</P>
<P>See also <A HREF="dance1.htm" tppabs="http://members.aol.com/doder1/dance1.htm" TARGET="_top"><B>DANCE</B></A>, <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">TONE OF VOICE</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/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B>Center for Nonverbal Studies</B></A>, and </FONT><EM><FONT SIZE="-1">Journal of the
American Medical Association</FONT></EM><FONT SIZE="-1">)</FONT><BR>
<FONT SIZE="-1">Photo of The Youngbloods in a tree in Marin County, California, by Linda McCartney (copyright 1992 by MPL Communications Limited; McCartney: "There were huge fungi growing around, and I remember we were breaking pieces off and carving </FONT><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top"><B><FONT SIZE="-1">faces</FONT></B></A><FONT SIZE="-1"> in them.")</FONT></P>
</BODY>
</HTML> | **MUSIC**
*[{border="0"
tppabs="http://members.aol.com/doder1/objects/music.jpg" height="50%"
width="25%"}](tree1.htm){tppabs="http://members.aol.com/doder1/tree1.htm"
target="_top"}\
\
Music hath charms to soothe a savage beast,\
To soften rocks, or bend a knotted oak*. \--Congreve (*The Mourning
Bride, I, 1*)\
\
*\
Auditory signals*. A usually pleasing, sequential arrangement of vocal
or instrumental sounds.
*Usage*: Music produces a highly evocative,
[**emotional**](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}
message through harmony, melody, rhythm, and timbre.
*Amusia*. \"Cases of amusia, i.e., loss of ability to produce or
comprehend music\--an abnormality as regards music analogous to aphasia
as regards the faculty of
[**speech**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}\--conclusively demonstrate that the musical faculties do
not depend on the speech faculty \[i.e., one may suffer from amusia
without aphasia, and vice versa, though some may suffer from both\]\"
(Reiling 1999:218).
*Anthropology*. So diverse are the world\'s musical \"languages\" that
some sociocultural anthropologists specialize entirely in
*ethnomusicology*.
*Head bangers*. **1.** In a study of early-childhood head bangers,
mothers described their children as \". . . prone to rhythmic activity
in response to musical stimuli\" (De Lissovoy 1962:56; see
[**SELF-TOUCH**](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"},
*Neuro-notes*). **2.** \". . . all of the \[33\] subjects had a history
of other rhythmic activities, such as head or body rolling, prior to the
head banging\" (De Lissovoy 1962:56). **3.** Girls head banged 19-to-52,
while boys head banged 26-to-121, times per minute (De Lissovoy 1962).\
\
*Lullaby*. \"A Chinese lullaby is just as soothing to a child as a
German song or any other. When listening to lullabyes, breathing becomes
shallow and regular like that of a sleeping person. The characteristics
of this form of breathing are also in the structure of the lullaby\"
(Eibl-Eibesfeldt 1970:439).\
\
*Prehistory*. \"During the last two decades many
investigators\--Kussmaul, Stumpf, Preyer, Oppenheim, Knoblouch, Charcot,
etc.\--have conclusively demonstrated that the musical faculty is older
than that of speech; that music is a primary and simple phenomenon,
while speech is secondary and complex\" (Reiling 1999:218).\
\
*Symphony*. \"The highs and lows of emotional experiences are touched in
an ever-changing pattern that cannot be experienced in everyday life\"
(Eibl-Eibesfeldt 1970:440).\
\
------------------------------------------------------------------------
***FIELD NOTES***: To study the special role music plays in human
[**courtship**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}, CNS conducted field observations at a large outdoor rock
concert--*Endfest 2000*--held on Saturday, August 5, 2000, on the Kitsap
Peninsula, west of Seattle, Washington, USA.
The question: \"*Why is the sound of music so important in human
courting rituals?*\"\
\
*Ethnographic background*. Thousands of Endfesters arrived, who were
17-to-30 years old, mostly unmarried, urban, white, heterosexual fans of
alternative rock music. Showing up in groups of 2, 3, and 4\--all-male,
all-female, or mixed female-and-male\--they were visibly excited and
definitely ready to rock.\
\
***[Adornment](adorn.htm){tppabs="http://members.aol.com/doder1/adorn.htm"
target="_top"}***. Endfesters dressed to show off their essential male
or female gender cues, and to display individuality, personality, and
allegiance to the alternative lifestyle. Fans wore identity-proclaiming
belts,
[**boots**](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm"
target="_top"}, bracelets, caps and hats, cut-through
[**jeans**](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"},
dark glasses, earrings, necklaces, foot-revealing sandals, conspicuously
displayed underwear, idiosyncratic watches, and screaming tatoos. Band
members dressed mostly in black (see [**COLOR
CUE**](http://members.aol.com/nonverbal3/color.htm){target="_top"},
**BLACK**).\
\
*Hair*. Endfesters went to great lengths to display head hair (see
[**HAIR
CUE**](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}).
The most outstanding display was that of a young man\'s very
well-groomed, magenta topknot, projecting stiffly above his
close-cropped hair\'s jet-black sidewalls. Clearly visible from a
distance of over 100 yards, his nonverbal message was aposematic, like
the coloration of a stinging insect: \"Danger, danger, danger!\" (see
[**HAT**](http://members.aol.com/nonverbal2/hat.htm){target="_top"},
*Cap III*).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
In poster photographs published in the August 5, 2000 Bremerton *Sun*
newspaper, unsmiling,
[**blank-faced**](http://members.aol.com/nonverbal2/blank.htm){target="_top"}
band members of Third Eye Blind [**lean
away**](bendawa1.htm){tppabs="http://members.aol.com/doder1/bendawa1.htm"
target="_top"} to the side to show a defiant attitude. Unsmiling,
blank-faced members of 3 Doors Down stare menacingly straight ahead (see
[**EYE
CONTACT**](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"},
*Usage*). Unsmiling, blank-faced members of Papa Roach pose with their
heads [**tilted
sideward**](http://members.aol.com/nonverbal3/headside.htm){target="_top"}
in a posture popularized by the method actor, James Dean (see
[**SHOULDER-SHRUG**](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}, *Media*).\
\
*Motion I*. Because both our auditory and vestibular senses involve
sensors housed within the ears, music powerfully suggests movement. The
phrase \"rock and roll,\" e.g., is a vestibular metaphor for the sound
of music. The loud rock music at Endfest joined listeners as psychic
\"fellow travelers,\" and thus enhanced the
[**rapport**](http://members.aol.com/doder1/rapport1.htm){target="_top"}
of strangers in the crowd.\
\
*Motion II*. Set to music, Endfester body movements took on a more
palpable, emotional appeal. Submerged in the loud electronic beat, group
[**isopraxism**](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}
bourgeoned and enhanced as well.\
\
*Emotion I*. Not only were the rock-music lyrics spoken in heightened
emotional voice tones, but the guitar and organ sounds, which mimic the
sound-range of the human voice itself, also \"spoke\" to the crowd\'s
feelings and moods.\
\
*Emotion II*. Singers used aggressive, angry voice tones to scream and
shout\--in order to target negative emotion centers of the brain\'s
[**amygdala**](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}.
Threatening sounds, venomous shrieks, and harmful, biting words put into
the summer air, very amplified, from tensed throats, touched off
feelings of group belonging and \"togetherness\" via the biological
principle of *aggression-out*. Just as monkeys mob outsiders, by sharing
dislike for and distrust of mainstream (i.e., non-alternative) values,
Endfesters became a close-knit group in which courtship could take
place.\
\
*Speech*. Amplified (16 coaxial cables fed into the main stage), the
words of the rock musicians fully engaged listeners\' brains. Addressed
to the crowd through eye contact, listeners felt emotionally and
personally connected\--not only to the singers but to each other as
well.\
\
*Sound*. In mating rituals throughout the world, auditory cues play a
tactile role as they pave the way for physical touching itself (see
[**AUDITORY
CUE**](auditor1.htm){tppabs="http://members.aol.com/doder1/auditor1.htm"
target="_top"}, *Courtship*).\
\
***[Touch](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}***. In the crowds surrounding Stage A, men formed ad hoc
combat circles and pushed each other to and fro, with their hands held
in aggressively pronated (i.e.,
[**palm-down**](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"})
positions, as Harvey Danger played its hit song, \"Flagpole Sitta.\"
Surrounded by women, the pushing and shoving was not unlike the ritual
clash of elk antlers in the season of the rut.\
------------------------------------------------------------------------
*Neuro-notes I*. Research on amusia suggests \". . . that there is only
one musical center in the cerebrum, and that it is situated in the
anterior two-thirds of the first temporal convolution and in the
anterior half of the second temporal convolution of the left lobe, i.e.,
in front of the \[speech-comprehension\] center of Wernicke\" (Reiling
1999:218).
*Neuro-notes II*. \"Larionoff has made numerous ingenious experiments on
dogs, with a view of defining the localization of the auditory centers,
and has come to the following conclusions: There are several sensory
musical centers situated in the posterior halves of the hemispheres, and
several motor centers situated in the anterior halves of the hemispheres
of the cerebrum. Of the sensory, two tone centers are situated in the
temporal lobes, and one optic center, for the reading of notes, situated
alongside of the center for ordinary reading, in the gyrus angularis.
The motor center of notewriting probably develops alongside of the
center for ordinary writing, in the second frontal convolution. The
singing center is situated a little behind the motor center of speech of
Broca, in the third frontal convolution, and is otherwise known as the
center of Krause. The motor center presiding over the functions of
performing on various instruments develops on exercising, in the
anterior part of the central convolution alongside of the motor center
of note writing. The center for playing wind instruments is developed in
the region governing the movements of the lips, a little above the
center of Krause . . .\" (Reiling 1999:218).\
\
*Neuro-notes III*. PET studies of listening to familiar melodies show
involvement of the right superior temporal cortex, the right inferior
temporal cortex, and the supplementary motor area (Halpern and Zatorre
1999). Retrieval of a familiar melody activates the right frontal area
and right superior temporal gyrus (Halpern and Zatorre 1999). No
significant activity was observed in the left temporal lobe (Halpern and
Zatorre 1999). \"It is concluded that areas of right auditory
association cortex, together with right and left frontal cortices, are
implicated in imagery for familiar melodies\" (Halpern and Zatorre
1999). \"Retrieval from musical semantic memory is mediated by
structures in the right frontal lobe\" (Halpern and Zatorre 1999).
See also
[**DANCE**](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.htm"
target="_top"}, **[TONE OF
VOICE](http://members.aol.com/nonverbal2/tone.htm){target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"},
and *Journal of the American Medical Association*)\
Photo of The Youngbloods in a tree in Marin County, California, by Linda
McCartney (copyright 1992 by MPL Communications Limited; McCartney:
\"There were huge fungi growing around, and I remember we were breaking
pieces off and carving
[**faces**](http://members.aol.com/nonverbal2/face.htm){target="_top"}
in them.\")
|
NEO-SAVANNAH GRASSLAND | https://ns1.omnitech.net/data/Nonverbal/lawn1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>lawn</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">LAWN DISPLAY</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="lendh-, "open land"" SRC="lawn.jpg" tppabs="http://members.aol.com/doder1/objects/lawn.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1">
<BR>
<I><FONT SIZE="-1">The poetry of earth is ceasing never</FONT></I><FONT SIZE="-1">. --Keats, <I><FONT SIZE="-1">On the Grasshopper and Cricket</FONT></I><BR>
<BR>
<I>Damn, I poured my whole life into this lawn, my heart, my soul, the tender feelings I've held back from my family . . . . Look, some people hoist a flag to show they love their country. Well, my lawn is my flag</I>. --Hank Hill, <I>King of the Hill</I> (quoted in The <I>Spokesman-Review</I>, May 28, 2000, F1) </FONT><BR>
<BR>
<BR>
<I><B><A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top">Spatial cue</A></B></I>. A plot of carefully groomed grass, and any of several decorative artifacts (e.g.,
white pickets or plastic pink flamingos) placed upon its surface.</P>
<P><EM>Usage</EM>: Lawns mark territory and betoken status. Each year, Americans buy an estimated 500,000
plastic pink flamingo ornaments to mark their yard space--and to provide tangible evidence that, "This
land is mine." </P>
<P><EM>Evolution</EM>. Two m.y.a. the first humans lived in eastern Africa on hot, flat, open countryside with
scattered trees and bushes and little shade, known as <EM>savannah grasslands</EM>. (<STRONG><I>N.B.</I></STRONG>: At this time, the
human brain was expanding faster than any brain ever had in animal history, and in the growing
process seemingly locked in a fondness for level grassland spaces.)</P>
<P><EM>Verbal prehistory</EM>. The word <EM>lawn</EM> itself may be traced to the ancient Indo-European root, lendh<STRONG>-</STRONG>, "open land." </P>
<P><EM>Today I</EM>. To make earth more to our liking, we flatten and smooth its surface to resemble the
original rolling plains our ancestors walked upon during the critical Pleistocene epoch two
m.y.a. <EM> Neo-Savannah Grassland</EM>--with its scattered bushes, trees, and lawns--is the
dominant theme of housing tracts, campuses, cemeteries, entertainment parks, and shopping
malls in almost every city today.<BR>
<BR>
<EM>Today II</EM>. So important are lawns as <A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top"><B>consumer products</B></A> that, at the University of Florida, a $700,000 campus laboratory--known as the <A HREF="http://www.turfgrass.org/" TARGET="_top"><B>TurfGrass</B></A> Envirotron--was fabricated so horticulturalists could watch grass grow.<BR>
<BR>
<EM>Today III</EM>. "Despite the view in some circles that lawns are a symbol of suburban conformity and repressed individualism, Americans traditionally have equated a green space around the home with freedom and power, said Washington State University horticulturalist Ken Struckmeyer" (Turner 2000:F8). <BR>
<BR>
<EM>Flatland, China</EM>. In 1999, Chinese leaders planted a few hundred square yards of grass from seed (shipped from USA's Inland Northwest) on Tiananmen Square. "Across China, cities are planting thousands of acres of lawns, parks and golf courses ['to reverse decades of environmental ruin and make drab cities more livable'] . . ." (McDonald 1999). (<I><B>N.B.</B></I>: On Tiananmen square, knee-high metal signs warn visitors: "Please don't enter the grass.")<BR>
<BR>
<EM>Flatland, USA</EM>. Taking the U.S. as a whole, 40 square feet of perfectly level shopping-center space
has been constructed for every child born since 1986. Due to our prehistory on grasslands, we
prefer to conduct our lives on plane-paved surfaces. In Los Angeles, ". . . 70 percent of the land area is devoted to the use of cars . . ." (Mathews 1974). Some 100,000 acres of land are now
occupied, e.g., by vast, table-terraced superstores. (<STRONG><I>N.B.</I></STRONG>: Inside air temperatures average 72
degrees F., the warmth of the primeval savannah.) And spreading in front of houses and
apartment buildings are closely cropped <EM>micro-savannahs</EM>, occupying an estimated 7.7 million
acres of level, home-lawn plots.<BR>
<BR>
<I>Interior design</I>. "Grass <B><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">green</A></B> [in the home environment] is not particularly popular in rural areas, where presumably people see a lot of it. But for those from inner city areas, green ranks high on their list of favorites" (Vargas 1986:142).<BR>
<BR>
<B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. "Like the interstate highway system, fast food chains, telephones, televisions, and malls, the lawn occupies a central, and often unconsidered, place in America's cultural landscape." --Georges Teyssot ("The American Lawn," quoted in <I> Spokesman-Review</I>, May 28, 2000:F1)</P>
<P><I>Neuro-notes</I>. Like the cylindrical, filamentous projections covering our scalp, we respond to
grass blades as we do to our own hair. The compulsion to feed, clip, and groom our yard space is
prompted by the same preadapted modules of the <STRONG><A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top">mammalian brain</A></STRONG> which motivate personal grooming and <STRONG><A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top">hair care</A></STRONG> (see <STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">CINGULATE GYRUS</A></STRONG>). Like thick, healthy locks, well-groomed
lawns bespeak health, vigor, and high status.<BR>
<BR>
See also <A HREF="golf.htm" tppabs="http://members.aol.com/nonverbal3/golf.htm" TARGET="_top"><B>GOLF</B></A>.</P>
<P><FONT SIZE="-1">Copyright<FONT SIZE="-1"><FONT SIZE="-1"> <FONT FACE="Arial" SIZE="-1"><B>©</B></FONT> 1998 - 2001</FONT> </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></P>
</BODY>
</HTML> | **LAWN DISPLAY**
{border="0"
tppabs="http://members.aol.com/doder1/objects/lawn.jpg" height="35%"
width="30%"}\
\
*The poetry of earth is ceasing never*. \--Keats, *On the Grasshopper
and Cricket*\
\
*Damn, I poured my whole life into this lawn, my heart, my soul, the
tender feelings I\'ve held back from my family . . . . Look, some people
hoist a flag to show they love their country. Well, my lawn is my flag*.
\--Hank Hill, *King of the Hill* (quoted in The *Spokesman-Review*, May
28, 2000, F1)\
\
\
***[Spatial
cue](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm"
target="_top"}***. A plot of carefully groomed grass, and any of several
decorative artifacts (e.g., white pickets or plastic pink flamingos)
placed upon its surface.
*Usage*: Lawns mark territory and betoken status. Each year, Americans
buy an estimated 500,000 plastic pink flamingo ornaments to mark their
yard space\--and to provide tangible evidence that, \"This land is
mine.\"
*Evolution*. Two m.y.a. the first humans lived in eastern Africa on hot,
flat, open countryside with scattered trees and bushes and little shade,
known as *savannah grasslands*. (***N.B.***: At this time, the human
brain was expanding faster than any brain ever had in animal history,
and in the growing process seemingly locked in a fondness for level
grassland spaces.)
*Verbal prehistory*. The word *lawn* itself may be traced to the ancient
Indo-European root, lendh**-**, \"open land.\"
*Today I*. To make earth more to our liking, we flatten and smooth its
surface to resemble the original rolling plains our ancestors walked
upon during the critical Pleistocene epoch two m.y.a. *Neo-Savannah
Grassland*\--with its scattered bushes, trees, and lawns\--is the
dominant theme of housing tracts, campuses, cemeteries, entertainment
parks, and shopping malls in almost every city today.\
\
*Today II*. So important are lawns as [**consumer
products**](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"} that, at the University of Florida, a \$700,000 campus
laboratory\--known as the
[**TurfGrass**](http://www.turfgrass.org/){target="_top"}
Envirotron\--was fabricated so horticulturalists could watch grass
grow.\
\
*Today III*. \"Despite the view in some circles that lawns are a symbol
of suburban conformity and repressed individualism, Americans
traditionally have equated a green space around the home with freedom
and power, said Washington State University horticulturalist Ken
Struckmeyer\" (Turner 2000:F8).\
\
*Flatland, China*. In 1999, Chinese leaders planted a few hundred square
yards of grass from seed (shipped from USA\'s Inland Northwest) on
Tiananmen Square. \"Across China, cities are planting thousands of acres
of lawns, parks and golf courses \[\'to reverse decades of environmental
ruin and make drab cities more livable\'\] . . .\" (McDonald 1999).
(***N.B.***: On Tiananmen square, knee-high metal signs warn visitors:
\"Please don\'t enter the grass.\")\
\
*Flatland, USA*. Taking the U.S. as a whole, 40 square feet of perfectly
level shopping-center space has been constructed for every child born
since 1986. Due to our prehistory on grasslands, we prefer to conduct
our lives on plane-paved surfaces. In Los Angeles, \". . . 70 percent of
the land area is devoted to the use of cars . . .\" (Mathews 1974). Some
100,000 acres of land are now occupied, e.g., by vast, table-terraced
superstores. (***N.B.***: Inside air temperatures average 72 degrees F.,
the warmth of the primeval savannah.) And spreading in front of houses
and apartment buildings are closely cropped *micro-savannahs*, occupying
an estimated 7.7 million acres of level, home-lawn plots.\
\
*Interior design*. \"Grass
**[green](http://members.aol.com/nonverbal3/color.htm){target="_top"}**
\[in the home environment\] is not particularly popular in rural areas,
where presumably people see a lot of it. But for those from inner city
areas, green ranks high on their list of favorites\" (Vargas 1986:142).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
\"Like the interstate highway system, fast food chains, telephones,
televisions, and malls, the lawn occupies a central, and often
unconsidered, place in America\'s cultural landscape.\" \--Georges
Teyssot (\"The American Lawn,\" quoted in *Spokesman-Review*, May 28,
2000:F1)
*Neuro-notes*. Like the cylindrical, filamentous projections covering
our scalp, we respond to grass blades as we do to our own hair. The
compulsion to feed, clip, and groom our yard space is prompted by the
same preadapted modules of the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}** which motivate personal grooming and **[hair
care](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**
(see **[CINGULATE
GYRUS](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**). Like thick, healthy locks, well-groomed lawns bespeak
health, vigor, and high status.\
\
See also
[**GOLF**](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm"
target="_top"}.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
NEW CAR SMELL | https://ns1.omnitech.net/data/Nonverbal/newcar.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>newcar</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT SIZE="+1"><STRONG><A NAME="NEW CAR SMELL">NEW CAR SMELL</A><BR>
<BR>
<IMG BORDER="0" ALT="Touch and Scent in Tandem" SRC="newcar.jpg" tppabs="http://members.aol.com/doder1/objects/newcar.jpg" HEIGHT="35%" WIDTH="40%"></STRONG></FONT>
<P><EM><FONT SIZE="-1">In their language they do not say 'Give me a kiss' but they say 'Smell me'</FONT></EM><FONT SIZE="-1">. --Rother's
1890 description of the Khyoungtha hill people of India (Stoddart 1990:10)</FONT><FONT SIZE="-1"></FONT></P>
</P>
<P><STRONG><EM></EM></STRONG><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">Aroma cue</A></EM></STRONG>. A scented <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer product</A></STRONG> designed to mimic the leather, rubber, plastic,
and <STRONG><A HREF="http://members.aol.com/nonverbal2/vinyl.htm" TARGET="_top">vinyl</A></STRONG> aromas of a show-room-new motor vehicle interior.</P>
<P><EM>Usage</EM>: We find the synthetic odor of new car smell <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">pleasant</A></STRONG> because it contains chemical analogs
of natural plant resins, animal esters, and sexual steroids.</P>
<P><EM>Evolution</EM>. New car smell, which may be sprayed from aerosol cans, was developed by
<A HREF="http://www.iff.com/" TARGET="_top">International Flavors and Fragrances</A> of New York, which supplies odor cues for Downey Fabric
Softener® and Colgate's Irish Spring® soap.</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/apocrine.htm" TARGET="_top">APOCRINE ODOR</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/arpege.htm" TARGET="_top">ARPEGE</A></STRONG>®, <STRONG><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">BIG MAC</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><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[NEW CAR SMELL]{#NEW CAR SMELL}\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/newcar.jpg" height="35%"
width="40%"}**
*In their language they do not say \'Give me a kiss\' but they say
\'Smell me\'*. \--Rother\'s 1890 description of the Khyoungtha hill
people of India (Stoddart 1990:10)
***[Aroma
cue](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}***.
A scented **[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** designed to mimic the leather, rubber, plastic, and
**[vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}**
aromas of a show-room-new motor vehicle interior.
*Usage*: We find the synthetic odor of new car smell
**[pleasant](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
because it contains chemical analogs of natural plant resins, animal
esters, and sexual steroids.
*Evolution*. New car smell, which may be sprayed from aerosol cans, was
developed by [International Flavors and
Fragrances](http://www.iff.com/){target="_top"} of New York, which
supplies odor cues for Downey Fabric Softener® and Colgate\'s Irish
Spring® soap.
See also **[APOCRINE
ODOR](http://members.aol.com/nonverbal2/apocrine.htm){target="_top"}**,
**[ARPEGE](http://members.aol.com/nonverbal2/arpege.htm){target="_top"}**®,
**[BIG
MAC](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}**®.
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})
|
NICOTINE | https://ns1.omnitech.net/data/Nonverbal/nicotin1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>nicotine</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">NICOTINE</FONT><FONT SIZE="+1"></FONT><BR>
<BR>
</STRONG><IMG BORDER="0" ALT="Bogie on Cue" SRC="nicotine.jpg" tppabs="http://members.aol.com/doder1/objects/nicotine.jpg" HEIGHT="50%" WIDTH="18%"></P>
<P><FONT SIZE="-1"><I>With men in the Army, the Navy, the Marine Corps, and the Coast Guard, the favorite cigarette is Camel. (Based on actual sales records.)</I></FONT><FONT SIZE="-1"></FONT><FONT SIZE="-1">--Camel advertisement on back cover page of <I>Life</I> magazine (July 10, 1944)</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<BR>
<STRONG><EM><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top">Afferent cue</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> A potent alkaloid drug (C<SUB>10</SUB>H<SUB>14</SUB>N<SUB>2</SUB>) of the tobacco plant, ingested by hundreds of
millions of men, women, and children in <A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top"><B>consumer products</B></A> such as cigars, cigarettes, and snuff.
<STRONG>2.</STRONG> The most addictive chemical substance ever used by <EM>Homo sapiens</EM>.</P>
<P><EM>Usage I</EM>: Nicotine "speaks" directly to the brain as an incoming nonverbal cue. Currently, there is a
worldwide epidemic of nicotine use.</P>
<P><EM>Usage II</EM>: According to a 1999 World Health Organization estimate, there are four million deaths a year from tobacco. Based on present smoking trends, tobacco is predicted to be the leading cause of disease in the world, causing ca. one in eight deaths.</P>
<P><EM>Usage III</EM>: <B>1.</B> Nine out of 10 human beings who smoke a cigarette for the first time become addicted, according to statistics of the U.S. National Institutes on Drug Administration. <B>2.</B> According to a trade publication, <I>Tobacco Reporter</I>, the average American cigarette smoker buys ten packs of 20 cigarettes per week. <B>3.</B> Worldwide, a third of all adults (36%) smoke cigarettes--and are hopelessly addicted to nicotine.<BR>
<BR>
<I>Usage IV</I>. According to a March, 2001 study published in <I>Preventive Medicine</I> (Vol. 32, pp. 262-67), the use of smokeless (i.e., chewing) tobacco is a predictor of later cigarette-smoking initiation in young U.S. adult males.<BR>
<BR>
<EM>Evolution</EM>. Nicotine evolved as a communicative sign, i.e., as an insect-repelling <STRONG><A HREF="second1.htm" tppabs="http://members.aol.com/doder1/second1.htm" TARGET="_top">secondary product</A></STRONG>.</P>
<P><I>Early history</I>. 1492: "Almost from the day of first landfall, on October 12, 1492, the inhabitants of Guanahani (San Salvador, Bahamas) regaled the newcomers with such herbs [i.e., tobacco plants]. And upon encountering near Fernandia Island a man in a small canoe carrying the same plant material among his meager essentials, Christopher Columbus surmised that the Indians held the leaves in high esteem" (Wilbert 1987:9). </P>
<P><EM>Later history</EM>. 1797: Cigarettes appear when Cuban cigar makers roll little cigars in paper wrappers
(Trager 1992:354). 1883: Gold Flake cigarettes appear in London (Trager 1992:567). 1885:
Thomas Edison, a tobacco chewer, refuses to hire tobacco smokers (Trager 1992:585). 1925:
Old Gold cigarettes appear, with the slogan, "Not a cough in a carload" (Trager 1992:773).
1955: U.S. cigarette consumption increases as media ads promote filter-tipped Winstons, king-size Tareytons with "activated charcoal" filters, and Marlboro filters (Trager 1992:953).</P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG><EM></EM>. In the U.S. the advertising of cigarettes on television was banned in 1971, "abruptly
removing one of the major categories of broadcast income" (Jankowski and Fuchs 1995:106).<BR>
<BR>
<EM>Neuro-notes</EM>. <B>1.</B> Nicotine ". . . mimics the neurotransmitter acetylcholine by acting at the
acetylcholine site and stimulating the nerve cell dendrite" (Restak 1995:116). Nicotine leads to
the release of pleasure-enhancing dopamine and morphine-like endorphins. <B>2.</B> "In both mice and humans, they [Joseph R. DiFranza, University of Massachusetts Medical School in Worcester, and others] say, the number of high-affinity nicotinic cholinergic receptors has been seen to increase in the brain after only the second dose of nicotine" (Cooke 2000).</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><BR>
<FONT SIZE="-1">
Detail of photo of Humphrey Bogart (copyright by the Ludlow Collection)</FONT></P>
</BODY>
</HTML> | **NICOTINE\
\
**{border="0"
tppabs="http://members.aol.com/doder1/objects/nicotine.jpg" height="50%"
width="18%"}
*With men in the Army, the Navy, the Marine Corps, and the Coast Guard,
the favorite cigarette is Camel. (Based on actual sales
records.)*\--Camel advertisement on back cover page of *Life* magazine
(July 10, 1944)\
\
\
***[Afferent
cue](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}***.
**1.** A potent alkaloid drug (C~10~H~14~N~2~) of the tobacco plant,
ingested by hundreds of millions of men, women, and children in
[**consumer
products**](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"} such as cigars, cigarettes, and snuff. **2.** The most
addictive chemical substance ever used by *Homo sapiens*.
*Usage I*: Nicotine \"speaks\" directly to the brain as an incoming
nonverbal cue. Currently, there is a worldwide epidemic of nicotine use.
*Usage II*: According to a 1999 World Health Organization estimate,
there are four million deaths a year from tobacco. Based on present
smoking trends, tobacco is predicted to be the leading cause of disease
in the world, causing ca. one in eight deaths.
*Usage III*: **1.** Nine out of 10 human beings who smoke a cigarette
for the first time become addicted, according to statistics of the U.S.
National Institutes on Drug Administration. **2.** According to a trade
publication, *Tobacco Reporter*, the average American cigarette smoker
buys ten packs of 20 cigarettes per week. **3.** Worldwide, a third of
all adults (36%) smoke cigarettes\--and are hopelessly addicted to
nicotine.\
\
*Usage IV*. According to a March, 2001 study published in *Preventive
Medicine* (Vol. 32, pp. 262-67), the use of smokeless (i.e., chewing)
tobacco is a predictor of later cigarette-smoking initiation in young
U.S. adult males.\
\
*Evolution*. Nicotine evolved as a communicative sign, i.e., as an
insect-repelling **[secondary
product](second1.htm){tppabs="http://members.aol.com/doder1/second1.htm"
target="_top"}**.
*Early history*. 1492: \"Almost from the day of first landfall, on
October 12, 1492, the inhabitants of Guanahani (San Salvador, Bahamas)
regaled the newcomers with such herbs \[i.e., tobacco plants\]. And upon
encountering near Fernandia Island a man in a small canoe carrying the
same plant material among his meager essentials, Christopher Columbus
surmised that the Indians held the leaves in high esteem\" (Wilbert
1987:9).
*Later history*. 1797: Cigarettes appear when Cuban cigar makers roll
little cigars in paper wrappers (Trager 1992:354). 1883: Gold Flake
cigarettes appear in London (Trager 1992:567). 1885: Thomas Edison, a
tobacco chewer, refuses to hire tobacco smokers (Trager 1992:585). 1925:
Old Gold cigarettes appear, with the slogan, \"Not a cough in a
carload\" (Trager 1992:773). 1955: U.S. cigarette consumption increases
as media ads promote filter-tipped Winstons, king-size Tareytons with
\"activated charcoal\" filters, and Marlboro filters (Trager 1992:953).
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
In the U.S. the advertising of cigarettes on television was banned in
1971, \"abruptly removing one of the major categories of broadcast
income\" (Jankowski and Fuchs 1995:106).\
\
*Neuro-notes*. **1.** Nicotine \". . . mimics the neurotransmitter
acetylcholine by acting at the acetylcholine site and stimulating the
nerve cell dendrite\" (Restak 1995:116). Nicotine leads to the release
of pleasure-enhancing dopamine and morphine-like endorphins. **2.** \"In
both mice and humans, they \[Joseph R. DiFranza, University of
Massachusetts Medical School in Worcester, and others\] say, the number
of high-affinity nicotinic cholinergic receptors has been seen to
increase in the brain after only the second dose of nicotine\" (Cooke
2000).
Copyright**©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo of Humphrey Bogart (copyright by the Ludlow Collection)
|
NLD | https://ns1.omnitech.net/data/Nonverbal/nld1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>nld</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">NONVERBAL LEARNING DISORDER</FONT></STRONG></P>
<P><STRONG><EM><A HREF="http://www.nldontheweb.org/links.htm" TARGET="_top">NLD</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> A frequently misdiagnosed state of anxiety, confusion, and social withdrawal caused
by inabilities to <STRONG><A HREF="efferen1.htm" tppabs="http://members.aol.com/doder1/efferen1.htm" TARGET="_top">send</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top">receive</A></STRONG> common <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial expressions</A></STRONG>, and <STRONG><A HREF="bodylan1.htm" tppabs="http://members.aol.com/doder1/bodylan1.htm" TARGET="_top">body-language</A></STRONG>
cues. <FONT FACE="Times New Roman"><STRONG>2.</STRONG> NLD persons may <STRONG>a.</STRONG> misread everyday nonverbal signals, <STRONG>b.</STRONG> display awkward body
movements, and <STRONG>c.</STRONG></FONT> have difficulty associating visual signs in space and time.</P>
<P><EM>Usage</EM>: NLD children rely on the concreteness of verbal <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speech</A></STRONG> and written <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>, and may be
unable to process the subtleties of nonverbal expression.<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "My learning disabled son's biggest problem, now that he is pushing 16, is lack of good social skills. He just isn't responding appropriately to cues. I am unsure whether it's a lack of perception or a lack of ability to properly respond that is the difficulty." --R.M., USA (4/11/00 11:19:00 AM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT><BR>
<HR>
<BR>
<FONT FACE="Times New Roman"><I>Neuro-notes</I>. "A 120-base pair duplication polymorphism in the dopamine D4 receptor gene (DRD4) shows preferential transmission with attention deficit hyperactivity disorder (ADHD) . . ." Anonymous (2000C).<BR>
<BR>
See also <A HREF="autism1.htm" tppabs="http://members.aol.com/doder1/autism1.htm" TARGET="_top"><B>AUTISM</B></A>, <STRONG><A HREF="dismorp1.htm" tppabs="http://members.aol.com/doder1/dismorp1.htm" TARGET="_top">BODY DYSMORPHIC DISORDER</A></STRONG>, <STRONG><A HREF="nvlearn1.htm" tppabs="http://members.aol.com/doder1/nvlearn1.htm" TARGET="_top">NONVERBAL LEARNING</A></STRONG>. Principal web
link: <STRONG><EM><A HREF="http://www.nldontheweb.org/links.htm" TARGET="_top">NLD on the Web!</A></EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM></FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1998, 1999, 2000 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG></FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **NONVERBAL LEARNING DISORDER**
***[NLD](http://www.nldontheweb.org/links.htm){target="_top"}***. **1.**
A frequently misdiagnosed state of anxiety, confusion, and social
withdrawal caused by inabilities to
**[send](efferen1.htm){tppabs="http://members.aol.com/doder1/efferen1.htm"
target="_top"}** and
**[receive](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}**
common
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
**[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
and
**[body-language](bodylan1.htm){tppabs="http://members.aol.com/doder1/bodylan1.htm"
target="_top"}** cues. **2.** NLD persons may **a.** misread everyday
nonverbal signals, **b.** display awkward body movements, and **c.**
have difficulty associating visual signs in space and time.
*Usage*: NLD children rely on the concreteness of verbal
**[speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}** and written
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**, and may be unable to process the subtleties of
nonverbal expression.\
\
------------------------------------------------------------------------
***E-Commentary***: \"My learning disabled son\'s biggest problem, now
that he is pushing 16, is lack of good social skills. He just isn\'t
responding appropriately to cues. I am unsure whether it\'s a lack of
perception or a lack of ability to properly respond that is the
difficulty.\" \--R.M., USA (4/11/00 11:19:00 AM Pacific Daylight Time)\
------------------------------------------------------------------------
\
*Neuro-notes*. \"A 120-base pair duplication polymorphism in the
dopamine D4 receptor gene (DRD4) shows preferential transmission with
attention deficit hyperactivity disorder (ADHD) . . .\" Anonymous
(2000C).\
\
See also
[**AUTISM**](autism1.htm){tppabs="http://members.aol.com/doder1/autism1.htm"
target="_top"}, **[BODY DYSMORPHIC
DISORDER](dismorp1.htm){tppabs="http://members.aol.com/doder1/dismorp1.htm"
target="_top"}**, **[NONVERBAL
LEARNING](nvlearn1.htm){tppabs="http://members.aol.com/doder1/nvlearn1.htm"
target="_top"}**. Principal web link: ***[NLD on the
Web!](http://www.nldontheweb.org/links.htm){target="_top"}***
Copyright 1998, 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
NOSE | https://ns1.omnitech.net/data/Nonverbal/nose1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>nose</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">NOSE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Hard Noses" SRC="nose.jpg" tppabs="http://members.aol.com/doder1/objects/nose.jpg" HEIGHT="35%" WIDTH="38%"><BR WP="BR1">
<BR WP="BR2">
<I><FONT SIZE="-1">Cleopatra's nose: had it been shorter, the whole aspect of the world would have been altered</FONT></I><FONT SIZE="-1">. --Pascal, </FONT><I><FONT SIZE="-1">Pensees, II<BR>
<BR>
</FONT><FONT SIZE="-1"></FONT></I><FONT SIZE="-1"><I>Just need a nose job!</I> --Kramer (<I>Seinfeld</I>, rerun of May 2, 2000)</FONT></P>
<P><EM>Body part</EM>. That projecting part of the human <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></STRONG> which contains the nostrils and organs of <STRONG><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">smell</A></STRONG>.</P>
<P><EM>Usage</EM>: The nose is one of the most defining features of human identity and <STRONG><A HREF="facerec.htm" tppabs="http://members.aol.com/nonverbal3/facerec.htm" TARGET="_top">facial recognition</A></STRONG>. </P>
<P><EM>Anatomy</EM>. Located at the center of our face, the nose is a rounded prominence of bone, gristle,
fatty tissue, and flesh. Unlike animal noses, its freestanding shape reinforces the vertical height
of our face and accents the stability of its features.<BR>
<BR>
<I>Culture</I>. In the Trobriand Islands, couples may gently bite noses while making love. Among Eskimos, Maoris, and Polynesians, touching another's face or head with the tip of the nose is used as a friendly greeting.<BR>
<BR>
<STRONG><EM><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">Emotion</A></EM></STRONG><EM></EM>. When we breathe deeply, or are emotionally aroused, our nostrils<EM></EM> visibly <EM>flare</EM>. They may uncontrollably widen in anger, as well, when we listen to disaggreeable comments made by colleagues around a <A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top"><B>conference table</B></A>. <BR>
<BR>
<EM>Evolution</EM>. Our triangular nose evolved in tandem with shrinkage of the primate's bony muzzle.
Because early primates depended more on sight than smell, their snouts gradually shortened.
Because we have no muzzle at all, our proboscis was left standing high and dry on the fleshy plain.</P>
<P><EM>Gender</EM>. The generally larger noses of men give an appearance of "strength."
Women's generally smaller noses--which may be further reduced with makeup to keep from
upstaging the <A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top"><B>lips</B></A> and <A HREF="http://members.aol.com/nonverbal2/eyes.htm" TARGET="_top"><B>eyes</B></A>--give an appearance of "youth." (See <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>.)</P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG>. In magazine ads, the feminine nose "disappears" into the flatness of the face to
accent the lips, eyes, and baby-smooth skin (Givens 1983).<BR>
<BR>
<EM>Respiration</EM>. Though our face is flatter today than that of our remote primate ancestors, we still require the air we breathe to be
cleaned, warmed, and moistened before it enters our lungs. Thus, our nose projects like an
air duct, prominently and for all to see.</P>
<P>See also <STRONG><A HREF="facialid.htm" tppabs="http://members.aol.com/nonverbal3/facialid.htm" TARGET="_top">FACIAL I.D.</A></STRONG></P>
<P><FONT FACE="Times New Roman"></FONT><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><FONT FACE="Courier"></FONT></P>
</BODY>
</HTML> | **NOSE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/nose.jpg" height="35%"
width="38%"}\
\
*Cleopatra\'s nose: had it been shorter, the whole aspect of the world
would have been altered*. \--Pascal, *Pensees, II\
\
Just need a nose job!* \--Kramer (*Seinfeld*, rerun of May 2, 2000)
*Body part*. That projecting part of the human
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
which contains the nostrils and organs of
**[smell](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}**.
*Usage*: The nose is one of the most defining features of human identity
and **[facial
recognition](facerec.htm){tppabs="http://members.aol.com/nonverbal3/facerec.htm"
target="_top"}**.
*Anatomy*. Located at the center of our face, the nose is a rounded
prominence of bone, gristle, fatty tissue, and flesh. Unlike animal
noses, its freestanding shape reinforces the vertical height of our face
and accents the stability of its features.\
\
*Culture*. In the Trobriand Islands, couples may gently bite noses while
making love. Among Eskimos, Maoris, and Polynesians, touching another\'s
face or head with the tip of the nose is used as a friendly greeting.\
\
***[Emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}***.
When we breathe deeply, or are emotionally aroused, our nostrils visibly
*flare*. They may uncontrollably widen in anger, as well, when we listen
to disaggreeable comments made by colleagues around a [**conference
table**](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}.\
\
*Evolution*. Our triangular nose evolved in tandem with shrinkage of the
primate\'s bony muzzle. Because early primates depended more on sight
than smell, their snouts gradually shortened. Because we have no muzzle
at all, our proboscis was left standing high and dry on the fleshy
plain.
*Gender*. The generally larger noses of men give an appearance of
\"strength.\" Women\'s generally smaller noses\--which may be further
reduced with makeup to keep from upstaging the
[**lips**](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"} and
[**eyes**](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}\--give
an appearance of \"youth.\" (See **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**.)
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
In magazine ads, the feminine nose \"disappears\" into the flatness of
the face to accent the lips, eyes, and baby-smooth skin (Givens 1983).\
\
*Respiration*. Though our face is flatter today than that of our remote
primate ancestors, we still require the air we breathe to be cleaned,
warmed, and moistened before it enters our lungs. Thus, our nose
projects like an air duct, prominently and for all to see.
See also **[FACIAL
I.D.](facialid.htm){tppabs="http://members.aol.com/nonverbal3/facialid.htm"
target="_top"}**
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)
|
NUT SUBSTITUTE | https://ns1.omnitech.net/data/Nonverbal/nut1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>nut</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">NUT SUBSTITUTE</FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Nut and Substitutes" SRC="nut.jpg" tppabs="http://members.aol.com/doder1/objects/nut.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<STRONG><EM><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer product</A></EM></STRONG><EM></EM>. A baked or deep-fried food product (e.g., cookies, crackers, and Fritos®)
designed to mimic the <STRONG><A HREF="http://members.aol.com/nonverbal3/taste.htm" TARGET="_top">taste</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/crunch.htm" TARGET="_top">crunchy texture</A></STRONG> of roasted nuts, seeds, or fruits (in the latter
case, e.g., stalks of the cashew plant).</P>
<P><EM>Usage</EM>. As primates, we are seemingly pre-adapted to enjoy the flavor and texture of nut
substitutes. Throughout the Middle East, e.g., crusty breads, pastries, and candies are liberally
sprinkled or covered with whole seeds for their flavor, texture, and crunch. Papodams, tortilla
chips, and Crackerjacks®--along with taro, yucca, sweet-potato, beet, parsnip, carrot, rutabaga,
celery-root, and seaweed chips--are among the thousands of ethnic cuisines designed to satisfy
our need for culinary snap, crackle, and pop.</P>
<P><STRONG><EM><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">Big</A></EM></STRONG><EM> crunch</EM>. The largest potato chip manufactured by <EM>Homo sapiens</EM>--nearly two feet across--was
made in 1990 of potato flour at the Pringles plant in Jackson, Tennessee. Consumers, however,
prefer smaller chips which have the look and feel of <EM>finger food</EM>. As primates, we are natural
finger-feeders who enjoy bringing edibles to our prehensile <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lips</A></STRONG> with the sensitive, tactile pads of
our <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>.<BR>
<BR>
<STRONG><EM><A HREF="http://members.aol.com/nonverbal2/crunch.htm" TARGET="_top">Existential crunch</A></EM></STRONG><EM></EM>. That crispy snacks so overpower us is because, as an existentialist
philosopher might say, they represent an "authentic" form of existence which transcends the desire
for softer, "unreal" foods, such as Twinkies®<STRONG></STRONG>.</P>
<P><EM>Global Crunch</EM>. The proclivity to commune with our inner-primate self through the tactile
medium of grinding is so powerful that, according to the U.S. Snack Food Association,
Americans munch an average 21.42 lbs. of chips, popcorn, pretzels, and so on, each year (Hall
and Baumann 1994).</P>
<P><EM>Neuro-notes</EM>. Our back teeth and the forward two-thirds of our tongue receive <STRONG><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top">incoming</A></STRONG> crunch
sensations from nut substitutes through branches of the <EM>facial nerve</EM> (cranial VII). Like flavor
cues, texture cues are processed on two levels: <STRONG>a. </STRONG><EM>consciously</EM> in the cerebral cortex and <STRONG>b. </STRONG><EM>unconsciously</EM> in the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG>. As crunching registers in the forebrain, nut substitutes
provide a pleasurable snack-food experience.</P>
<P><FONT SIZE="-1">Copyright 1999, 2000, 2001 (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 from a Wheat Thins® box (copyright 1999 by Nabisco)</FONT><FONT SIZE="-1"></FONT> </P>
<P> </P>
<P> </P>
<BR WP="BR1">
<BR WP="BR2">
<BR WP="BR1">
<BR WP="BR2">
<P><STRONG></STRONG></P>
</BODY>
</HTML> | **NUT SUBSTITUTE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/nut.jpg" height="40%"
width="25%"}\
\
***[Consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. A baked or deep-fried food product (e.g., cookies,
crackers, and Fritos®) designed to mimic the
**[taste](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**
and **[crunchy
texture](http://members.aol.com/nonverbal2/crunch.htm){target="_top"}**
of roasted nuts, seeds, or fruits (in the latter case, e.g., stalks of
the cashew plant).
*Usage*. As primates, we are seemingly pre-adapted to enjoy the flavor
and texture of nut substitutes. Throughout the Middle East, e.g., crusty
breads, pastries, and candies are liberally sprinkled or covered with
whole seeds for their flavor, texture, and crunch. Papodams, tortilla
chips, and Crackerjacks®\--along with taro, yucca, sweet-potato, beet,
parsnip, carrot, rutabaga, celery-root, and seaweed chips\--are among
the thousands of ethnic cuisines designed to satisfy our need for
culinary snap, crackle, and pop.
***[Big](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}*** *crunch*. The largest potato chip manufactured by
*Homo sapiens*\--nearly two feet across\--was made in 1990 of potato
flour at the Pringles plant in Jackson, Tennessee. Consumers, however,
prefer smaller chips which have the look and feel of *finger food*. As
primates, we are natural finger-feeders who enjoy bringing edibles to
our prehensile
**[lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}** with the sensitive, tactile pads of our
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**.\
\
***[Existential
crunch](http://members.aol.com/nonverbal2/crunch.htm){target="_top"}***.
That crispy snacks so overpower us is because, as an existentialist
philosopher might say, they represent an \"authentic\" form of existence
which transcends the desire for softer, \"unreal\" foods, such as
Twinkies®.
*Global Crunch*. The proclivity to commune with our inner-primate self
through the tactile medium of grinding is so powerful that, according to
the U.S. Snack Food Association, Americans munch an average 21.42 lbs.
of chips, popcorn, pretzels, and so on, each year (Hall and Baumann
1994).
*Neuro-notes*. Our back teeth and the forward two-thirds of our tongue
receive
**[incoming](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}**
crunch sensations from nut substitutes through branches of the *facial
nerve* (cranial VII). Like flavor cues, texture cues are processed on
two levels: **a.** *consciously* in the cerebral cortex and **b.**
*unconsciously* in the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**. As crunching registers in the forebrain, nut
substitutes provide a pleasurable snack-food experience.
Copyright 1999, 2000, 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail from a Wheat Thins® box (copyright 1999 by Nabisco)
\
\
\
\
|
ORIENTING REFLEX | https://ns1.omnitech.net/data/Nonverbal/orient1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>orient</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">ORIENTING REFLEX</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P>
<IMG BORDER="0" ALT=""What's that?"" SRC="orient.jpg" tppabs="http://members.aol.com/doder1/objects/orient.jpg" HEIGHT="35%" WIDTH="20%"><BR WP="BR1">
<BR WP="BR2">
<EM>Neuro term</EM>. An unlearned response in which animals alert to new features of their
environment, e.g., to novel sights, sounds, and smells in the speechless sense-surround of
<STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>.</P>
<P><EM>Usage I</EM>: The orienting reflex (OR) is an innate, protective response designed to
answer the question, "What's that?" The automatic OR provokes both a cognitive and an emotional concern, and
also triggers immobility (i.e., the <STRONG><EM><A HREF="freeze1.htm" tppabs="http://members.aol.com/doder1/freeze1.htm" TARGET="_top">freeze</A></EM></STRONG><EM></EM> reaction), when we are suddenly faced with a novel,
unusual, or potentially dangerous person, place, or thing.<BR>
<BR>
<EM>Usage II</EM>: The <A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top"><B>messaging features</B></A> of <A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top"><B>consumer products</B></A> may be designed to provoke the OR. Attention-grabbing signals from commercial messages broadcast in the <A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top"><B>media</B></A> trigger the OR as well.</P>
<P><EM>Reptiles</EM>. In reptiles, orienting involves <STRONG>a.</STRONG> refocusing of the sense organs, and <STRONG>b.</STRONG> freezing of the
body's gross-motor movements. A slowed heart rate (<EM>bradycardia</EM>) has been observed, as well, e.g., in iguanas and in
the death-feigning of hognose snakes (see <STRONG><A HREF="http://members.aol.com/nonverbal2/broadsid.htm" TARGET="_top">BROADSIDE DISPLAY</A></STRONG>, <EM>Saurian size</EM>).</P>
<P><EM>Mammals</EM>. The reptilian orienting pattern is present in mammals, where it is usually followed by <STRONG>c.</STRONG> a more active (i.e., a non-reflexive or voluntary) attention phase, and by <STRONG>d.</STRONG> an arousal of <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></STRONG>. That is, after the reptilian orienting reflex itself
occurs, a mammal may voluntarily attend (i.e., look, listen, and sniff the air), produce <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial expressions</A></STRONG>, and emit <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">vocal</A></STRONG> mood
signs.</P>
<P><EM>Anatomy I</EM>. In mammals and primates, a diagnostic set of nonverbal signs associated with OR is mediated by the five cranial nerves that arise from the <STRONG><A HREF="http://members.aol.com/nonverbal2/pharynx.htm" TARGET="_top">pharyngeal arches</A></STRONG> (i.e., from the primitive gill arches; see, e.g., <A HREF="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top"><B>EYEBROW-RAISE</B></A>, <A HREF="http://members.aol.com/nonverbal2/flashbul.htm" TARGET="_top"><B>FLASHBULB EYES</B></A>, <A HREF="http://members.aol.com/nonverbal3/droop.htm" TARGET="_top"><B>JAW DROOP</B></A>). The trigeminal (cranial V, for <I><B><A HREF="bite1.htm" tppabs="http://members.aol.com/doder1/bite1.htm" TARGET="_top">chewing</A></B></I>) and facial (cranial VII, for <I>facial expressions</I>) nerves link (i.e., communicate) with the the glossopharyngeal (cranial IX, for <I>swallowing</I>), vagus (cranial X, for <I>vocalizing</I> and <I>communicating with the viscera</I>), and accessory
(cranial XI, for <I>turning the head</I> and <I><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top"><B>shoulder-shrugging</B></A></I>) nerves, but the source nuclei for the special visceral efferents of the latter three cranial nerves all originate in the medulla oblongata's nucleus ambiguus (NA).</P>
<P><EM>Anatomy II</EM>. In mammals and primates, NA mediates control of the pharynx, soft palate, larynx, and
esophagus (see <STRONG><A HREF="http://members.aol.com/nonverbal2/adajum.htm" TARGET="_top">ADAM'S-APPLE-JUMP</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/throat.htm" TARGET="_top">THROAT-CLEAR</A></STRONG>). Chemoreceptors enable the third pharyngeal arch's carotid body to sense CO2 and O2 levels. The accessory nerve (cranial XI) positions the neck, assisted by the vagus nerve (cranial X). (Source: Porges 1995
[Stephen W., <EM>Psychophysiology</EM>, 32 (1995), 301-318. Cambridge University Press. Printed in the
USA, <I>Orienting in a defensive world: Mammalian modifications of our evolutionary heritage. A
Polyvagal Theory</I>])</P>
<P><EM>Anatomy III</EM>. NA medites control of the heart and vocal
<STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">intonation</A></STRONG>. Its efferent fibers mediate <A HREF="rest.htm" tppabs="http://members.aol.com/nonverbal3/rest.htm" TARGET="_top"><B>feeding and breathing</B></A>, as well as some <A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top"><B>body movements</B></A>, emotions, and forms of communication (e.g., <I>growling</I>; see <A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top"><B>SPECIAL VISCERAL NERVE</B></A>). "The NA-vagus provides the vagal brake that
mammals remove instantaneously to increase metabolic output to foster <A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top"><B>fight or flight</B></A> behaviors.
The NA-vagus provides the motor pathways to shift the intonation of vocalizations (e.g., <A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top"><B>cry</B></A>
patterns) to express emotion and to communicate internal states in a social context." (Porges
1995)</P>
<P><EM>Anatomy IV</EM>. The NA mediates control of the heartbeat rate, the lung's bronchial tubes, and other <STRONG><A HREF="enteric1.htm" tppabs="http://members.aol.com/doder1/enteric1.htm" TARGET="_top">visceral organs</A></STRONG> (Porges 1995).</P>
<P><EM>Evolution</EM>. In orienting reptiles and mammals, according to Porges (1995), the control of bradycardia (i.e., of slowed hearbeat rate) by the dorsal motor nucleus of the
vagus nerve (cranial X) may have evolved from an ancient vertebrate
<I>gustatory response</I>. "Gustation is the primary method for
identifying prey (including other appropriate food sources) and predators in aquatic
environments" (Porges 1995; see <STRONG><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">AROMA CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/taste.htm" TARGET="_top">TASTE CUE</A></STRONG>).</P>
<P><EM>Neuro-notes I</EM>. The separation of the vagus nerve (cranial X) into a dorsal motor nucleus (DMNX, causing
bradycardia) and ventrolateral motor nucleus (nucleus ambiguus or NA, which suppresses heart-rate variability) began with reptiles and continues into mammals (Porges 1995). (<STRONG><EM>N.B.</EM></STRONG>: In turtles, however, the nuclei are still connected.)</P>
<P><EM>Neuro-notes II</EM>. In mammals, the slowed heart-rate of the OR is of short duration due to their
high oxygen needs. The ventrolateral motor nucleus of the vagus nerve brakes the bradycardia
(Porges 1995).</P>
<P><EM>Neuro-notes III</EM>. "With phylogenetic development, the viscerotropic organization of the vagal
system has become more complex, and incorporates pathways from other cranial nerves
including trigeminal, facial, accessory and glossopharyngeal. Thus, more specialized functions
such as head rotation to orient sensory receptors toward the source of stimulation, mastication to
ingest food, and salivation to initiate gustatory and digestive processes are integrated into the
vagal system" (Porges 1995).</P>
<P>See also <A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top"><B>OBJECT FANCY</B></A>, <STRONG><A HREF="startle1.htm" tppabs="http://members.aol.com/doder1/startle1.htm" TARGET="_top">STARTLE REFLEX</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>)<BR>
Detail of photo by Sisse Brimberg (copyright 2000 by National Geographic Society)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **ORIENTING REFLEX**
{border="0"
tppabs="http://members.aol.com/doder1/objects/orient.jpg" height="35%"
width="20%"}\
\
*Neuro term*. An unlearned response in which animals alert to new
features of their environment, e.g., to novel sights, sounds, and smells
in the speechless sense-surround of **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.
*Usage I*: The orienting reflex (OR) is an innate, protective response
designed to answer the question, \"What\'s that?\" The automatic OR
provokes both a cognitive and an emotional concern, and also triggers
immobility (i.e., the
***[freeze](freeze1.htm){tppabs="http://members.aol.com/doder1/freeze1.htm"
target="_top"}*** reaction), when we are suddenly faced with a novel,
unusual, or potentially dangerous person, place, or thing.\
\
*Usage II*: The [**messaging
features**](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}
of [**consumer
products**](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"} may be designed to provoke the OR. Attention-grabbing
signals from commercial messages broadcast in the
[**media**](http://members.aol.com/nonverbal3/media.htm){target="_top"}
trigger the OR as well.
*Reptiles*. In reptiles, orienting involves **a.** refocusing of the
sense organs, and **b.** freezing of the body\'s gross-motor movements.
A slowed heart rate (*bradycardia*) has been observed, as well, e.g., in
iguanas and in the death-feigning of hognose snakes (see **[BROADSIDE
DISPLAY](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}**,
*Saurian size*).
*Mammals*. The reptilian orienting pattern is present in mammals, where
it is usually followed by **c.** a more active (i.e., a non-reflexive or
voluntary) attention phase, and by **d.** an arousal of
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**.
That is, after the reptilian orienting reflex itself occurs, a mammal
may voluntarily attend (i.e., look, listen, and sniff the air), produce
**[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
and emit
**[vocal](http://members.aol.com/nonverbal2/tone.htm){target="_top"}**
mood signs.
*Anatomy I*. In mammals and primates, a diagnostic set of nonverbal
signs associated with OR is mediated by the five cranial nerves that
arise from the **[pharyngeal
arches](http://members.aol.com/nonverbal2/pharynx.htm){target="_top"}**
(i.e., from the primitive gill arches; see, e.g.,
[**EYEBROW-RAISE**](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}, [**FLASHBULB
EYES**](http://members.aol.com/nonverbal2/flashbul.htm){target="_top"},
[**JAW
DROOP**](http://members.aol.com/nonverbal3/droop.htm){target="_top"}).
The trigeminal (cranial V, for
***[chewing](bite1.htm){tppabs="http://members.aol.com/doder1/bite1.htm"
target="_top"}***) and facial (cranial VII, for *facial expressions*)
nerves link (i.e., communicate) with the the glossopharyngeal (cranial
IX, for *swallowing*), vagus (cranial X, for *vocalizing* and
*communicating with the viscera*), and accessory (cranial XI, for
*turning the head* and
*[**shoulder-shrugging**](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}*) nerves, but the source nuclei for the special visceral
efferents of the latter three cranial nerves all originate in the
medulla oblongata\'s nucleus ambiguus (NA).
*Anatomy II*. In mammals and primates, NA mediates control of the
pharynx, soft palate, larynx, and esophagus (see
**[ADAM\'S-APPLE-JUMP](http://members.aol.com/nonverbal2/adajum.htm){target="_top"}**,
**[THROAT-CLEAR](http://members.aol.com/nonverbal2/throat.htm){target="_top"}**).
Chemoreceptors enable the third pharyngeal arch\'s carotid body to sense
CO2 and O2 levels. The accessory nerve (cranial XI) positions the neck,
assisted by the vagus nerve (cranial X). (Source: Porges 1995 \[Stephen
W., *Psychophysiology*, 32 (1995), 301-318. Cambridge University Press.
Printed in the USA, *Orienting in a defensive world: Mammalian
modifications of our evolutionary heritage. A Polyvagal Theory*\])
*Anatomy III*. NA medites control of the heart and vocal
**[intonation](http://members.aol.com/nonverbal2/tone.htm){target="_top"}**.
Its efferent fibers mediate [**feeding and
breathing**](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}, as well as some [**body
movements**](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}, emotions, and forms of communication (e.g., *growling*;
see [**SPECIAL VISCERAL
NERVE**](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}). \"The NA-vagus provides the vagal brake that mammals
remove instantaneously to increase metabolic output to foster [**fight
or
flight**](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"} behaviors. The NA-vagus provides the motor pathways to
shift the intonation of vocalizations (e.g.,
[**cry**](http://members.aol.com/nonverbal3/cry.htm){target="_top"}
patterns) to express emotion and to communicate internal states in a
social context.\" (Porges 1995)
*Anatomy IV*. The NA mediates control of the heartbeat rate, the lung\'s
bronchial tubes, and other **[visceral
organs](enteric1.htm){tppabs="http://members.aol.com/doder1/enteric1.htm"
target="_top"}** (Porges 1995).
*Evolution*. In orienting reptiles and mammals, according to Porges
(1995), the control of bradycardia (i.e., of slowed hearbeat rate) by
the dorsal motor nucleus of the vagus nerve (cranial X) may have evolved
from an ancient vertebrate *gustatory response*. \"Gustation is the
primary method for identifying prey (including other appropriate food
sources) and predators in aquatic environments\" (Porges 1995; see
**[AROMA
CUE](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}**,
**[TASTE
CUE](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**).
*Neuro-notes I*. The separation of the vagus nerve (cranial X) into a
dorsal motor nucleus (DMNX, causing bradycardia) and ventrolateral motor
nucleus (nucleus ambiguus or NA, which suppresses heart-rate
variability) began with reptiles and continues into mammals (Porges
1995). (***N.B.***: In turtles, however, the nuclei are still
connected.)
*Neuro-notes II*. In mammals, the slowed heart-rate of the OR is of
short duration due to their high oxygen needs. The ventrolateral motor
nucleus of the vagus nerve brakes the bradycardia (Porges 1995).
*Neuro-notes III*. \"With phylogenetic development, the viscerotropic
organization of the vagal system has become more complex, and
incorporates pathways from other cranial nerves including trigeminal,
facial, accessory and glossopharyngeal. Thus, more specialized functions
such as head rotation to orient sensory receptors toward the source of
stimulation, mastication to ingest food, and salivation to initiate
gustatory and digestive processes are integrated into the vagal system\"
(Porges 1995).
See also [**OBJECT
FANCY**](http://members.aol.com/nonverbal2/object.htm){target="_top"},
**[STARTLE
REFLEX](startle1.htm){tppabs="http://members.aol.com/doder1/startle1.htm"
target="_top"}**.
Copyright 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photo by Sisse Brimberg (copyright 2000 by National Geographic
Society)
|
PAIN CUE | https://ns1.omnitech.net/data/Nonverbal/pain1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>pain</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">PAIN CUE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Childbirth" SRC="pain.jpg" tppabs="http://members.aol.com/doder1/objects/pain.jpg" HEIGHT="50%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<EM><FONT SIZE="-1">If you had a hundred masks upon your face, your thoughts however slight would not be hidden
from me</FONT></EM><FONT SIZE="-1">. --Dante Alighieri, </FONT><EM><FONT SIZE="-1">Purgatorio, Canto XV</FONT><FONT SIZE="-1"></FONT></EM></P>
<P><I>Sign</I>. A visible muscle contraction of the <STRONG><A HREF="http://members.aol.com/nonverbal2/face.htm" TARGET="_top">face</A></STRONG> or body in response to unpleasant sensations
of suffering due to physical injury, trauma, or emotional distress.</P>
<P><EM>Usage</EM>. Painful touches to the skin, e.g., may excite the midbrain's reticular area enough to produce a
visible response, such as a facial <EM>wince</EM> or a <EM>frown</EM>. A casual touch from someone we dislike can
produce the same response (because physical and psychic pain cross paths in <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>).</P>
<P><I>Anatomy</I>. Pain may show in <STRONG>a.</STRONG> narrowed or closed eye openings with <STRONG>b.</STRONG> raised cheeks (as the
eye-orbit muscles contract); <STRONG>c.</STRONG> eyebrow-lowering with <STRONG>d.</STRONG> wrinkling on the bridge of the nose (as
corrugator and associated muscles contract); and <STRONG>e.</STRONG> a raised upper-lip with <STRONG>f.</STRONG> wrinkling at sides of
the nose (as levator muscles contract; Prkachin and Craig 1995).<BR>
<BR>
<I>Chest pain</I>. <B>1.</B> "A clenched fist to the centre of the sternum conveys the gripping quality of the pain (Levine's sign . . .) while a flat hand describes the sensation of crushing heaviness . . . . Tight band-like chest pain may be represented by a movement of the palmar surfaces of both hands laterally from the centre of the chest . . ." (Edmondstone 1995). <B>2.</B> "This study has shown that if patients admitted to a coronary care unit illustrate the nature of their chest pain by placing a clenched fist [Levine's sign] or a flat hand on the sternum, or by drawing both palms laterally across their chest, there is a 77% chance that their pain is due to cardiac ischaemia. If they do not use these signs there is an even chance that their pain is non-ischaemic. These signs are not discriminatory, but a positive response lends support to a diagnosis of cardiac ischaemia " (Edmondstone 1995). <BR>
<BR>
<I>Culture</I>. In the Middle East, patting the chest over the heart with the palm of the right hand means, "I need help." "The action mimes a fast heartbeat, implying that the gesturer is in a state of panic" (Morris 1994:148).<BR>
<BR>
<HR>
<B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "This summer I worked around a burn hospital and happened to see a chart with the 'faces of pain' on it. Because the Shriners Hospitals receive patients from all around the world, language is sometimes a barrier; however, this poster is in each room showing different levels of pain depicted in the facial expression. I have been looking for that poster on the internet but cannot locate it." –Debbie (10/27/00 3:00:29 PM Pacific Standard Time)</FONT><FONT SIZE="-1"></FONT>
<HR>
</P>
<P> <I>Wong-Baker FACES Pain Rating Scale</I>. "The success of the Wong-Baker FACES Pain Rating Scale has far exceeded our expectation. We have received numerous requests for the scale and for various types of information, one of them being the development of the instrument. In 1981, Donna Wong, a nurse consultant, and Connie Morain Baker, a child life specialist, were working in the burn center at Hillcrest Medical Center, Tulsa, OK. We frequently saw children who were in pain, and because of their young age, had difficulty communicating how they were feeling. Many times their complaints and cries were misunderstood by the staff, and their pain was not effectively controlled. We believed that we would be able to assess their pain better if the children were given the proper tools to communicate with" (<B><A HREF="http://www1.mosby.com/mosby/wong/">Wong On Web</A></B><A HREF="http://www1.mosby.com/mosby/wong/hcom_wong_face.html"></A>). <BR>
<BR>
See also <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">SPECIAL VISCERAL NERVE</A></STRONG>.</P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (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 Wayne Miller (copyright Wayne Miller)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT><FONT FACE="Courier" SIZE="-1"></FONT><FONT FACE="Courier" SIZE="-1"></FONT></P>
</BODY>
</HTML> | **PAIN CUE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/pain.jpg" height="50%"
width="25%"}\
\
*If you had a hundred masks upon your face, your thoughts however slight
would not be hidden from me*. \--Dante Alighieri, *Purgatorio, Canto XV*
*Sign*. A visible muscle contraction of the
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}** or
body in response to unpleasant sensations of suffering due to physical
injury, trauma, or emotional distress.
*Usage*. Painful touches to the skin, e.g., may excite the midbrain\'s
reticular area enough to produce a visible response, such as a facial
*wince* or a *frown*. A casual touch from someone we dislike can produce
the same response (because physical and psychic pain cross paths in
**[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**).
*Anatomy*. Pain may show in **a.** narrowed or closed eye openings with
**b.** raised cheeks (as the eye-orbit muscles contract); **c.**
eyebrow-lowering with **d.** wrinkling on the bridge of the nose (as
corrugator and associated muscles contract); and **e.** a raised
upper-lip with **f.** wrinkling at sides of the nose (as levator muscles
contract; Prkachin and Craig 1995).\
\
*Chest pain*. **1.** \"A clenched fist to the centre of the sternum
conveys the gripping quality of the pain (Levine\'s sign . . .) while a
flat hand describes the sensation of crushing heaviness . . . . Tight
band-like chest pain may be represented by a movement of the palmar
surfaces of both hands laterally from the centre of the chest . . .\"
(Edmondstone 1995). **2.** \"This study has shown that if patients
admitted to a coronary care unit illustrate the nature of their chest
pain by placing a clenched fist \[Levine\'s sign\] or a flat hand on the
sternum, or by drawing both palms laterally across their chest, there is
a 77% chance that their pain is due to cardiac ischaemia. If they do not
use these signs there is an even chance that their pain is
non-ischaemic. These signs are not discriminatory, but a positive
response lends support to a diagnosis of cardiac ischaemia \"
(Edmondstone 1995).\
\
*Culture*. In the Middle East, patting the chest over the heart with the
palm of the right hand means, \"I need help.\" \"The action mimes a fast
heartbeat, implying that the gesturer is in a state of panic\" (Morris
1994:148).\
\
------------------------------------------------------------------------
***E-Commentary***: \"This summer I worked around a burn hospital and
happened to see a chart with the \'faces of pain\' on it. Because the
Shriners Hospitals receive patients from all around the world, language
is sometimes a barrier; however, this poster is in each room showing
different levels of pain depicted in the facial expression. I have been
looking for that poster on the internet but cannot locate it.\" --Debbie
(10/27/00 3:00:29 PM Pacific Standard Time)
------------------------------------------------------------------------
*Wong-Baker FACES Pain Rating Scale*. \"The success of the Wong-Baker
FACES Pain Rating Scale has far exceeded our expectation. We have
received numerous requests for the scale and for various types of
information, one of them being the development of the instrument. In
1981, Donna Wong, a nurse consultant, and Connie Morain Baker, a child
life specialist, were working in the burn center at Hillcrest Medical
Center, Tulsa, OK. We frequently saw children who were in pain, and
because of their young age, had difficulty communicating how they were
feeling. Many times their complaints and cries were misunderstood by the
staff, and their pain was not effectively controlled. We believed that
we would be able to assess their pain better if the children were given
the proper tools to communicate with\" (**[Wong On
Web](http://www1.mosby.com/mosby/wong/)**[](http://www1.mosby.com/mosby/wong/hcom_wong_face.html)).\
\
See also **[SPECIAL VISCERAL
NERVE](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.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 Wayne Miller (copyright Wayne Miller)
|
PLEASURE CUE | https://ns1.omnitech.net/data/Nonverbal/pleasur1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>pleasure</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">PLEASURE CUE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><EM><FONT SIZE="-1">Pleasure's a sin, and sometimes sin's a pleasure</FONT></EM><FONT SIZE="-1">. --By<FONT SIZE="-1">ron (</FONT><EM><FONT SIZE="-1">Don Juan I</FONT></EM><FONT SIZE="-1">)</FONT><BR>
<BR>
<I>He said the idea, in fact, had come to him over bourbon and water in a roadhouse in Illinois in 1937</I>. --Claudia Levy (1995), on John <FONT SIZE="-1"> V. Atanasoff, inventer of the world's first electronic computer</FONT></FONT><BR>
<BR>
<IMG BORDER="0" ALT="Andy Boozing" SRC="pleasure.jpg" tppabs="http://members.aol.com/doder1/objects/pleasure.jpg" HEIGHT="50%" WIDTH="28%"><BR>
<BR>
<I><FONT SIZE="-1">After a near-fatal car crash and an incident just like A[s] T[he] W[orld] T[urn]'s Andy (he passed out in the garage with the motor running), A..J. [Quartermaine] was sent to rehab in 1992</FONT></I><FONT SIZE="-1">. --</FONT><I><FONT SIZE="-1">General Hospital</FONT></I><FONT SIZE="-1"> (</FONT><I><FONT SIZE="-1">Soap Opera Digest</FONT></I><FONT SIZE="-1">, May 2, 2000, p. 44)</FONT><FONT SIZE="-1"></FONT> </P>
<P><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/afferent.htm" TARGET="_top"><BR>
Afferent signal</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> An incoming auditory, chemical, tactile, vestibular, or visual sign that
produces enjoyment or delight. <STRONG>2.</STRONG> A message addressed to the pleasure pathways of the brain.</P>
<P><EM>Usage</EM>: Many nonverbal cues (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">BIG MAC</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig5.htm" TARGET="_top">LOVE SIGNALS V</A></STRONG>, and <STRONG><A HREF="nicotin1.htm" tppabs="http://members.aol.com/doder1/nicotin1.htm" TARGET="_top">NICOTINE</A></STRONG>) are
addressed to pleasure areas of the brain.<BR>
<BR>
<B><I><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer products</A></I></B>. <B>1.</B> According to trivia expert David Feldman, "'There is a certain sensual thrill to throwing <A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top"><B>shoes</B></A> out of moving cars'" (Oldenberg 1989:C5; see <A HREF="balance1.htm" tppabs="http://members.aol.com/doder1/balance1.htm" TARGET="_top"><B>BALANCE CUE</B></A>, <I>Consumer products I</I>; and <A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top"><B>FEET</B></A>, <I>Neuro-notes</I>). <B>2.</B> "Police say a man stole a snowplow from a Hastings [Nebraska] city storage shed and drove it 20 miles after a major snowstorm to buy a case of beer" (Anonymous 2001B:A8).<BR>
<BR>
<B><I><A HREF="http://members.aol.com/doder1/members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. The secretive, pleasure-seeking habits of media icons are media worthy throughout the world. <B> 1.</B> "In addition to the photos that have conferred such enduring icon status upon Jackie [Jacqueline Kennedy Onassis], [James] Spada includes more surprising shots--of her being thrown from a horse and smoking cigarettes [in his May 2000 book, <I>Jackie: Her Life in Pictures</I>]. (Her three-pack-a-day habit was a well-kept secret.)" (Craig 2000:42). <B>2.</B> As reported in <I>People Weekly</I>, "'He was knocking back tequilas, and the last thing I remember was [<I>Indiana Jones</I> leading man] Harrison [Ford] did one shot and he was on the floor of the bar,' she [Melanie Griffith] recalls" (O'Neill and Cunneff 2000:96).
</P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>. <STRONG>1.</STRONG> "The results of animal behavior studies suggest some
interchangeability between eating food, engaging in sexual behavior and self-administering drugs
. . ." ("Food, Sex and Drugs Vie for Brain's Attention," <EM>Reuters Health</EM>, Jan. 28, 2000). <STRONG>2.</STRONG>
"'Common neurochemicals mediate food and drug response,' Dr. Marilyn Carroll of the
University of Minnesota pointed out. 'In animal studies, sweet and fat preferences predict
alcohol self-administration. Giving preferred foods blocks drug self-administration. In humans,
cigarette abstinence results in weight gain, and ethanol abstinence is associated with eating more
<A HREF="candy1.htm" tppabs="http://members.aol.com/doder1/candy1.htm" TARGET="_top"><B>sweets</B></A>'" (<EM>Reuters Health</EM>, Jan. 28, 2000). <B>3.</B> Functional MRI studies by researchers at the Medical University of South Carolina have found that the prefrontal cortex and the anterior thalamus are activated in alcoholics, but not in moderate drinkers, when viewing pictures of alcoholic beverages (Flapan 2001).</P>
<P><EM>Neuro-notes</EM>. The pleasure pathway ". . . begins at the ventral tegmental area in the midbrain,
which sits on top of the brainstem. In evolutionary terms, this region is very old; it began with
the vertebrates, which appeared 500 million years or so ago. The pathway extends to the nucleus
accumbens, toward the front of the brain. This area is a traffic hub for signals to and from the
addiction pathway and other parts of the brain. The nucleus accumbens is centrally located at the
intersection of the striatum (where motion is begun and controlled) and the limbic system"
(Powledge 1999:513).</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">)<BR>
Detail of <I>As the World Turns</I> photo (copyright by CBS-TV)</FONT><FONT SIZE="-1"></FONT><FONT FACE="Times New Roman"></FONT></P>
</BODY>
</HTML> | **PLEASURE CUE**
*Pleasure\'s a sin, and sometimes sin\'s a pleasure*. \--Byron (*Don
Juan I*)\
\
*He said the idea, in fact, had come to him over bourbon and water in a
roadhouse in Illinois in 1937*. \--Claudia Levy (1995), on John V.
Atanasoff, inventer of the world\'s first electronic computer\
\
{border="0"
tppabs="http://members.aol.com/doder1/objects/pleasure.jpg" height="50%"
width="28%"}\
\
*After a near-fatal car crash and an incident just like A\[s\] T\[he\]
W\[orld\] T\[urn\]\'s Andy (he passed out in the garage with the motor
running), A..J. \[Quartermaine\] was sent to rehab in 1992*. \--*General
Hospital* (*Soap Opera Digest*, May 2, 2000, p. 44)
***[\
Afferent
signal](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}***.
**1.** An incoming auditory, chemical, tactile, vestibular, or visual
sign that produces enjoyment or delight. **2.** A message addressed to
the pleasure pathways of the brain.
*Usage*: Many nonverbal cues (see, e.g., **[BIG
MAC](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}**,
**[LOVE SIGNALS
V](http://members.aol.com/nonverbal2/lovesig5.htm){target="_top"}**, and
**[NICOTINE](nicotin1.htm){tppabs="http://members.aol.com/doder1/nicotin1.htm"
target="_top"}**) are addressed to pleasure areas of the brain.\
\
***[Consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. **1.** According to trivia expert David Feldman,
\"\'There is a certain sensual thrill to throwing
[**shoes**](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}
out of moving cars\'\" (Oldenberg 1989:C5; see [**BALANCE
CUE**](balance1.htm){tppabs="http://members.aol.com/doder1/balance1.htm"
target="_top"}, *Consumer products I*; and
[**FEET**](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm"
target="_top"}, *Neuro-notes*). **2.** \"Police say a man stole a
snowplow from a Hastings \[Nebraska\] city storage shed and drove it 20
miles after a major snowstorm to buy a case of beer\" (Anonymous
2001B:A8).\
\
***[Media](http://members.aol.com/doder1/members.aol.com/nonverbal3/media.htm){target="_top"}***.
The secretive, pleasure-seeking habits of media icons are media worthy
throughout the world. **1.** \"In addition to the photos that have
conferred such enduring icon status upon Jackie \[Jacqueline Kennedy
Onassis\], \[James\] Spada includes more surprising shots\--of her being
thrown from a horse and smoking cigarettes \[in his May 2000 book,
*Jackie: Her Life in Pictures*\]. (Her three-pack-a-day habit was a
well-kept secret.)\" (Craig 2000:42). **2.** As reported in *People
Weekly*, \"\'He was knocking back tequilas, and the last thing I
remember was \[*Indiana Jones* leading man\] Harrison \[Ford\] did one
shot and he was on the floor of the bar,\' she \[Melanie Griffith\]
recalls\" (O\'Neill and Cunneff 2000:96).
***RESEARCH REPORTS***. **1.** \"The results of animal behavior studies
suggest some interchangeability between eating food, engaging in sexual
behavior and self-administering drugs . . .\" (\"Food, Sex and Drugs Vie
for Brain\'s Attention,\" *Reuters Health*, Jan. 28, 2000). **2.**
\"\'Common neurochemicals mediate food and drug response,\' Dr. Marilyn
Carroll of the University of Minnesota pointed out. \'In animal studies,
sweet and fat preferences predict alcohol self-administration. Giving
preferred foods blocks drug self-administration. In humans, cigarette
abstinence results in weight gain, and ethanol abstinence is associated
with eating more
[**sweets**](candy1.htm){tppabs="http://members.aol.com/doder1/candy1.htm"
target="_top"}\'\" (*Reuters Health*, Jan. 28, 2000). **3.** Functional
MRI studies by researchers at the Medical University of South Carolina
have found that the prefrontal cortex and the anterior thalamus are
activated in alcoholics, but not in moderate drinkers, when viewing
pictures of alcoholic beverages (Flapan 2001).
*Neuro-notes*. The pleasure pathway \". . . begins at the ventral
tegmental area in the midbrain, which sits on top of the brainstem. In
evolutionary terms, this region is very old; it began with the
vertebrates, which appeared 500 million years or so ago. The pathway
extends to the nucleus accumbens, toward the front of the brain. This
area is a traffic hub for signals to and from the addiction pathway and
other parts of the brain. The nucleus accumbens is centrally located at
the intersection of the striatum (where motion is begun and controlled)
and the limbic system\" (Powledge 1999:513).
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of *As the World Turns* photo (copyright by CBS-TV)
|
POSTURE | https://ns1.omnitech.net/data/Nonverbal/posture1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>posture</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">POSTURE</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Bowing Head Posture" SRC="posture.jpg" tppabs="http://members.aol.com/doder1/objects/posture.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1">
<BR WP="BR2">
<EM><FONT SIZE="-1">I raised my body erect again as one should walk, though my thoughts remained bowed
down and shrunken</FONT></EM><FONT SIZE="-1">. --Dante Alighieri, </FONT><EM><FONT SIZE="-1">The Divine Comedy</FONT></EM><FONT SIZE="-1">, </FONT><EM><FONT SIZE="-1">Canto XII</FONT></EM></P>
<P><EM>Nonverbal <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG></EM><STRONG></STRONG>. <STRONG>1.</STRONG> A bearing, pose, or stance of the body or it parts: e.g., a <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">crouched</A></STRONG> posture. <STRONG>2.</STRONG>
A fixed, stationary body position as opposed to a fluid <STRONG><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movement</A></STRONG>.</P>
<P><EM>Usage</EM>: When sustained (i.e., held longer than two seconds), a body movement such as a <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">bowed-head</A></STRONG> may be considered a posture. Though duration varies, postures frequently are more
expressive of attitudes, feelings, and moods than are briefer gestures and fleeting motions of the
body.<BR>
<BR>
<I>Primatology</I>. "The stance of a baboon, independently of any specific gesture, may indicate differences in tension and of individual status. . . . . The dominant male baboon tends to walk very directly and 'confidently' through different parts of a feeding area or when moving across country" (Hall and DeVore 1972:166).<BR>
<BR>
<I>Salesmanship</I>. "Your posture is almost military but not stiff and uncomfortable-looking. Your <A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top"><B>shoulders</B></A> are not stooped with the weight of the world, because you are not bent and broken by your burdens " (Delmar 1984:33). </P>
<P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> An early experimental study (by James [1932], based on ratings by
judges) identified four postural categories: <STRONG>a. <EM><A HREF="http://members.aol.com/nonverbal3/immediat.htm" TARGET="_top">forward lean</A></EM></STRONG><EM></EM> ("attentiveness"); <STRONG>b. </STRONG><EM>drawing back</EM> or
<STRONG><EM><A HREF="http://members.aol.com/nonverbal2/angdis.htm" TARGET="_top">turning away</A></EM></STRONG><EM></EM> ("negative," "refusing"); <STRONG>c.</STRONG><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/antigrav.htm" TARGET="_top"> expansion</A></EM></STRONG><EM></EM> ("proud," "conceited," "arrogant"); and <STRONG>d. </STRONG><EM>forward-leaning trunk</EM>, <I>bowed head</I>, <EM>drooping shoulders</EM>, and <EM>sunken chest</EM> ("depressed,"
"downcast," "dejected") (Mehrabian 1972:19). <STRONG>2.</STRONG> Frieda Fromm-Reichmann (1950) inferred
feelings from observing and imitating the postures of psychiatric patients (Mehrabian 1972:17).
<STRONG>3.</STRONG> Albert Mehrabian proposed two primary dimensions of posture: <STRONG>a. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal3/immediat.htm" TARGET="_top">immediacy</A></STRONG>, and <STRONG>b.</STRONG> relaxation (Richmond et al. 1991:63).</P>
<P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>, <STRONG><A HREF="bodywal3.htm" tppabs="http://members.aol.com/doder1/bodywal3.htm" TARGET="_top">BODY WALL</A></STRONG>.</P>
<P><FONT FACE="Times New Roman" SIZE="-1">Copyright 1999, 2000 (David B. Givens/</FONT><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B><FONT FACE="Times New Roman" SIZE="-1">Center for N</FONT><FONT FACE="Times New Roman" SIZE="-1">onverbal Studies</FONT></B></A><B><FONT FACE="Times New Roman" SIZE="-1"></FONT></B><FONT FACE="Times New Roman" SIZE="-1">)<BR>
Detail from photo by Elliott Erwitt (copyright <EM>Magnum, Holiday</EM></FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **POSTURE**
{border="0"
tppabs="http://members.aol.com/doder1/objects/posture.jpg" height="35%"
width="25%"}\
\
*I raised my body erect again as one should walk, though my thoughts
remained bowed down and shrunken*. \--Dante Alighieri, *The Divine
Comedy*, *Canto XII*
*Nonverbal
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}***.
**1.** A bearing, pose, or stance of the body or it parts: e.g., a
**[crouched](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm"
target="_top"}** posture. **2.** A fixed, stationary body position as
opposed to a fluid **[body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**.
*Usage*: When sustained (i.e., held longer than two seconds), a body
movement such as a
**[bowed-head](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}** may be considered a posture. Though duration varies,
postures frequently are more expressive of attitudes, feelings, and
moods than are briefer gestures and fleeting motions of the body.\
\
*Primatology*. \"The stance of a baboon, independently of any specific
gesture, may indicate differences in tension and of individual status. .
. . . The dominant male baboon tends to walk very directly and
\'confidently\' through different parts of a feeding area or when moving
across country\" (Hall and DeVore 1972:166).\
\
*Salesmanship*. \"Your posture is almost military but not stiff and
uncomfortable-looking. Your
[**shoulders**](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}
are not stooped with the weight of the world, because you are not bent
and broken by your burdens \" (Delmar 1984:33).
***RESEARCH REPORTS***: **1.** An early experimental study (by James
\[1932\], based on ratings by judges) identified four postural
categories: **a. *[forward
lean](http://members.aol.com/nonverbal3/immediat.htm){target="_top"}***
(\"attentiveness\"); **b.** *drawing back* or ***[turning
away](http://members.aol.com/nonverbal2/angdis.htm){target="_top"}***
(\"negative,\" \"refusing\"); **c.**
***[expansion](http://members.aol.com/nonverbal2/antigrav.htm){target="_top"}***
(\"proud,\" \"conceited,\" \"arrogant\"); and **d.** *forward-leaning
trunk*, *bowed head*, *drooping shoulders*, and *sunken chest*
(\"depressed,\" \"downcast,\" \"dejected\") (Mehrabian 1972:19). **2.**
Frieda Fromm-Reichmann (1950) inferred feelings from observing and
imitating the postures of psychiatric patients (Mehrabian 1972:17).
**3.** Albert Mehrabian proposed two primary dimensions of posture:
**a.**
**[immediacy](http://members.aol.com/nonverbal3/immediat.htm){target="_top"}**,
and **b.** relaxation (Richmond et al. 1991:63).
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.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 from photo by Elliott Erwitt (copyright *Magnum, Holiday*)
|
POWER GRIP | https://ns1.omnitech.net/data/Nonverbal/power1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>power</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><STRONG><FONT SIZE="+1">POWER GRIP</FONT><FONT SIZE="+1"></FONT></STRONG></P>
<P><IMG BORDER="0" ALT="Power Grips" SRC="power.jpg" tppabs="http://members.aol.com/doder1/objects/power.jpg" HEIGHT="35%" WIDTH="35%"><BR WP="BR1">
<BR WP="BR2">
<EM><B><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">Body movement</A></B></EM>. <STRONG>1.</STRONG> A manner of grasping an object tightly, in a usually closed <STRONG><A HREF="fist1.htm" tppabs="http://members.aol.com/doder1/fist1.htm" TARGET="_top">fist</A></STRONG>, between the palm and
fingers. <STRONG>2.</STRONG> To clutch, hold, or seize a bat, branch, club, or other object firmly with the hand.</P>
<P><EM>Usage I</EM>: Our tight-fisted gestures given in <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, arousal, and <STRONG><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></STRONG> employ the muscles and neural circuits of the
power grip. Unlike its cerebral cousin--the <STRONG><A HREF="http://members.aol.com/nonverbal2/precise.htm" TARGET="_top">precision grip</A></STRONG>--the power grip has its roots in a
primitive <I>grasping reflex</I>, and often signals an <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotional</A></STRONG> rather than a reasonable response.</P>
<P><FONT FACE="Times New Roman"><EM>Usage II</EM>: Holding objects tightly (e.g., steering wheels, posts, and handrails) is curiously
pleasurable (perhaps as a holdover from our primate past and penchant for
climbing trees; see <STRONG><A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top">PRIMATE BRAIN</A></STRONG>). Thus, power-gripping sports such as baseball, tennis,
and <STRONG><A HREF="golf.htm" tppabs="http://members.aol.com/nonverbal3/golf.htm" TARGET="_top">golf</A></STRONG> are very popular today (see <STRONG><A HREF="http://members.aol.com/nonverbal2/branch.htm" TARGET="_top">BRANCH SUBSTITUTE</A></STRONG>).<BR>
<BR>
<I>Culture</I>. In Syria, clenching both hands in power grips, and raising them together over the midriff, with the thumbs positioned outward--as if stretching a rope--means, "I will strangle you" (Morris 1994:74).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Embryology</EM>. </FONT><FONT FACE="Times New Roman">"A newborn infant has a grasp and a reaching reflex. He will automatically close
his fingers tightly around any object placed in the palm of his hand" (Chase and Rubin
1979:177).</FONT><FONT FACE="Times New Roman"></FONT></P>
<P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Evolution</EM>. The power grip originated as a primate adaptation for <EM>climbing</EM>.<BR>
<BR>
<I>Neuro-notes</I>. <FONT FACE="Times New Roman"> In grasping a racket or a club,
sensory feedback to the motor cortex may unconsciously tighten our grip. Stimulated by grasping,
pressure-sensitive tactile receptors cause further excitement and contraction of muscles to unwittingly increase the tightness of our grip.</FONT></FONT></P>
<P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">HANDS</A></STRONG>, <A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top"><B>OBJECT FANCY</B></A>.</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 from photo by Jakob Tuggener</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **POWER GRIP**
{border="0"
tppabs="http://members.aol.com/doder1/objects/power.jpg" height="35%"
width="35%"}\
\
***[Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. **1.** A manner of grasping an object tightly, in a
usually closed
**[fist](fist1.htm){tppabs="http://members.aol.com/doder1/fist1.htm"
target="_top"}**, between the palm and fingers. **2.** To clutch, hold,
or seize a bat, branch, club, or other object firmly with the hand.
*Usage I*: Our tight-fisted gestures given in
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
arousal, and
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**
employ the muscles and neural circuits of the power grip. Unlike its
cerebral cousin\--the **[precision
grip](http://members.aol.com/nonverbal2/precise.htm){target="_top"}**\--the
power grip has its roots in a primitive *grasping reflex*, and often
signals an
**[emotional](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
rather than a reasonable response.
*Usage II*: Holding objects tightly (e.g., steering wheels, posts, and
handrails) is curiously pleasurable (perhaps as a holdover from our
primate past and penchant for climbing trees; see **[PRIMATE
BRAIN](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**).
Thus, power-gripping sports such as baseball, tennis, and
**[golf](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm"
target="_top"}** are very popular today (see **[BRANCH
SUBSTITUTE](http://members.aol.com/nonverbal2/branch.htm){target="_top"}**).\
\
*Culture*. In Syria, clenching both hands in power grips, and raising
them together over the midriff, with the thumbs positioned outward\--as
if stretching a rope\--means, \"I will strangle you\" (Morris 1994:74).
*Embryology*. \"A newborn infant has a grasp and a reaching reflex. He
will automatically close his fingers tightly around any object placed in
the palm of his hand\" (Chase and Rubin 1979:177).
*Evolution*. The power grip originated as a primate adaptation for
*climbing*.\
\
*Neuro-notes*. In grasping a racket or a club, sensory feedback to the
motor cortex may unconsciously tighten our grip. Stimulated by grasping,
pressure-sensitive tactile receptors cause further excitement and
contraction of muscles to unwittingly increase the tightness of our
grip.
See also
**[HANDS](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
[**OBJECT
FANCY**](http://members.aol.com/nonverbal2/object.htm){target="_top"}.
Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail from photo by Jakob Tuggener
|
PROXEMICS | https://ns1.omnitech.net/data/Nonverbal/proxemi1.htm | <HTML>
<HEAD>
<META NAME="Generator" CONTENT="Corel WordPerfect 8">
<TITLE>proxemic</TITLE>
</HEAD>
<BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0">
<P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>PROXEMICS</STRONG></FONT></P>
<P><IMG BORDER="0" ALT="Bodies in Space" SRC="proxemic.jpg" tppabs="http://members.aol.com/doder1/objects/proxemic.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1">
<BR WP="BR2">
<FONT FACE="Times New Roman" SIZE="-1"><I>I have learned to depend more on what people do than what they say in response to a direct
question, to pay close attention to that which cannot be consciously manipulated, and to look for
patterns rather than content</I>. --Edward T. Hall (1968:83)</FONT></P>
<P><FONT FACE="Times New Roman" SIZE="-1">. . . <I>Every cubic inch of space is a miracle</I>. --Walt Whitman (<I>Leaves of Grass</I>, "Miracles")<BR>
<BR>
<I>The desire for personal mobility seems to be unstoppable--it is, perhaps, the Irresistible Force</I>. --Charles Lave (1992)<BR>
<BR>
<BR>
</FONT><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><EM>Spatial signs, signals and cues</EM>.</FONT> According to its founder, Edward T. Hall, proxemics is the study of humankind's
"perception and use of space" (Hall 1968:83).</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Usage</EM>: Like <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial expressions</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></STRONG>, and <STRONG><A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top">postures</A></STRONG>, space "speaks." The prime directive of
proxemic space is that we may not come and go everywhere as we please. There are cultural
rules and biological boundaries--explicit as well as implicit and subtle limits to observe--everywhere.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Body space I</EM>. Scientific research on how we communicate in private and public spaces
began with studies of animal behavior (ethology) and territoriality in the 19th and early 20th centuries. In
1959, the anthropologist Edward Hall popularized spatial research on human beings--calling it
<EM>proxemics</EM>--in his classic book, <EM>The Silent Language</EM>.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>Body space II</EM>. Hall identified four bodily distances--<EM>intimate</EM> (0 to 18 inches), <EM>personal-casual</EM>
(1.5 to 4 feet), <EM>social-consultive</EM> (4 to 10 feet), and <EM>public</EM> (10 feet and beyond)--as key points in
human spacing behavior. Hall noted, too, that different cultures set distinctive norms for closeness in, e.g.,
<A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top"><B>speaking</B></A>, business, and <A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top"><B>courting</B></A>, and that standing too close or too far away can lead to
misunderstandings and even to <EM>culture shock</EM>.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Body space III</EM>. Summarizing diverse studies, <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman">Vrugt and Kerkstra (1984:5) concluded that, "In interaction between strangers the interpersonal distance between women is smaller than between men and women."</FONT></FONT></FONT></FONT></FONT></FONT></FONT><BR>
<BR>
<I>Crowded space I</I>. "<I>A persistent and popular view holds that high population density inevitably leads to violence. This myth, which is based on rat research, applies neither to us nor to other primates</I>" (Waal et al. 2000:77).<BR>
<BR>
<FONT FACE="Times New Roman"><I>Crowded space II</I>. "This pathological togetherness [resulting from a rat population explosion which led to killing, sexual assaults, and cannibalism], as Calhoun [1962] described it, as well as the attendant chaos and behavioral deviancy, led him to coin the phrase 'behavioral sink'" (<FONT FACE="Times New Roman">Waal et al. 2000:77</FONT>).<BR>
<BR>
<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><I>Crowded space III</I>. "<I>In some of the short-term crowding experiments conducted by others and ourselves, monkeys were literally packed together, without much room to avoid body contact, in a cramped space for periods of up to a few hours. No dramatic aggression increases were measured. In fact, in my last conversation with the late John Calhoun, he mentioned having created layers of rats on top of each other and having been surprised at how passively they reacted</I>" (Waal 2000:10).<BR>
<BR>
<I>Culture</I>. In Japan, one may <I>hand prow</I> (i.e., face the palm-edge of one hand vertically forward in front of the nose), and <A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top"><B>bow</B></A> the head slightly, to aplogize for crossing between two people, or intruding into another's space to move through a crowded room. "The hand acts like the prow of a ship cutting through water" (Morris 1994:115).</FONT></FONT><BR>
<BR>
<I>Elevator space</I>. <B>1.</B> "In choosing to approach someone in order to push the [button on the control] panel, men and women reacted to different signals (Hughes and Goldman 1978); men preferred to approach people who stood with eyes averted to people who looked at them and smiled; women, however, preferred to approach someone who looked and smiled"<FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"> (Vrugt and Kerkstra 1984:9). </FONT></FONT></FONT></FONT><B>2.</B> "Chimpanzees take this withdrawal tactic one step further: they are actually less aggressive when briefly crowded. Again, this reflects greater [primate] emotional restraint. Their reaction is reminiscent of people on an elevator, who reduce frictions by minimizing large body movements, <A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top"><B>eye contact</B></A> and loud vocalizations" <FONT FACE="Times New Roman"><FONT FACE="Times New Roman">(<FONT FACE="Times New Roman">Waal et al. 2000:81</FONT>).<BR>
<BR>
<I>Escalator space</I>. "Men reacted more to the person standing [immediately, i.e., just one step behind, with the hands reaching forward on the rail so as to be visible to the person ahead] behind them than did women" (Vrugt and Kerkstra 1984:9). "Women seem to prefer to act as if they do not notice anything, so that unwanted contact can be avoided. Men make it clear in their reactions that they do not appreciate such a rapprochement" <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><FONT FACE="Times New Roman">(Vrugt and Kerkstra 1984:10).<BR>
<BR>
<I>Library space</I>. Regardless of an "invader's" sex, men already seated at an otherwise unoccupied table view opposites most negatively, while already seated women view adjacents most negatively (Fisher and Byrne 1975).</FONT></FONT></FONT></FONT></FONT></FONT></FONT><BR>
<BR>
<I>Parking space</I>. "A study of more than 400 drivers at an Atlanta-area mall parking lot found that motorists defend their spots instinctively" (AP, May 13, 1997; from research published in the <I>Journal of Applied Social Psychology</I>, May 1997). "It's not your paranoid imagination after all: People exiting parking spaces really do leave more slowly when you're waiting for the spot . . . . It's called territorial behavior . . ." <FONT FACE="Times New Roman">(AP, May 13, 1997</FONT>). </FONT></P>
<P><FONT FACE="Times New Roman"><EM>Office space I</EM>. Office workers spend the day in an average 260 square-foot (down from 1986's 275 square-foot), usually rectangular space. Corporate downsizing and belt-tightening mean that many staffers now find themselves
working in even smaller, modular, 80-square-foot <EM>cubicles</EM>. (<STRONG><I>N.B.</I></STRONG>: For some prehistoric context, consider
that our hunter-gatherer ancestors spent their workdays on an estimated 440-square-<I>mile</I> expanse
of open savannah.) Cubicles replaced the more exposed, "pool" desks which had earlier lined the
floors of cavernous group-occupied workrooms. Though maligned in Dilbert cartoons, cubicles at least
provide more privacy than the 1950s open workrooms, and offer needed respite from visual monitoring (which is known to be stressful to human primates)</FONT><FONT FACE="Times New Roman"><EM></EM>.<BR>
<BR>
<FONT FACE="Times New Roman"><EM>Office space II</EM>. "German business personnel visiting the United States see our open doors in offices and businesses as indicative of an unusually relaxed and unbusinesslike attitude. Americans get the feeling that the German's [sic] closed doors conceal a secretive or conspiratorial operation" (Vargas 1986:98). <BR>
<BR>
<I>Restaurant space</I>. Corner and wall tables are occupied first (Eibl-Eibesfeldt 1970).</FONT></FONT></P>
<P><FONT FACE="Times New Roman"><EM>Home space I</EM>. Americans spend an estimated 70 years indoors, mostly in the secure habitat
of an average-sized, 2,000-square-foot residences called a <EM>home</EM> (from the Indo-European root,
<STRONG>tkei-</STRONG>, "settle" or "site"). (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Because there is no counterpart in primate evolution for a life lived
entirely indoors, we bring the outdoors in. Thus, better homes and gardens include obvious replicas, as well as
subtle reminders, of the original savanna-grassland territory, including its warmth, lighting, colors,
vistas, textures, and plants.)<BR>
<BR>
</FONT><I>Home space II</I>. Upon re-entering our home (after several hours of absence), we feel a peculiar need to wander about the home space to "check" for intruders. In mammals, this behavior is known as <I>reconnaisance</I>: ". . . in which the animal moves round its range in a fully alerted manner so that all its sense organs are used as much as possible, resulting in maximal exposure to stimuli from the environment. It thus 'refreshes its memory' and keeps a check on everything in its area" [this is "a regular activity in an already familiar environment," which does "not require the stimulus of a strange object"] (Ewer 1968:66). </P>
<P><FONT FACE="Times New Roman"><EM>Neighborhood space</EM>. The prime directive of neighborhood space is, "Stay in your own yard."
That we are terribly territorial is reflected in fences by the barriers they define. According
to the American Fencing Association, 38,880 miles of chain link, 31,680 miles of wooden, and
1,440 miles of ornamental fencing are bought annually in the U.S. (<STRONG><I>N.B.</I></STRONG>: Each year Americans
buy enough residential fencing to encircle the earth nearly three times.)</FONT></P>
<P><FONT FACE="Times New Roman"><EM>City space I</EM>. Biologists call the space in which primates live their <EM>home range</EM>. The home range of
human hunter-gatherers (e.g., of the Kalahari Bushmen in southern Africa) spreads outward ca. 15-to-20 miles in all
directions from a central <EM>home base</EM>. The home range of today's city dwelling humans
includes a home base (an apartment or a house) as well, along with favored foraging territories (e.g., a
shopping mall and supermarket), a juvenile nursery (i.e., a school), a sporting area (e.g., a <STRONG><A HREF="golf.htm" tppabs="http://members.aol.com/nonverbal3/golf.htm" TARGET="_top">golf</A></STRONG> course), a work
space (an office building, e.g.)--and from two-to-five nocturnal drinking-and-dining spots. We
spend most of our lives <B>a.</B> occupying these favorite spaces, and <B>b.</B> orbiting among them on habitually
traveled pathways, sidewalks, and roads.</FONT></P>
<P><FONT FACE="Times New Roman"><EM>City space II</EM>. "<I>Fixing Broken Windows</I>, a book by [Rutgers criminologist George] Kelling and co-author Catherine Coles, became a bible for New York City's 'zero-tolerance' policy toward abandoned cars, abandoned buildings and even graffiti. [new paragraph] "Kelling and Coles argue that even small signs of crime and decay in a neighborhood, such as broken windows, encourage crime by signaling that such behavior is tolerated" (Bayles 2000: 3A). <BR>
<BR>
<EM>National space</EM>. We live in one of ca. 160 sovereign nations which together claim 54% of earth's
surface, including almost all of its land and much of its oceans, waterways, and airspace. Over
ninety percent of all nations, including the U.S., have unresolved border disputes (see <FONT FACE="Times New Roman"><A HREF="http://www.army.mil/"><I><B>WWW.Army.mil</B></I></A></FONT>).</FONT></P>
<P><I>Outer space</I>. <I>No national sovereignty rules in outer space. Those who venture there go as envoys of the entire human race. Their quest, therefore, must be for all mankind, and what they find should belong to all mankind</I>. --Lyndon Baines Johnson<BR>
<BR>
<I>U.S. politics</I>. "Distance between two shakers who are still connected at the hand signifies either distrust, aloofness, or reserve. Democratic presidential candidate Michael Dukakis, often criticized in the media for his lack of passion in his campaign style, tends to shake hands by planting his feet and extending his right arm out to meet the oncoming hand of the other shaker" (Blum 1988:7-4). <BR>
<BR>
<I>Neuro-notes I</I>. <B>1.</B> In imaging studies of our brain, the neural basis of spatial location and navigation shows activation of the right hippocampus. Travel to a place activates the right caudate nucleus of the <A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top"><B>basal ganglia</B></A> (Maguire et al. 1998). <B>2.</B> "The navigation system includes special 'place cells' and 'direction cells' [in the hippocampus] that flicker visibly in MRI images when a research subject tries to find his or her way through a simulated urban environment" (Boyd 2000). <B>3.</B> "A section of the [London taxi] cabbies' brains, called the hippocampus, became enlarged during the two years they spent learning their way around the vast, complicated metropolis" (Boyd 2000; see <A HREF="http://members.aol.com/nonverbal3/primate.htm" TARGET="_top"><B>PRIMATE BRAIN</B></A>, <I>Climbing cues</I>). <BR>
<BR>
<I>Neuro-notes II</I>. Damage to the right parietal lobe's angular gyrus and supra-marginal gyrus may cause problems in our ability to use space (such as, e.g., a difficulty in dressing, problems orienting in space, trouble drawing figures in 3D, and neglect of the body's entire left side). Lesions in the right hemisphere's parietal lobe may affect our spatial comprehension.<BR>
<BR>
<FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>, <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">CONFERENCE TABLE</A></STRONG>, <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">LOOM</A></STRONG>,
<STRONG><A HREF="steinzor.htm" tppabs="http://members.aol.com/nonverbal3/steinzor.htm" TARGET="_top">STEINZOR EFFECT</A></STRONG>, <STRONG><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">TOUCH 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>
Photo by Sanford Roth (copyright <EM>Rapho Guillumette</EM>)<BR>
</FONT></P>
</BODY>
</HTML> | **PROXEMICS**
{border="0"
tppabs="http://members.aol.com/doder1/objects/proxemic.jpg" height="35%"
width="30%"}\
\
*I have learned to depend more on what people do than what they say in
response to a direct question, to pay close attention to that which
cannot be consciously manipulated, and to look for patterns rather than
content*. \--Edward T. Hall (1968:83)
. . . *Every cubic inch of space is a miracle*. \--Walt Whitman (*Leaves
of Grass*, \"Miracles\")\
\
*The desire for personal mobility seems to be unstoppable\--it is,
perhaps, the Irresistible Force*. \--Charles Lave (1992)\
\
\
*Spatial signs, signals and cues*. According to its founder, Edward T.
Hall, proxemics is the study of humankind\'s \"perception and use of
space\" (Hall 1968:83).
*Usage*: Like **[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
and
**[postures](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, space \"speaks.\" The prime directive of proxemic
space is that we may not come and go everywhere as we please. There are
cultural rules and biological boundaries\--explicit as well as implicit
and subtle limits to observe\--everywhere.
*Body space I*. Scientific research on how we communicate in private and
public spaces began with studies of animal behavior (ethology) and
territoriality in the 19th and early 20th centuries. In 1959, the
anthropologist Edward Hall popularized spatial research on human
beings\--calling it *proxemics*\--in his classic book, *The Silent
Language*.
*Body space II*. Hall identified four bodily distances\--*intimate* (0
to 18 inches), *personal-casual* (1.5 to 4 feet), *social-consultive* (4
to 10 feet), and *public* (10 feet and beyond)\--as key points in human
spacing behavior. Hall noted, too, that different cultures set
distinctive norms for closeness in, e.g.,
[**speaking**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}, business, and
[**courting**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}, and that standing too close or too far away can lead to
misunderstandings and even to *culture shock*.\
\
*Body space III*. Summarizing diverse studies, Vrugt and Kerkstra
(1984:5) concluded that, \"In interaction between strangers the
interpersonal distance between women is smaller than between men and
women.\"\
\
*Crowded space I*. \"*A persistent and popular view holds that high
population density inevitably leads to violence. This myth, which is
based on rat research, applies neither to us nor to other primates*\"
(Waal et al. 2000:77).\
\
*Crowded space II*. \"This pathological togetherness \[resulting from a
rat population explosion which led to killing, sexual assaults, and
cannibalism\], as Calhoun \[1962\] described it, as well as the
attendant chaos and behavioral deviancy, led him to coin the phrase
\'behavioral sink\'\" (Waal et al. 2000:77).\
\
*Crowded space III*. \"*In some of the short-term crowding experiments
conducted by others and ourselves, monkeys were literally packed
together, without much room to avoid body contact, in a cramped space
for periods of up to a few hours. No dramatic aggression increases were
measured. In fact, in my last conversation with the late John Calhoun,
he mentioned having created layers of rats on top of each other and
having been surprised at how passively they reacted*\" (Waal 2000:10).\
\
*Culture*. In Japan, one may *hand prow* (i.e., face the palm-edge of
one hand vertically forward in front of the nose), and
[**bow**](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"} the head slightly, to aplogize for crossing between two
people, or intruding into another\'s space to move through a crowded
room. \"The hand acts like the prow of a ship cutting through water\"
(Morris 1994:115).\
\
*Elevator space*. **1.** \"In choosing to approach someone in order to
push the \[button on the control\] panel, men and women reacted to
different signals (Hughes and Goldman 1978); men preferred to approach
people who stood with eyes averted to people who looked at them and
smiled; women, however, preferred to approach someone who looked and
smiled\" (Vrugt and Kerkstra 1984:9). **2.** \"Chimpanzees take this
withdrawal tactic one step further: they are actually less aggressive
when briefly crowded. Again, this reflects greater \[primate\] emotional
restraint. Their reaction is reminiscent of people on an elevator, who
reduce frictions by minimizing large body movements, [**eye
contact**](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}
and loud vocalizations\" (Waal et al. 2000:81).\
\
*Escalator space*. \"Men reacted more to the person standing
\[immediately, i.e., just one step behind, with the hands reaching
forward on the rail so as to be visible to the person ahead\] behind
them than did women\" (Vrugt and Kerkstra 1984:9). \"Women seem to
prefer to act as if they do not notice anything, so that unwanted
contact can be avoided. Men make it clear in their reactions that they
do not appreciate such a rapprochement\" (Vrugt and Kerkstra 1984:10).\
\
*Library space*. Regardless of an \"invader\'s\" sex, men already seated
at an otherwise unoccupied table view opposites most negatively, while
already seated women view adjacents most negatively (Fisher and Byrne
1975).\
\
*Parking space*. \"A study of more than 400 drivers at an Atlanta-area
mall parking lot found that motorists defend their spots instinctively\"
(AP, May 13, 1997; from research published in the *Journal of Applied
Social Psychology*, May 1997). \"It\'s not your paranoid imagination
after all: People exiting parking spaces really do leave more slowly
when you\'re waiting for the spot . . . . It\'s called territorial
behavior . . .\" (AP, May 13, 1997).
*Office space I*. Office workers spend the day in an average 260
square-foot (down from 1986\'s 275 square-foot), usually rectangular
space. Corporate downsizing and belt-tightening mean that many staffers
now find themselves working in even smaller, modular, 80-square-foot
*cubicles*. (***N.B.***: For some prehistoric context, consider that our
hunter-gatherer ancestors spent their workdays on an estimated
440-square-*mile* expanse of open savannah.) Cubicles replaced the more
exposed, \"pool\" desks which had earlier lined the floors of cavernous
group-occupied workrooms. Though maligned in Dilbert cartoons, cubicles
at least provide more privacy than the 1950s open workrooms, and offer
needed respite from visual monitoring (which is known to be stressful to
human primates).\
\
*Office space II*. \"German business personnel visiting the United
States see our open doors in offices and businesses as indicative of an
unusually relaxed and unbusinesslike attitude. Americans get the feeling
that the German\'s \[sic\] closed doors conceal a secretive or
conspiratorial operation\" (Vargas 1986:98).\
\
*Restaurant space*. Corner and wall tables are occupied first
(Eibl-Eibesfeldt 1970).
*Home space I*. Americans spend an estimated 70 years indoors, mostly in
the secure habitat of an average-sized, 2,000-square-foot residences
called a *home* (from the Indo-European root, **tkei-**, \"settle\" or
\"site\"). (***N.B.***: Because there is no counterpart in primate
evolution for a life lived entirely indoors, we bring the outdoors in.
Thus, better homes and gardens include obvious replicas, as well as
subtle reminders, of the original savanna-grassland territory, including
its warmth, lighting, colors, vistas, textures, and plants.)\
\
*Home space II*. Upon re-entering our home (after several hours of
absence), we feel a peculiar need to wander about the home space to
\"check\" for intruders. In mammals, this behavior is known as
*reconnaisance*: \". . . in which the animal moves round its range in a
fully alerted manner so that all its sense organs are used as much as
possible, resulting in maximal exposure to stimuli from the environment.
It thus \'refreshes its memory\' and keeps a check on everything in its
area\" \[this is \"a regular activity in an already familiar
environment,\" which does \"not require the stimulus of a strange
object\"\] (Ewer 1968:66).
*Neighborhood space*. The prime directive of neighborhood space is,
\"Stay in your own yard.\" That we are terribly territorial is reflected
in fences by the barriers they define. According to the American Fencing
Association, 38,880 miles of chain link, 31,680 miles of wooden, and
1,440 miles of ornamental fencing are bought annually in the U.S.
(***N.B.***: Each year Americans buy enough residential fencing to
encircle the earth nearly three times.)
*City space I*. Biologists call the space in which primates live their
*home range*. The home range of human hunter-gatherers (e.g., of the
Kalahari Bushmen in southern Africa) spreads outward ca. 15-to-20 miles
in all directions from a central *home base*. The home range of today\'s
city dwelling humans includes a home base (an apartment or a house) as
well, along with favored foraging territories (e.g., a shopping mall and
supermarket), a juvenile nursery (i.e., a school), a sporting area
(e.g., a
**[golf](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm"
target="_top"}** course), a work space (an office building, e.g.)\--and
from two-to-five nocturnal drinking-and-dining spots. We spend most of
our lives **a.** occupying these favorite spaces, and **b.** orbiting
among them on habitually traveled pathways, sidewalks, and roads.
*City space II*. \"*Fixing Broken Windows*, a book by \[Rutgers
criminologist George\] Kelling and co-author Catherine Coles, became a
bible for New York City\'s \'zero-tolerance\' policy toward abandoned
cars, abandoned buildings and even graffiti. \[new paragraph\] \"Kelling
and Coles argue that even small signs of crime and decay in a
neighborhood, such as broken windows, encourage crime by signaling that
such behavior is tolerated\" (Bayles 2000: 3A).\
\
*National space*. We live in one of ca. 160 sovereign nations which
together claim 54% of earth\'s surface, including almost all of its land
and much of its oceans, waterways, and airspace. Over ninety percent of
all nations, including the U.S., have unresolved border disputes (see
[***WWW.Army.mil***](http://www.army.mil/)).
*Outer space*. *No national sovereignty rules in outer space. Those who
venture there go as envoys of the entire human race. Their quest,
therefore, must be for all mankind, and what they find should belong to
all mankind*. \--Lyndon Baines Johnson\
\
*U.S. politics*. \"Distance between two shakers who are still connected
at the hand signifies either distrust, aloofness, or reserve. Democratic
presidential candidate Michael Dukakis, often criticized in the media
for his lack of passion in his campaign style, tends to shake hands by
planting his feet and extending his right arm out to meet the oncoming
hand of the other shaker\" (Blum 1988:7-4).\
\
*Neuro-notes I*. **1.** In imaging studies of our brain, the neural
basis of spatial location and navigation shows activation of the right
hippocampus. Travel to a place activates the right caudate nucleus of
the [**basal
ganglia**](http://members.aol.com/nonverbal2/basal.htm){target="_top"}
(Maguire et al. 1998). **2.** \"The navigation system includes special
\'place cells\' and \'direction cells\' \[in the hippocampus\] that
flicker visibly in MRI images when a research subject tries to find his
or her way through a simulated urban environment\" (Boyd 2000). **3.**
\"A section of the \[London taxi\] cabbies\' brains, called the
hippocampus, became enlarged during the two years they spent learning
their way around the vast, complicated metropolis\" (Boyd 2000; see
[**PRIMATE
BRAIN**](http://members.aol.com/nonverbal3/primate.htm){target="_top"},
*Climbing cues*).\
\
*Neuro-notes II*. Damage to the right parietal lobe\'s angular gyrus and
supra-marginal gyrus may cause problems in our ability to use space
(such as, e.g., a difficulty in dressing, problems orienting in space,
trouble drawing figures in 3D, and neglect of the body\'s entire left
side). Lesions in the right hemisphere\'s parietal lobe may affect our
spatial comprehension.\
\
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[CONFERENCE
TABLE](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**,
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**, **[STEINZOR
EFFECT](steinzor.htm){tppabs="http://members.aol.com/nonverbal3/steinzor.htm"
target="_top"}**, **[TOUCH
CUE](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}**.
Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo by Sanford Roth (copyright *Rapho Guillumette*)\
|
RAPPORT | https://ns1.omnitech.net/data/Nonverbal/rapport1.htm | <HTML>
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<P><FONT SIZE="+1"><STRONG><A NAME="RAPPORT">RAPPORT<BR>
<BR>
<IMG BORDER="0" ALT="Let's Do Lunch" SRC="rapport.jpg" tppabs="http://members.aol.com/nonverbal3/objects/rapport.jpg" HEIGHT="35%" WIDTH="50%"></A></STRONG></FONT></P>
<P><I><FONT SIZE="-1">A 1997 study by the Center for Creative Leadership in Greensboro, N.C., with Manchester Partners International, says that even in this tight job market, 40 percent of management hires fail, and the key reason for the turnover (82 percent) is their inability to build good relationships with peers and subordinates</FONT></I><FONT SIZE="-1">. --</FONT><I><FONT SIZE="-1">San Diego Union-Tribune</FONT></I><FONT SIZE="-1"> (Anonymous 1998)<BR>
<BR>
</FONT><I><FONT SIZE="-1">The subtlety of making impressions demands self-awareness</FONT></I><FONT SIZE="-1"> . . . .</FONT><FONT SIZE="-1"></FONT><FONT SIZE="-1"> --Mark H. McCormack (</FONT><I><FONT SIZE="-1">What They Don't Teach You at Harvard Business School</FONT></I><FONT SIZE="-1">, 1984:27)</FONT><BR>
<BR>
<EM>Relationship</EM>. A pleasant feeling of mutual trust, affinity, and friendship
established through <A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top"><B>verbal</B></A> and <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal</A></STRONG> means.</P>
<P><EM>Usage</EM>: Rapport shows in <STRONG>a.</STRONG> reduced <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">angular distance</A></STRONG>, <STRONG>b.</STRONG> direct <STRONG><A HREF="align1.htm" tppabs="http://members.aol.com/doder1/align1.htm" TARGET="_top">body alignment</A></STRONG>,
<STRONG>c.</STRONG> mutual <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye contact</A></STRONG>, and <STRONG>d. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/palmup.htm" TARGET="_top">palm-up</A></STRONG> cues; and in the <STRONG>e.</STRONG> eyebrow-flash, <STRONG>f. </STRONG><STRONG><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">head-nod</A></STRONG>, <STRONG>g. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal3/laugh.htm" TARGET="_top">laugh</A></STRONG>, <STRONG>h. </STRONG><STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">shoulder-shrug</A></STRONG>, and <STRONG>i. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top">zygomatic smile</A></STRONG>.</P>
<P><I>Business</I>. "Don't exploit rapport; build it for future business" (Doreen K. Givens, N.D., personal communication).<BR>
<BR>
<EM>Observation</EM>. We use many of the same childlike cues sent and received in <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courtship</A></STRONG> to
establish rapport in business (e.g., to please customers, solicit clients, and woo colleagues; see
<STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>).<BR>
<BR>
<I>Personal chemistry</I>. "Personal chemistry helps people rise above their competition to be selected and hold jobs they're offered. The ability to work well with others is often the defining reason one person is selected over another" (Anonymous 1998:C-1).</P>
<P><I>Salesmanship</I>. "Your nonverbal strategy . . . is not to mirror the prospect's stiff, closed posture but to lead him into more relaxed, open postures by your example" (Delmar 1984:43-4).<BR>
<BR>
<I>Word origin</I>. <EM>Rapport</EM> derives from Old French ("to bring back") via Latin ("to carry"), from
the 7,000 year-old Proto-Indo-European root, <EM>per-</EM><SUP>2</SUP>, "fellow traveler" (Soukhanov 1993; see <A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top"><B>WALK</B></A>).
Nonverbally, traveling together motivates bonding through feelings of <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">isopraxism</A></STRONG>.<BR>
<BR>
<STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <B>1.</B> "We can observe how in human beings conversation is practiced as a bond-forming ritual. In such conversations hardly any factual information is passed on, as they consist largely of extremely banal, constantly repeated statements concerning such matters as the weather" (Eibl-Eibesfeldt 1971:151). <STRONG>2.</STRONG> "Salesmen may court prospects over <STRONG><A HREF="lunch1.htm" tppabs="http://members.aol.com/doder1/lunch1.htm" TARGET="_top">lunch</A></STRONG>, using the full range of
seductive units to solicit a warm social bond which may be exploited economically. . ." (Givens
1978A:358). <STRONG>3.</STRONG> "More smiling, facial pleasantness, head nods, frequent and open gestures, and
eyebrow raises have the same effects as more <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">gaze</A></STRONG>: They accompany a desire for intimacy. . ."
(Burgoon et al. 1989:322).</P>
<P>Antonym: <STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">FIGHT-OR-FLIGHT</A></STRONG>. See also <STRONG><A HREF="http://members.aol.com/nonverbal2/immediat.htm" TARGET="_top">IMMEDIACY</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 photo by Robert Frank (copyright Robert Frank)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[RAPPORT\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/rapport.jpg"
height="35%" width="50%"}]{#RAPPORT}**
*A 1997 study by the Center for Creative Leadership in Greensboro, N.C.,
with Manchester Partners International, says that even in this tight job
market, 40 percent of management hires fail, and the key reason for the
turnover (82 percent) is their inability to build good relationships
with peers and subordinates*. \--*San Diego Union-Tribune* (Anonymous
1998)\
\
*The subtlety of making impressions demands self-awareness* . . . .
\--Mark H. McCormack (*What They Don\'t Teach You at Harvard Business
School*, 1984:27)\
\
*Relationship*. A pleasant feeling of mutual trust, affinity, and
friendship established through
[**verbal**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"} and
**[nonverbal](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** means.
*Usage*: Rapport shows in **a.** reduced **[angular
distance](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**b.** direct **[body
alignment](align1.htm){tppabs="http://members.aol.com/doder1/align1.htm"
target="_top"}**, **c.** mutual **[eye
contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}**,
and **d.**
**[palm-up](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**
cues; and in the **e.** eyebrow-flash, **f.**
**[head-nod](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}**, **g.**
**[laugh](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}**,
**h.**
**[shoulder-shrug](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}**, and **i.** **[zygomatic
smile](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}**.
*Business*. \"Don\'t exploit rapport; build it for future business\"
(Doreen K. Givens, N.D., personal communication).\
\
*Observation*. We use many of the same childlike cues sent and received
in
**[courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}** to establish rapport in business (e.g., to please
customers, solicit clients, and woo colleagues; see **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**).\
\
*Personal chemistry*. \"Personal chemistry helps people rise above their
competition to be selected and hold jobs they\'re offered. The ability
to work well with others is often the defining reason one person is
selected over another\" (Anonymous 1998:C-1).
*Salesmanship*. \"Your nonverbal strategy . . . is not to mirror the
prospect\'s stiff, closed posture but to lead him into more relaxed,
open postures by your example\" (Delmar 1984:43-4).\
\
*Word origin*. *Rapport* derives from Old French (\"to bring back\") via
Latin (\"to carry\"), from the 7,000 year-old Proto-Indo-European root,
*per-*^2^, \"fellow traveler\" (Soukhanov 1993; see
[**WALK**](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}). Nonverbally, traveling together motivates bonding
through feelings of
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**.\
\
***RESEARCH REPORTS***: **1.** \"We can observe how in human beings
conversation is practiced as a bond-forming ritual. In such
conversations hardly any factual information is passed on, as they
consist largely of extremely banal, constantly repeated statements
concerning such matters as the weather\" (Eibl-Eibesfeldt 1971:151).
**2.** \"Salesmen may court prospects over
**[lunch](lunch1.htm){tppabs="http://members.aol.com/doder1/lunch1.htm"
target="_top"}**, using the full range of seductive units to solicit a
warm social bond which may be exploited economically. . .\" (Givens
1978A:358). **3.** \"More smiling, facial pleasantness, head nods,
frequent and open gestures, and eyebrow raises have the same effects as
more
**[gaze](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}**:
They accompany a desire for intimacy. . .\" (Burgoon et al. 1989:322).
Antonym:
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**. See also
**[IMMEDIACY](http://members.aol.com/nonverbal2/immediat.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 Robert Frank (copyright Robert Frank)
|
REPTILIAN BRAIN | https://ns1.omnitech.net/data/Nonverbal/reptile.htm | <HTML>
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<TITLE>reptile</TITLE>
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<P><FONT SIZE="+1"><STRONG><A NAME="REPTILIAN BRAIN">REPTILIAN BRAIN</A><BR>
<BR>
<IMG BORDER="0" ALT="Ancient Reptile" SRC="reptile.jpg" tppabs="http://members.aol.com/nonverbal3/objects/reptile.jpg" HEIGHT="25%" WIDTH="45%"></STRONG></FONT></P>
<P><I><FONT SIZE="-1">. . . 'She was full of reptiles.'</FONT></I><FONT SIZE="-1"> --Joseph Conrad (</FONT><I><FONT SIZE="-1">Lord Jim</FONT></I><FONT SIZE="-1">)<BR>
</FONT><FONT SIZE="-1"></FONT><BR>
<BR>
<EM>Evolution</EM>. <STRONG>1.</STRONG> Collectively, those early parts of the human brain which developed during the
reptilian adaptation to life on land. <STRONG>2.</STRONG> Of particular interest are modules of the <EM>forebrain</EM> which
evolved to enable reptilian body movements, mating rituals, and signature displays.</P>
<P><EM>Usage I</EM>: Many common gestures, postures, and nonverbal routines (expressive, e.g., of
<STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominance</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submission</A></STRONG>, and territoriality) elaborated ca. 280 m.y.a. in
modules of the reptilian brain. The latter itself evolved from modules and
<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/amphibia.htm" TARGET="_top">amphibian brain</A></STRONG>.</P>
<P><EM>Usage II</EM>: In the house of the reptile, it makes a difference whether one <EM>crouches</EM> or <EM>stands tall</EM>.
Flexing the limbs to look small and <A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top"><B>submissive</B></A>, or extending them to push-up and seem <A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top"><B>dominant</B></A>,
is a reptilian ploy used by human beings today. Size displays as encoded, e.g., in <STRONG><A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top">boots</A></STRONG>,
<STRONG><A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top">business suits</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/handhips.htm" TARGET="_top">hands-on-hips</A></STRONG> postures, have deep, neural roots in the <EM>reptilian
forebrain</EM>, specifically, in rounded masses of grey matter called <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG>.<BR>
<BR>
<I>Literature</I>: "Of these the vigilance I dread, and to elude, thus wrapt in mist of midnight vapor, glide obscure, and pry in every bush and brake, where hap may find the serpent sleeping, in whose mazy folds to hide me, and the dark intent I bring." --John Milton (<I>Paradise Lost, Book IX</I>; 1667)<BR>
<BR>
<EM>Reptilian ritual</EM>. In <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>, the meaning of <EM>persistence</EM> (e.g., repeated
attempts to dominate) and <EM>repetition</EM> (e.g., of aggressive <STRONG><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">head-nods</A></STRONG> or shakes of a
<STRONG><A HREF="fist1.htm" tppabs="http://members.aol.com/doder1/fist1.htm" TARGET="_top">fist</A></STRONG>) are found in underlying, reptilian-inspired rituals controlled by the habit-prone
basal ganglia (a motor control area identified as the <EM>protoreptilian</EM> brain or <EM>R-complex</EM> by Paul D. MacLean
[1990]).</P>
<P><EM>Reptilian routine</EM>. According to MacLean (1990), our nonverbal ruts start in the R-complex,
which accounts for many unquestioned, ritualistic, and recurring patterns in our <EM>daily master
routine</EM>. Like a fence lizard's day--which starts with a cautious commute from its rock shelter,
and ends with a bask in the sun--our workday unfolds in a series of repetitive, nonverbal acts.
Countless office rituals (from morning's <I>coffee huddle</I>, e.g., to the sacred <EM>lunch break</EM>) are performed in a set manner throughout the working days of our lives.</P>
<P><EM>Prehistory</EM>. As reptiles adapted entirely to life on land, terrestrial legs grew longer and stronger
than those of aquatic-buoyed amphibian ancestors. In the reptilian spinal cord and brain stem,
<EM>antigravity reflexes</EM> worked to straighten limbs through <EM>extensor</EM> muscle contractions which lifted the
body higher off the ground. Advances in the forebrain's basal ganglia enabled reptiles to walk
more confidently than amphibians--and to raise and lower their bodies and broadsides in <EM>status
displays</EM>. The reptile's <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">high-stand display</A></STRONG>, e.g., presages our own pronated <STRONG><A HREF="http://members.aol.com/nonverbal2/palmdown.htm" TARGET="_top">palm-down</A></STRONG> cues of emphasis while speaking.</P>
<P><EM>Neuro-notes I</EM>. <STRONG>1.</STRONG> The <EM>protoreptilian brain</EM>, as defined by MacLean, consists of systems <STRONG>a.</STRONG> in
the upper spinal cord, <STRONG>b.</STRONG> in the midbrain, and <STRONG>c.</STRONG> in the forebrain's <EM>diencephalon</EM> and basal ganglia
(Isaacson 1974). <STRONG>2.</STRONG> "The major counterpart of the reptilian forebrain in mammals includes the
<EM>corpus striatum</EM> (<EM>caudate</EM> plus <EM>putamen</EM>), <EM>globus pallidus</EM>, and peripallidal structures [including
the <EM>substantia innominata</EM>, <EM>basal nucleus of Meynert</EM>, nucleus of the <EM>ansa peduncularis</EM>, and
<EM>entopeduncular nucleus</EM>]" (MacLean 1975:75).<BR>
<BR>
<I>Neuro-notes II</I>. <B>1.</B> As a footnote, the relatively high nonverbal IQ of the reptilian basal ganglia was recruited for the development of intelligence in birds, specifically, in the <I>hyperstriatum</I> and <I>neostriatum</I> (rather than, as with mammals, in the cerebral cortex). <B>2.</B> "Within the avian telencephalon, the dorsal ventricular ridge (DVR) contains higher order and multimodal integration areas. Using multiple regressions on 17 avian taxa, we show that an operational estimate of behavioral flexibility, the frequency of feeding innovation reports in ornithology journals, is most closely predicted by relative size of one of these DVR areas, the hyperstriatum ventrale (Timmermansa et al. 2000:196).<BR>
<BR>
See also <STRONG><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top">ISOPRAXISM</A></STRONG>, <STRONG><A TARGET="_top" HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm">MAMMALIAN 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><BR>
<FONT SIZE="-1">
Illustration detail from </FONT><I><FONT SIZE="-1">Getting There</FONT></I><FONT SIZE="-1"> (copyright 1993 by William Howells)</FONT><FONT SIZE="-1"></FONT></P>
</BODY>
</HTML> | **[REPTILIAN BRAIN]{#REPTILIAN BRAIN}\
\
{border="0"
tppabs="http://members.aol.com/nonverbal3/objects/reptile.jpg"
height="25%" width="45%"}**
*. . . \'She was full of reptiles.\'* \--Joseph Conrad (*Lord Jim*)\
\
\
*Evolution*. **1.** Collectively, those early parts of the human brain
which developed during the reptilian adaptation to life on land. **2.**
Of particular interest are modules of the *forebrain* which evolved to
enable reptilian body movements, mating rituals, and signature displays.
*Usage I*: Many common gestures, postures, and nonverbal routines
(expressive, e.g., of
**[dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**,
**[submission](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**,
and territoriality) elaborated ca. 280 m.y.a. in modules of the
reptilian brain. The latter itself evolved from modules and
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the **[amphibian
brain](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**.
*Usage II*: In the house of the reptile, it makes a difference whether
one *crouches* or *stands tall*. Flexing the limbs to look small and
[**submissive**](http://members.aol.com/nonverbal2/submit.htm){target="_top"},
or extending them to push-up and seem
[**dominant**](http://members.aol.com/nonverbal2/dominate.htm){target="_top"},
is a reptilian ploy used by human beings today. Size displays as
encoded, e.g., in
**[boots](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm"
target="_top"}**, **[business
suits](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"}**,
and
**[hands-on-hips](http://members.aol.com/nonverbal2/handhips.htm){target="_top"}**
postures, have deep, neural roots in the *reptilian forebrain*,
specifically, in rounded masses of grey matter called **[basal
ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}**.\
\
*Literature*: \"Of these the vigilance I dread, and to elude, thus wrapt
in mist of midnight vapor, glide obscure, and pry in every bush and
brake, where hap may find the serpent sleeping, in whose mazy folds to
hide me, and the dark intent I bring.\" \--John Milton (*Paradise Lost,
Book IX*; 1667)\
\
*Reptilian ritual*. In **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**,
the meaning of *persistence* (e.g., repeated attempts to dominate) and
*repetition* (e.g., of aggressive
**[head-nods](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}** or shakes of a
**[fist](fist1.htm){tppabs="http://members.aol.com/doder1/fist1.htm"
target="_top"}**) are found in underlying, reptilian-inspired rituals
controlled by the habit-prone basal ganglia (a motor control area
identified as the *protoreptilian* brain or *R-complex* by Paul D.
MacLean \[1990\]).
*Reptilian routine*. According to MacLean (1990), our nonverbal ruts
start in the R-complex, which accounts for many unquestioned,
ritualistic, and recurring patterns in our *daily master routine*. Like
a fence lizard\'s day\--which starts with a cautious commute from its
rock shelter, and ends with a bask in the sun\--our workday unfolds in a
series of repetitive, nonverbal acts. Countless office rituals (from
morning\'s *coffee huddle*, e.g., to the sacred *lunch break*) are
performed in a set manner throughout the working days of our lives.
*Prehistory*. As reptiles adapted entirely to life on land, terrestrial
legs grew longer and stronger than those of aquatic-buoyed amphibian
ancestors. In the reptilian spinal cord and brain stem, *antigravity
reflexes* worked to straighten limbs through *extensor* muscle
contractions which lifted the body higher off the ground. Advances in
the forebrain\'s basal ganglia enabled reptiles to walk more confidently
than amphibians\--and to raise and lower their bodies and broadsides in
*status displays*. The reptile\'s **[high-stand
display](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**, e.g., presages our own pronated
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
cues of emphasis while speaking.
*Neuro-notes I*. **1.** The *protoreptilian brain*, as defined by
MacLean, consists of systems **a.** in the upper spinal cord, **b.** in
the midbrain, and **c.** in the forebrain\'s *diencephalon* and basal
ganglia (Isaacson 1974). **2.** \"The major counterpart of the reptilian
forebrain in mammals includes the *corpus striatum* (*caudate* plus
*putamen*), *globus pallidus*, and peripallidal structures \[including
the *substantia innominata*, *basal nucleus of Meynert*, nucleus of the
*ansa peduncularis*, and *entopeduncular nucleus*\]\" (MacLean
1975:75).\
\
*Neuro-notes II*. **1.** As a footnote, the relatively high nonverbal IQ
of the reptilian basal ganglia was recruited for the development of
intelligence in birds, specifically, in the *hyperstriatum* and
*neostriatum* (rather than, as with mammals, in the cerebral cortex).
**2.** \"Within the avian telencephalon, the dorsal ventricular ridge
(DVR) contains higher order and multimodal integration areas. Using
multiple regressions on 17 avian taxa, we show that an operational
estimate of behavioral flexibility, the frequency of feeding innovation
reports in ornithology journals, is most closely predicted by relative
size of one of these DVR areas, the hyperstriatum ventrale (Timmermansa
et al. 2000:196).\
\
See also
**[ISOPRAXISM](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**,
**[MAMMALIAN BRAIN](mammal.htm){target="_top"
tppabs="http://members.aol.com/nonverbal3/mammal.htm"}**.
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Illustration detail from *Getting There* (copyright 1993 by William
Howells)
|