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REST-AND-DIGEST	https://ns1.omnitech.net/data/Nonverbal/rest.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>rest</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="REST-AND-DIGEST">REST-AND-DIGEST</A><BR> <BR> <IMG BORDER="0" ALT="Relax and Relate" SRC="rest.jpg" tppabs="http://members.aol.com/nonverbal3/objects/rest.jpg" HEIGHT="35%" WIDTH="27%"></STRONG></FONT> </P> <P><EM><FONT SIZE="-1">Other men live to eat, while I eat to live</FONT></EM><FONT SIZE="-1">. --Socrates</FONT><FONT SIZE="-1"></FONT></P> <P><EM>Relaxation response</EM>. <STRONG>1.</STRONG> A pleasant feeling of calmness and well-being experienced as <STRONG>a.</STRONG> heart rate slows, <STRONG>b.</STRONG> smooth muscles contract, and <STRONG>c.</STRONG> glands secrete while the body digests food. <STRONG>2.</STRONG> Physiologically, a rudimentary model for the sensation of <STRONG><A HREF="http://members.aol.com/nonverbal2/happy.htm" TARGET="_top">happiness</A></STRONG>.</P> <P><EM>Usage</EM>: Many involuntary <STRONG><A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top">nonverbal signs</A></STRONG> (e.g., <I>contracted pupils</I>, <EM>moistened eyes</EM> (i.e., glistening, brought on by stimulation of the lacrimal glands), <I>slowed breathing rate</I>, and <EM>mouth-watering</EM> (due to watery secretions of the salivary glands [accompanied by increased swallowing])--along with signs of relaxation (e.g., <EM>warm, dry palms</EM>; <EM>lean-forward</EM>; <EM>lean-back</EM>) and satiation (e.g., <I>supinated fists</I>) are visible in the visceral feelings and involuntary movements of our rest-and-digest response.<BR> <BR> <I>U.S. politics</I>. "He [Frank Meeks, owner of 59 Domino's pizza franchises in the Washington, D.C. area] recalls that Nov. 17, 1995, during the government shutdown, was 'pizza night' for Monica L. Lewinsky and President Bill Clinton, according to Lewinsky's day book" (Schafer 1998:A5; see <A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top"><B>BIG MAC</B></A>).</P> <P><EM>Observations</EM>. <STRONG>1.</STRONG> Rest-and-digest-related cues (such positive signals as <STRONG><A HREF="http://members.aol.com/nonverbal2/align.htm" TARGET="_top">body alignment</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye contact</A></STRONG>, vocal satisfaction [e.g., "hmm," "ooh," and "um"], <STRONG><A HREF="headnod.htm" tppabs="http://members.aol.com/nonverbal3/headnod.htm" TARGET="_top">head-nods</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top">smiling</A></STRONG>) are often visible in luncheon meetings around a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>. <STRONG>2.</STRONG> In <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courtship</A></STRONG>, couples eat together to relax, to relate, and to respond in the rest-and-digest mode to offset feelings of <B><A HREF="strange1.htm" tppabs="http://members.aol.com/doder1/strange1.htm" TARGET="_top">stranger anxiety</A></B>. (<STRONG><I>N.B.</I></STRONG>: Genital swelling is a rest-and-digest [i.e., a parasympathetic, response; see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig5.htm" TARGET="_top">LOVE SIGNALS V</A></STRONG>].) <STRONG>3.</STRONG> In a restaurant, rest-and-digest <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> contract the urinary bladder, thus prompting visits to the restroom.</P> <P><EM>Evolution</EM>. Rest-and-digest is an ancient <EM>parasympathetic</EM> response pattern which, in the <STRONG><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">aquatic brain</A></STRONG>, slowed heart beat rate (and ventricular force) to conserve bodily energy, e.g., to prepare a fish to digest its meal.</P> <P><EM>Neuro-notes</EM>. <STRONG>1.</STRONG> The <STRONG><A HREF="hypo.htm" tppabs="http://members.aol.com/nonverbal3/hypo.htm" TARGET="_top">hypothalamus</A></STRONG> controls our rest-and-digest response. <STRONG>2.</STRONG> "The actions of the sympathetic and parasympathetic divisions are mediated by different neurotransmitters and are largely antagonic, e.g., where one promotes contraction of smooth muscle, the other promotes dilation" (Damasio 1994:206).</P> <P>Antonym: <STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">FIGHT-OR-FLIGHT</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><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	[REST-AND-DIGEST]{#REST-AND-DIGEST}\ \ ![Relax and Relate](rest.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/rest.jpg" height="35%" width="27%"} Other men live to eat, while I eat to live. \--Socrates Relaxation response. 1. A pleasant feeling of calmness and well-being experienced as a. heart rate slows, b. smooth muscles contract, and c. glands secrete while the body digests food. 2. Physiologically, a rudimentary model for the sensation of [happiness](http://members.aol.com/nonverbal2/happy.htm){target="_top"}. Usage: Many involuntary [nonverbal signs](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm" target="_top"} (e.g., contracted pupils, moistened eyes (i.e., glistening, brought on by stimulation of the lacrimal glands), slowed breathing rate, and mouth-watering (due to watery secretions of the salivary glands \[accompanied by increased swallowing\])\--along with signs of relaxation (e.g., warm, dry palms; lean-forward; lean-back) and satiation (e.g., supinated fists) are visible in the visceral feelings and involuntary movements of our rest-and-digest response.\ \ U.S. politics. \"He \[Frank Meeks, owner of 59 Domino\'s pizza franchises in the Washington, D.C. area\] recalls that Nov. 17, 1995, during the government shutdown, was \'pizza night\' for Monica L. Lewinsky and President Bill Clinton, according to Lewinsky\'s day book\" (Schafer 1998:A5; see [BIG MAC](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}). Observations. 1. Rest-and-digest-related cues (such positive signals as [body alignment](http://members.aol.com/nonverbal2/align.htm){target="_top"}, [eye contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}, vocal satisfaction \[e.g., \"hmm,\" \"ooh,\" and \"um\"\], [head-nods](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm" target="_top"}, and [smiling](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}) are often visible in luncheon meetings around a [conference table](table.htm){tppabs="http://members.aol.com/doder1/table.htm" target="_top"}. 2. In [courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm" target="_top"}, couples eat together to relax, to relate, and to respond in the rest-and-digest mode to offset feelings of [stranger anxiety](strange1.htm){tppabs="http://members.aol.com/doder1/strange1.htm" target="_top"}. (*N.B.: Genital swelling is a rest-and-digest \[i.e., a parasympathetic, response; see [LOVE SIGNALS V](http://members.aol.com/nonverbal2/lovesig5.htm){target="_top"}\].) 3.* In a restaurant, rest-and-digest [paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"} contract the urinary bladder, thus prompting visits to the restroom. Evolution. Rest-and-digest is an ancient parasympathetic response pattern which, in the [aquatic brain](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}, slowed heart beat rate (and ventricular force) to conserve bodily energy, e.g., to prepare a fish to digest its meal. Neuro-notes. 1. The [hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm" target="_top"} controls our rest-and-digest response. 2. \"The actions of the sympathetic and parasympathetic divisions are mediated by different neurotransmitters and are largely antagonic, e.g., where one promotes contraction of smooth muscle, the other promotes dilation\" (Damasio 1994:206). Antonym: [FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm" target="_top"}. Copyright © 1998 - 2001 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
SECONDARY PRODUCT	https://ns1.omnitech.net/data/Nonverbal/second1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>second</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SECONDARY PRODUCT</FONT></STRONG></P> <P><IMG BORDER="0" ALT="Pleasant Aroma Cue" SRC="second.jpg" tppabs="http://members.aol.com/doder1/objects/second.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">Sign</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> In botany, a chemical compound not essential to the <EM>structural</EM> or <EM>nutritional</EM> needs of a plant, but required for its ability to <EM>communicate</EM>. <STRONG>2.</STRONG> A compound less involved in the <EM>matter</EM> or <EM>energy</EM> of, e.g., an aromatic, spice, or medicinal plant, than in the <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></EM></STRONG> it transmits to other plants and animals.<FONT FACE="Times New Roman"></FONT></P> <P><FONT FACE="Times New Roman"><EM>Usage</EM>: Conceptually, secondary products may be used as models for the evolution of <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging features</A></STRONG> found in diverse consumer product designs. Secondary plant products demonstrate the separate evolutionary paths taken by information, matter, and energy (see <STRONG><A HREF="nvind1.htm" tppabs="http://members.aol.com/doder1/nvind1.htm" TARGET="_top">NONVERBAL INDEPENDENCE</A></STRONG>).</FONT></P> <P><FONT FACE="Times New Roman"><EM>Evolution</EM>. Many of the </FONT>estimated hundreds of thousands<FONT FACE="Times New Roman"> </FONT>of thousands of secondary plant products (e.g., <FONT FACE="Times New Roman">alkaloids, such as nicotine; </FONT>cyanogenic compounds; flavonoids; insect anti-juvenile hormones; <FONT FACE="Times New Roman">rare amino acids;</FONT> <FONT FACE="Times New Roman">rubber-like polymers;</FONT> and terpenoids) evolved for purposes of defense against insects and other plant pests.<FONT FACE="Times New Roman"></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/nonverbal2/herb.htm" TARGET="_top">HERBS & SPICES</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>)</FONT></P> </BODY> </HTML>	SECONDARY PRODUCT ![Pleasant Aroma Cue](second.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/second.jpg" height="40%" width="25%"}\ \ *[Sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}. 1.* In botany, a chemical compound not essential to the structural or nutritional needs of a plant, but required for its ability to communicate. 2. A compound less involved in the matter or energy of, e.g., an aromatic, spice, or medicinal plant, than in the *[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}* it transmits to other plants and animals. Usage: Conceptually, secondary products may be used as models for the evolution of [messaging features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"} found in diverse consumer product designs. Secondary plant products demonstrate the separate evolutionary paths taken by information, matter, and energy (see [NONVERBAL INDEPENDENCE](nvind1.htm){tppabs="http://members.aol.com/doder1/nvind1.htm" target="_top"}). Evolution. Many of the estimated hundreds of thousands of thousands of secondary plant products (e.g., alkaloids, such as nicotine; cyanogenic compounds; flavonoids; insect anti-juvenile hormones; rare amino acids; rubber-like polymers; and terpenoids) evolved for purposes of defense against insects and other plant pests. See also [AROMA CUE](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}, [HERBS & SPICES](http://members.aol.com/nonverbal2/herb.htm){target="_top"}. Copyright 1999 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
SHELLFISH TASTE	https://ns1.omnitech.net/data/Nonverbal/shellfis.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>shellfis</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="SHELLFISH TASTE">SHELLFISH TASTE</A><BR> <BR> <IMG BORDER="0" ALT="Shrimp Cocktail" SRC="shellfis.jpg" tppabs="http://members.aol.com/nonverbal3/objects/shellfis.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P> <P><I><FONT SIZE="-1">Honey and locusts were the viands that nourished the Baptist in the desert</FONT></I><FONT SIZE="-1"> . . . . --Dante Alighieri (</FONT><I><FONT SIZE="-1">Purgatorio, Canto XXII</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR> <EM><BR> Flavor cue</EM>. <STRONG>1.</STRONG> The usually pleasant aroma and taste of cooked <EM>arthropods</EM>, including shrimp, lobster, and crab. <STRONG>2.</STRONG> A flavor, greatly enhanced by <EM>umami</EM> (Konosu et al. 1987; see <STRONG><A HREF="glutamat.htm" tppabs="http://members.aol.com/nonverbal3/glutamat.htm" TARGET="_top">GLUTAMATE</A></STRONG>), which "speaks" to the tongue as "meat" (see <STRONG><A HREF="meaty.htm" tppabs="http://members.aol.com/nonverbal3/meaty.htm" TARGET="_top">MEATY TASTE</A></STRONG>).</P> <P><EM>Usage</EM>: Human beings have a peculiarly powerful craving for the cooked muscle tissue of shellfish, insects, spiders, and grubs. The appetite is deeply rooted in our primate past as <EM>insectivores</EM>.</P> <P><EM>Evolution I</EM>. The earliest-known Paleocene primate (<EM>Purgatorius</EM>), e.g., ate insects, which belong to the same biological phylum (<EM>Arthropoda</EM>) as lobsters and shrimp. Primates have been heavy insect eaters throughout their 65-million years, and lemurs, lorises, and tarsiers (the least evolved of the living primates) eat mainly insects today. (<I><STRONG>N.B.</STRONG></I>: The evolutionary raw bar is open for our closest primate relatives, as well. Chimpanzees, e.g., enjoy <EM>termites</EM> and lowland gorillas snack on <EM>ants</EM>.)</P> <P><EM>Evolution II</EM>. Our love of arthropod flesh reaches further back in time than primates, however. The saga began ca. 450 m.y.a. ago in Ordovician seas, when the giant lobster <EM>Pterygotus</EM> dined on (then) soft-headed vertebrates. For 100 million years shellfish ate vertebrates, until the latter's bony brain case formed in the late Devonian period. (<STRONG><I>N.B.</I></STRONG>: Our hardened skull may have originated, in part, as a defense against giant lobsters.) The evolutionary table turned as harder-headed amphibians pursued arthropods on dry land, eating them instead.</P> <P><EM>Prehistory</EM>. It is likely that early humans ate arthropods whenever and wherever they could. Modern hunter-gatherers, e.g., relish grubs, <EM>caterpillars</EM>, and <EM>tarantulas</EM>, roasted in coals until their meaty flesh is well-done. (<STRONG><I>N.B.</I></STRONG>: Today, U.S. urbanites cook long-tailed arthropods from the sea, and serve their succulent bodies in sauce made from reddened fruits of the nightshade family--they call the dish <EM>shrimp cocktail</EM>.)</P> <P><EM>Anthropology I</EM>. Theaters in parts of Mexico sell fried <EM>leaf-cutter ants</EM> as a crunchy snack food (see <STRONG><A HREF="http://members.aol.com/nonverbal2/crunch.htm" TARGET="_top">EXISTENTIAL CRUNCH</A></STRONG>). Fried ants taste like bacon, according to members of the New York Entomological Society, who sampled ants and exotic insects at their 100th anniversary banquet in 1992. Roasted <EM>kurrajong grubs</EM> from Australia resemble lean sausages, they discovered, and fried <EM>mealworms</EM> taste like honey-roasted nuts.</P> <P><EM>Anthropology II</EM>. <STRONG>1.</STRONG> Feasting on <EM>gumbo</EM>, <EM>crab cakes</EM>, and <EM>lobster bisque</EM> marks an evolutionary victory over Pterygotus and other giant arthropods. <STRONG>2.</STRONG> The flavor of <EM>chocolate-covered ants</EM> is made more pungent by pyrazine molecules given off as warning signs. (<STRONG><I>N.B.</I></STRONG>: Found in ants, beetles, and butterflies as <EM>alarm pheromones</EM>, pyrazines have also been isolated as <STRONG><A HREF="http://members.aol.com/nonverbal2/aromacue.htm" TARGET="_top">aroma cues</A></STRONG> in fried beef, cocoa, coffee, and roasted nuts [McGee 1990].)</P> <P><EM>Chemistry</EM>. Synthetically duplicated, "snow crab flavor" consists of the chemical <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging features</A></STRONG> glycine, arginine, alanine, glutamate, inosine, monophosphate, sodium chloride, and dibasic potassium phosphate (Konosu et al. 1987).</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/nutty.htm" TARGET="_top">NUTTY TASTE</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>	[SHELLFISH TASTE]{#SHELLFISH TASTE}\ \ ![Shrimp Cocktail](shellfis.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/shellfis.jpg" height="35%" width="25%"} Honey and locusts were the viands that nourished the Baptist in the desert . . . . \--Dante Alighieri (Purgatorio, Canto XXII)\ \ Flavor cue. 1. The usually pleasant aroma and taste of cooked arthropods, including shrimp, lobster, and crab. 2. A flavor, greatly enhanced by umami (Konosu et al. 1987; see [GLUTAMATE](glutamat.htm){tppabs="http://members.aol.com/nonverbal3/glutamat.htm" target="_top"}), which \"speaks\" to the tongue as \"meat\" (see [MEATY TASTE](meaty.htm){tppabs="http://members.aol.com/nonverbal3/meaty.htm" target="_top"}). Usage: Human beings have a peculiarly powerful craving for the cooked muscle tissue of shellfish, insects, spiders, and grubs. The appetite is deeply rooted in our primate past as insectivores. Evolution I. The earliest-known Paleocene primate (Purgatorius), e.g., ate insects, which belong to the same biological phylum (Arthropoda) as lobsters and shrimp. Primates have been heavy insect eaters throughout their 65-million years, and lemurs, lorises, and tarsiers (the least evolved of the living primates) eat mainly insects today. (*N.B.: The evolutionary raw bar is open for our closest primate relatives, as well. Chimpanzees, e.g., enjoy termites* and lowland gorillas snack on ants.) Evolution II. Our love of arthropod flesh reaches further back in time than primates, however. The saga began ca. 450 m.y.a. ago in Ordovician seas, when the giant lobster Pterygotus dined on (then) soft-headed vertebrates. For 100 million years shellfish ate vertebrates, until the latter\'s bony brain case formed in the late Devonian period. (*N.B.: Our hardened skull may have originated, in part, as a defense against giant lobsters.) The evolutionary table turned as harder-headed amphibians pursued arthropods on dry land, eating them instead. Prehistory. It is likely that early humans ate arthropods whenever and wherever they could. Modern hunter-gatherers, e.g., relish grubs, caterpillars, and tarantulas, roasted in coals until their meaty flesh is well-done. (N.B.: Today, U.S. urbanites cook long-tailed arthropods from the sea, and serve their succulent bodies in sauce made from reddened fruits of the nightshade family\--they call the dish shrimp cocktail.) Anthropology I. Theaters in parts of Mexico sell fried leaf-cutter ants* as a crunchy snack food (see [EXISTENTIAL CRUNCH](http://members.aol.com/nonverbal2/crunch.htm){target="_top"}). Fried ants taste like bacon, according to members of the New York Entomological Society, who sampled ants and exotic insects at their 100th anniversary banquet in 1992. Roasted kurrajong grubs from Australia resemble lean sausages, they discovered, and fried mealworms taste like honey-roasted nuts. Anthropology II. 1. Feasting on gumbo, crab cakes, and lobster bisque marks an evolutionary victory over Pterygotus and other giant arthropods. 2. The flavor of chocolate-covered ants is made more pungent by pyrazine molecules given off as warning signs. (*N.B.: Found in ants, beetles, and butterflies as alarm pheromones, pyrazines have also been isolated as [aroma cues](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}* in fried beef, cocoa, coffee, and roasted nuts \[McGee 1990\].) Chemistry. Synthetically duplicated, \"snow crab flavor\" consists of the chemical [messaging features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"} glycine, arginine, alanine, glutamate, inosine, monophosphate, sodium chloride, and dibasic potassium phosphate (Konosu et al. 1987). See also [NUTTY TASTE](http://members.aol.com/nonverbal2/nutty.htm){target="_top"}. Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
SHOPPING	https://ns1.omnitech.net/data/Nonverbal/shop1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>shop</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SHOPPING</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Bargain Hunting" SRC="355000.jpg" tppabs="http://members.aol.com/doder1/objects/355000.jpg" HEIGHT="50%" WIDTH="35%"><BR WP="BR1"> <BR WP="BR2"> <FONT FACE="Times New Roman" SIZE="-1"><I>Plastic shopping bags lower the wow-factor of whatever you're <A HREF="http://members.aol.com/nonverbal2/adorn.htm" TARGET="_top"><B>wearing</B></A><B></B></I>. --<FONT SIZE="-1">Véronique Vienne (1997:156)</FONT></FONT><FONT FACE="Times New Roman"><BR> <BR> <EM>Hunting & gathering</EM>.<FONT FACE="Times New Roman" SIZE="-1"> </FONT><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman">The usually p</FONT><FONT FACE="Times New Roman"></FONT>leasurable act of wandering through stores in search of <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG>, services, and bargains.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Usage</EM>: Shopping is a uniquely human activity with <STRONG>a.</STRONG> prehistoric roots in <EM>hunting and gathering</EM>, <STRONG>b.</STRONG> primate roots in <EM>foraging</EM>, and <B>c.</B> neonatal roots in the <I>grasping reflex</I> (see <A HREF="http://members.aol.com/nonverbal2/object.htm" TARGET="_top"><B>OBJECT FANCY</B></A>, <I>Neuro-notes</I>). </FONT><FONT FACE="Times New Roman">U.S. adults spend ca. six percent of their waking time (i.e., six hours a week) shopping (Sun et al. 1989).</FONT><FONT FACE="Times New Roman"> (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman">:</FONT><FONT FACE="Times New Roman"> American women shop 40% more than American men [<FONT FACE="Times New Roman">Sun et al. 1989</FONT>].)</FONT><FONT FACE="Times New Roman"></FONT></P> <P><FONT FACE="Times New Roman"><EM>Evolution</EM>. </FONT><FONT FACE="Times New Roman">As a nonverbal activity, the joys, challenges, and routines of shopping are partly innate. Wild primates, e.g., make daily foraging trips in search of food to consume and, seemingly, to enjoy. Chimpanzees, our closest living relatives, use color vision to browse for nuts, fruits, and berries. By ca. two m.y.a., our earliest human ancestors (<I>Homo habilis</I>) spent less time hunting than foraging, gathering, and scavenging--in family groups--for whatever they could find (Blumenschine and Cavallo 1992). The landscape was their mall.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Today I</EM>. We spend a great deal of our social time collectively browsing for apparel, colorful objects, and edibles in <EM>shopping malls</EM>. In the U.S., e.g., nine out of ten (i.e., 94% of) adults report having visited a shopping center "last month" (Conn and Silverman 1991:127).</FONT></P> <P><FONT FACE="Times New Roman"><EM>Today II</EM>. The shopping quest is rewarding--whether we actually buy or not. In the U.S., men buy an average 35 articles of clothing a year, while women purchase 54 <FONT FACE="Times New Roman">(Conn and Silverman 1991:</FONT>32). For American women, the favored item is clothing, while for men it is automobiles <FONT FACE="Times New Roman">(Conn and Silverman 1991:</FONT>128). Most American men (two-thirds) do not shop alone for their own clothes, but instead are accompanied by women <FONT FACE="Times New Roman">(Conn and Silverman 1991:12</FONT>8).<BR> <BR> <B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. <B>1.</B> The modern shopping mall, which borrows heavily from <A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top"><B>messaging features</B></A> designed for Disneyland, has, like the theme park itself, become a form of "media in the round." "'In a business that is as dependent as film or theater on appearances,' the magazine [<I>Chain Store Age Executive</I> (winter 1992)] concluded, 'the illusion of safety [in a shopping mall] is as vital or even more so, than its reality'" (Glaberson 1992:B4). <B>2.</B> In a survey of <I>Self</I> women's magazine readers</FONT>, <B>a.</B> 49% shop "whenever the mood strikes"; <B>b.</B> 69% prefer shopping by "Myself"; <B>c.</B> 74% spend the most time shopping for "Myself"; <B>d.</B> 72% shop most often in "Malls"; and <B>e.</B> 72% "find shopping helps if you're depressed" (<FONT FACE="Times New Roman">Anonymous (1992E)</FONT>. </P> <P><FONT FACE="Times New Roman"><EM>Pediatrics</EM>. Babies are pre-adapted for shopping. They arrive on earth ready to explore--i.e., to actively look, listen, and reach out to touch and handle colorful objects in their world. (<I><B>N.B.</B></I>: Forty square feet of shopping-center space has been constructed in the U.S. for every baby born since 1986 <FONT FACE="Times New Roman">[Conn and Silverman 1991:12</FONT>8].)</FONT></P> <P><FONT FACE="Times New Roman"><EM>Psychology</EM>. In the U.S., 96,738 acres of land are occupied by shopping centers and malls <FONT FACE="Times New Roman">(Conn and Silverman 1991:</FONT>89). A patron entering a store usually turns right (perhaps due to the right eye's dominance). According to marketing psychologists, shoppers look around the front section directly inside a store's entrance, but are less likely to buy goods displayed there than items located in areas to their right. (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Whether right or left-handed, we do more impulse buying on a shop's right-hand side [Kyriakos1992].)</FONT></P> <P><FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Psychiatry</EM>. The uncontrollable urge to buy things is called <EM>oniomania</EM>.<BR> <BR> See also <A HREF="http://www.mallofamerica.com/"><I><B>WWW.Mallofamerica.com</B></I></A>. </FONT></P> <P><FONT FACE="Times New Roman" SIZE="-1">Copyright 2000 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)</FONT><FONT><BR> <BR> </FONT></P> </BODY> </HTML>	SHOPPING ![Bargain Hunting](355000.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/355000.jpg" height="50%" width="35%"}\ \ Plastic shopping bags lower the wow-factor of whatever you\'re [wearing](http://members.aol.com/nonverbal2/adorn.htm){target="_top"}. \--Véronique Vienne (1997:156)\ \ Hunting & gathering. The usually pleasurable act of wandering through stores in search of [consumer products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}, services, and bargains. Usage: Shopping is a uniquely human activity with a. prehistoric roots in hunting and gathering, b. primate roots in foraging, and c. neonatal roots in the grasping reflex (see [OBJECT FANCY](http://members.aol.com/nonverbal2/object.htm){target="_top"}, Neuro-notes). U.S. adults spend ca. six percent of their waking time (i.e., six hours a week) shopping (Sun et al. 1989). (*N.B.: American women shop 40% more than American men \[Sun et al. 1989\].) Evolution. As a nonverbal activity, the joys, challenges, and routines of shopping are partly innate. Wild primates, e.g., make daily foraging trips in search of food to consume and, seemingly, to enjoy. Chimpanzees, our closest living relatives, use color vision to browse for nuts, fruits, and berries. By ca. two m.y.a., our earliest human ancestors (Homo habilis) spent less time hunting than foraging, gathering, and scavenging\--in family groups\--for whatever they could find (Blumenschine and Cavallo 1992). The landscape was their mall. Today I. We spend a great deal of our social time collectively browsing for apparel, colorful objects, and edibles in shopping malls. In the U.S., e.g., nine out of ten (i.e., 94% of) adults report having visited a shopping center \"last month\" (Conn and Silverman 1991:127). Today II. The shopping quest is rewarding\--whether we actually buy or not. In the U.S., men buy an average 35 articles of clothing a year, while women purchase 54 (Conn and Silverman 1991:32). For American women, the favored item is clothing, while for men it is automobiles (Conn and Silverman 1991:128). Most American men (two-thirds) do not shop alone for their own clothes, but instead are accompanied by women (Conn and Silverman 1991:128).\ \ [Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. 1.* The modern shopping mall, which borrows heavily from [messaging features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"} designed for Disneyland, has, like the theme park itself, become a form of \"media in the round.\" \"\'In a business that is as dependent as film or theater on appearances,\' the magazine \[Chain Store Age Executive (winter 1992)\] concluded, \'the illusion of safety \[in a shopping mall\] is as vital or even more so, than its reality\'\" (Glaberson 1992:B4). 2. In a survey of Self women\'s magazine readers, a. 49% shop \"whenever the mood strikes\"; b. 69% prefer shopping by \"Myself\"; c. 74% spend the most time shopping for \"Myself\"; d. 72% shop most often in \"Malls\"; and e. 72% \"find shopping helps if you\'re depressed\" (Anonymous (1992E). Pediatrics. Babies are pre-adapted for shopping. They arrive on earth ready to explore\--i.e., to actively look, listen, and reach out to touch and handle colorful objects in their world. (*N.B.: Forty square feet of shopping-center space has been constructed in the U.S. for every baby born since 1986 \[Conn and Silverman 1991:128\].) Psychology. In the U.S., 96,738 acres of land are occupied by shopping centers and malls (Conn and Silverman 1991:89). A patron entering a store usually turns right (perhaps due to the right eye\'s dominance). According to marketing psychologists, shoppers look around the front section directly inside a store\'s entrance, but are less likely to buy goods displayed there than items located in areas to their right. (N.B.: Whether right or left-handed, we do more impulse buying on a shop\'s right-hand side \[Kyriakos1992\].) Psychiatry. The uncontrollable urge to buy things is called oniomania.\ \ See also [WWW.Mallofamerica.com](http://www.mallofamerica.com/). Copyright 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}*)\ \
SHOULDER WEAR	https://ns1.omnitech.net/data/Nonverbal/puffy1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>puffy</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT FACE="Times New Roman" SIZE="+1"><STRONG>SHOULDER WEAR</STRONG></FONT></P> <P><IMG BORDER="0" ALT="Puffy Sleeves" SRC="puffy.jpg" tppabs="http://members.aol.com/doder1/objects/puffy.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <FONT FACE="Times New Roman"><STRONG><EM><A HREF="adorn.htm" tppabs="http://members.aol.com/doder1/adorn.htm" TARGET="_top">Clothing cue</A></EM></STRONG></FONT><FONT FACE="Times New Roman">. Items of clothing, jewelry, or other decorations worn to showcase the appeal, gestures, and shape of the <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>: Human shoulders are so expressive that, in every society, <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG> have evolved to accent their masculine, feminine, <STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominant</A></STRONG>, or <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissive</A></STRONG> messages.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Fashion statement I</EM>. Like the round head atop our upright body, flat-lying shoulders stand out as conspicuous shapes set high and wide upon our frame. How we clothe them affects what they have to say. Clothing worn across the shoulders accents natural signs, signals, and cues of, e.g., ancestral <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">high-stand</A></STRONG> and <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">crouch</A></STRONG> displays. Military epaulets <EM>square</EM>, while décolleté dresses <EM>bare</EM>, the shoulders to show, respectively, the strength of a <STRONG><A HREF="http://members.aol.com/nonverbal2/broadsid.htm" TARGET="_top">broadside</A></STRONG> or the softness of a <STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">shrug</A></STRONG>.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Fashion statement II</EM>. Unless heavily muscled, bare shoulders cannot compete with shoulders artificially squared in a <STRONG><A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top">business suit</A></STRONG>. But they need not, for the messages are opposed. Like the shirtless collars and bow ties of the Chippendale dancers, <EM>tee-shirts</EM>, <EM>camisoles</EM>, and <EM>tube-tops</EM> advertise submissive movements of the crouch display.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Fashion statement III</EM>.<EM> Puffy sleeves</EM> keep shoulders lifted and permanently shrugged in a frozen gesture which seems to say, "I'm harmless: you may approach" (see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig.htm" TARGET="_top">LOVE SIGNAL</A></STRONG>). <EM>V-neck</EM>, <EM>cowlneck</EM>, <EM>boatneck</EM>, and <EM>scoop-neck sweaters</EM> reveal the collarbones (and the submissive <STRONG><A HREF="http://members.aol.com/nonverbal2/dimple.htm" TARGET="_top">throat dimple</A></STRONG>). <EM>Sleeveless sweaters</EM> and <EM>blouses</EM> display the deltoids. The <EM>surplice wrap</EM> dress forms a deep V over the clavicles and breastbone, and a <EM>camisole top's</EM> straps draw viewers' eyes outward and across the shoulders' soft skin. Fabrics such as <EM>taffeta</EM>, <EM>velvet</EM>, <EM>velour</EM>, <EM>silk</EM>, and <EM>Ultrasuede</EM></FONT><FONT FACE="Times New Roman" SIZE="+1"><STRONG>®</STRONG></FONT><FONT FACE="Times New Roman"> may be worn to mimic the softness itself.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Anatomy I</EM>. The <STRONG>a.</STRONG> soft skin, <STRONG>b.</STRONG> rounded shape (of our upper arm's <EM>deltoid</EM> area), and <STRONG>c.</STRONG> extreme flexibility of our shoulders have made this body region sexually appealing in men and women alike. Clothing may be designed <STRONG>a.</STRONG> to bare one or both shoulders, <STRONG>b.</STRONG> to accentuate their roundness, or <STRONG>c.</STRONG> to allow them greater freedom of movement.</FONT></P> <P><FONT FACE="Times New Roman"><EM>Anatomy II</EM>. Historically, women's clothing has drawn attention to every part--the flesh, muscle definition, and boney projections--of the feminine shoulder: <STRONG>a.</STRONG> the <I>epidermal</I> skin, <B>b.</B> the rounded <EM>deltoid muscles</EM> of the upper arm, <STRONG>c.</STRONG> the <EM>trapezius muscles</EM> of the back and neck, <STRONG>d.</STRONG> the <EM>collarbones</EM> (or clavicles), and <STRONG>e.</STRONG> the <EM>shoulder blades</EM> (or scapulas).</FONT></P> <P><FONT FACE="Times New Roman"><EM>Prehistory</EM>. The world's oldest preserved textile garment is a 5,000-year-old <EM>linen shirt</EM> from an Egyptian tomb at Tarkhan (Barber 1994). The man's shirt was intentionally V-necked, perhaps to expose the throat and clavicle bones. Ancient Egyptian women wore tubular, ankle-length <EM>jumpers</EM> with shoulder straps. While their breasts were sometimes hidden and sometimes exposed, the splendor of their upper arms, clavicles, and shoulders was left to show through the ages (Barber 1994).</FONT></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/nonverbal3/footwear.htm" TARGET="_top">FOOTWEAR</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/neckwear.htm" TARGET="_top">NECKWEAR</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> Photo detail of Bette Davis in <EM>Bad Sister</EM> (originally <EM>The Flirt</EM> [Universal 1924]; copyright Kobal Collection, London) </FONT></P> </BODY> </HTML>	SHOULDER WEAR ![Puffy Sleeves](puffy.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/puffy.jpg" height="40%" width="25%"}\ \ *[Clothing cue](adorn.htm){tppabs="http://members.aol.com/doder1/adorn.htm" target="_top"}. Items of clothing, jewelry, or other decorations worn to showcase the appeal, gestures, and shape of the [shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}. Usage: Human shoulders are so expressive that, in every society, [consumer products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}* have evolved to accent their masculine, feminine, [dominant](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}, or [submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"} messages. Fashion statement I. Like the round head atop our upright body, flat-lying shoulders stand out as conspicuous shapes set high and wide upon our frame. How we clothe them affects what they have to say. Clothing worn across the shoulders accents natural signs, signals, and cues of, e.g., ancestral [high-stand](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm" target="_top"} and [crouch](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm" target="_top"} displays. Military epaulets square, while décolleté dresses bare, the shoulders to show, respectively, the strength of a [broadside](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"} or the softness of a [shrug](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" target="_top"}. Fashion statement II. Unless heavily muscled, bare shoulders cannot compete with shoulders artificially squared in a [business suit](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"}. But they need not, for the messages are opposed. Like the shirtless collars and bow ties of the Chippendale dancers, tee-shirts, camisoles, and tube-tops advertise submissive movements of the crouch display. Fashion statement III. Puffy sleeves keep shoulders lifted and permanently shrugged in a frozen gesture which seems to say, \"I\'m harmless: you may approach\" (see [LOVE SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}). V-neck, cowlneck, boatneck, and scoop-neck sweaters reveal the collarbones (and the submissive [throat dimple](http://members.aol.com/nonverbal2/dimple.htm){target="_top"}). Sleeveless sweaters and blouses display the deltoids. The surplice wrap dress forms a deep V over the clavicles and breastbone, and a camisole top\'s straps draw viewers\' eyes outward and across the shoulders\' soft skin. Fabrics such as taffeta, velvet, velour, silk, and Ultrasuede® may be worn to mimic the softness itself. Anatomy I. The a. soft skin, b. rounded shape (of our upper arm\'s deltoid area), and c. extreme flexibility of our shoulders have made this body region sexually appealing in men and women alike. Clothing may be designed a. to bare one or both shoulders, b. to accentuate their roundness, or c. to allow them greater freedom of movement. Anatomy II. Historically, women\'s clothing has drawn attention to every part\--the flesh, muscle definition, and boney projections\--of the feminine shoulder: a. the epidermal skin, b. the rounded deltoid muscles of the upper arm, c. the trapezius muscles of the back and neck, d. the collarbones (or clavicles), and e. the shoulder blades (or scapulas). Prehistory. The world\'s oldest preserved textile garment is a 5,000-year-old linen shirt from an Egyptian tomb at Tarkhan (Barber 1994). The man\'s shirt was intentionally V-necked, perhaps to expose the throat and clavicle bones. Ancient Egyptian women wore tubular, ankle-length jumpers with shoulder straps. While their breasts were sometimes hidden and sometimes exposed, the splendor of their upper arms, clavicles, and shoulders was left to show through the ages (Barber 1994). See also [ARM WEAR](http://members.aol.com/nonverbal2/armwear.htm){target="_top"}, [FOOTWEAR](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}, [NECKWEAR](http://members.aol.com/nonverbal2/neckwear.htm){target="_top"}. Copyright 1999 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ Photo detail of Bette Davis in Bad Sister (originally The Flirt \[Universal 1924\]; copyright Kobal Collection, London)
SHOULDER-SHRUG	https://ns1.omnitech.net/data/Nonverbal/shoshrug.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>shoshrug</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="SHOULDER-SHRUG">SHOULDER-SHRUG</A><BR> <BR> <IMG BORDER="0" ALT="Defensive Shrug" SRC="shoshrug.jpg" tppabs="http://members.aol.com/nonverbal2/objects/shoshrug.jpg" HEIGHT="25%" WIDTH="50%"></STRONG></FONT></P> <P><I><FONT SIZE="-1">It had the power to drive me out of my conceptions of existence, out of that shelter each of us makes for himself to creep under in moments of danger, as a tortoise withdraws within its shell</FONT></I><FONT SIZE="-1">. --Joseph Conrad (</FONT><I><FONT SIZE="-1">Lord Jim</FONT></I><FONT SIZE="-1">, 1899; see below, <I>Origin</I>)<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>. <STRONG>1.</STRONG> To lift, raise, or flex-forward one or both <STRONG><A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top">shoulders</A></STRONG> in response <STRONG>a.</STRONG> to another person's statement, question, or physical presence; or <STRONG>b.</STRONG> to one's own inner thoughts, feelings, and moods. <STRONG>2.</STRONG> One of several constituents of the larger <STRONG><A HREF="shrugdis.htm" tppabs="http://members.aol.com/nonverbal3/shrugdis.htm" TARGET="_top">shoulder-shrug display</A></STRONG>.</P> <P><EM>Usage I</EM>: The shoulder-shrug is a universal sign of resignation, uncertainty, and submissiveness. Shrug cues may modify, counteract, or contradict verbal remarks. With the statement, "Yes, I'm sure," e.g., a lifted shoulder suggests, "I'm not so sure." A shrug reveals misleading, ambiguous, or uncertain areas in dialogue and oral testimony, and thus may provide a <STRONG><A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top">probing point</A></STRONG>, i.e., an opportunity to examine an <EM>unverbalized</EM> belief or opinion.<BR> <BR> <EM>Usage II</EM>: The shrug gesture bears an interesting relationship to the English word, <I>just</I>, as in, "I don't know why I took the money--I just took it." In this sense, "just" conveys a feeling of powerlessness and uncertainty as to motive. The word also connotes "merely," as in "Just a scratch" (Soukhanov 1992:979). These diminutive aspects of the word "just" resonate with the cringing, crouched aspect of the shoulder-shrug cue (see below, <I>Origin</I>).<BR> <BR> <EM>Anatomy</EM>. The <EM>trapezius</EM> and <EM>levator scapulae</EM> muscles lift the shoulder blades (<EM>scapulas</EM>). Trapezius (assisted by <EM>pectoralis major</EM>, <EM>p. minor</EM>, and <EM>serratus anterior</EM>) medially rotates (i.e., ventrally flexes) the shoulders, as well.</P> <P><I>Football</I>. On January 25, 1998, in an NBC Sports interview conducted after his team had won Super Bowl XXXII in San Diego, Denver Broncos quarterback, John Elway, <EM>shrugged his shoulders</EM> and said, "I can't believe it."</P> <P><EM><B><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></B></EM>. Actor James Dean's <EM>defensive shrug</EM> set his style apart from the stiffer performances of male leads of his time. The contrast between Dean's nonverbal <EM>diffidence</EM> and Rock Hudson's square-shouldered <EM>dominance</EM> in the 1956 movie <EM>Giant</EM>, e.g., is so dramatic it seemed shoulders had been written into the script. But they had not, for Dean's shrug, according to director Elia Kazan, was "natural." Dean <EM>cringed</EM> all the time. As <EM>American Icon</EM> author, David Dalton, wrote, "Jimmy's body is a universe where gravitational pull stems from instability; fascination from asymmetrical shifts and awkward physical contortions formed under internal stress" (1984:53).<BR> <BR> <EM>Observations</EM>. <STRONG>1. </STRONG>Responding to his father's question ("Do you have your lunch money?"), a son's left shoulder <EM>lifts slightly</EM> as he answers, "Yes." The father replies, "Better make sure." <STRONG>2. </STRONG><STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">Bowing</A></STRONG> forward, a finance director peeks around his boss's doorway and <EM>lifts his shoulders</EM> as he asks, "May I talk to you, sir?" <STRONG>3.</STRONG> While conversing in a hotel bar, a man and woman <EM>flex</EM>, <EM>pitch</EM>, and <EM>roll their shoulders</EM> flirtatiously over cocktails (see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig3.htm" TARGET="_top">LOVE SIGNALS III</A></STRONG>).<BR> <BR> <EM>Origin</EM>. The shrug gesture originates from an ancient, protective <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">crouch</A></STRONG> pattern innervated by <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> designed for <STRONG><A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top">flexion withdrawal</A></STRONG>. The <EM>shoulder-shrug complex</EM> was originally identified by Charles Darwin in 1872.<BR> <BR> <EM>Outer space</EM>. On July 11, 1996, while orbiting in the Russian spacecraft, Mir, U.S. astronaut Shannon Lucid <EM>shrugged her shoulders</EM>, <EM>tilted her head</EM>, and gestured with her <EM>palm up</EM> as she answered questions about her six-week delay in returning to Earth. "You know," she told NBC's <EM>Today Show</EM>, "that's life."</P> <P><I>Primatology</I>. Shoulder-shrugging has been seen in South African adult and young adult baboons as a sign of fear and uncertainty, and as a response subsequent to the startle reaction (Hall and DeVore 1972). <BR> <BR> <EM>U.S. politics</EM>. On September 9, 1998, in Orlando, Florida, President Bill Clinton <EM>shrugged his shoulders</EM> and <STRONG><A HREF="http://members.aol.com/nonverbal2/gazedown.htm" TARGET="_top">gazed-down</A></STRONG> at a public apology as he said, "I've done my best to be your friend. But I also let you down, and I let my family down, and I let this country down." (<EM>Washington Post</EM>, September 10, 1998).</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "When a man wishes to show that he cannot do something, or prevent something being done, he often raises with a quick movement both shoulders" (Darwin 1872:264). <STRONG>2.</STRONG><EM> Pulling in the shoulders</EM> is a response to spatial invasion (Sommer 1969). <STRONG>3.</STRONG> The <EM>shrug</EM> is listed in two checklists of universal nonverbal signs: <STRONG>a.</STRONG> as "A fairly sudden raising of both shoulders" (Brannigan and Humphries 1972:60), and <STRONG>b.</STRONG> "Raising both shoulders" (Grant 1969:533). <STRONG>4. </STRONG><EM>Shrugging the shoulders</EM> is a submissive sign in children (McGrew 1972).</P> <P><EM>Neuro-notes</EM>. As a branchiomeric muscle, upper trapezius is emotionally responsive (i.e., "gut reactive"; see <A HREF="http://members.aol.com/nonverbal2/pharynx.htm" TARGET="_top"><B>PHARYNGEAL ARCH</B></A>), and quite difficult to control by conscious means. Upper trapezius is innervated by the <EM>accessory nerve</EM> (cranial XI), a <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">special visceral nerve</A></STRONG> which also feeds into the voice box (or <EM>larynx</EM>). Thus, shoulder-shrugs and vocal whines may be given at the same time.</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/adajum.htm#ADAM'S-APPLE-JUMP" TARGET="_top">ADAM'S-APPLE-JUMP</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/headside.htm" TARGET="_top">HEAD-TILT-SIDE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/palmup.htm" TARGET="_top">PALM-UP</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">TONE OF VOICE</A></STRONG>.<BR> <BR> <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><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	[SHOULDER-SHRUG]{#SHOULDER-SHRUG}\ \ ![Defensive Shrug](shoshrug.jpg){border="0" tppabs="http://members.aol.com/nonverbal2/objects/shoshrug.jpg" height="25%" width="50%"} It had the power to drive me out of my conceptions of existence, out of that shelter each of us makes for himself to creep under in moments of danger, as a tortoise withdraws within its shell. \--Joseph Conrad (Lord Jim, 1899; see below, Origin)\ \ \ *[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}. 1.* To lift, raise, or flex-forward one or both [shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"} in response a. to another person\'s statement, question, or physical presence; or b. to one\'s own inner thoughts, feelings, and moods. 2. One of several constituents of the larger [shoulder-shrug display](shrugdis.htm){tppabs="http://members.aol.com/nonverbal3/shrugdis.htm" target="_top"}. Usage I: The shoulder-shrug is a universal sign of resignation, uncertainty, and submissiveness. Shrug cues may modify, counteract, or contradict verbal remarks. With the statement, \"Yes, I\'m sure,\" e.g., a lifted shoulder suggests, \"I\'m not so sure.\" A shrug reveals misleading, ambiguous, or uncertain areas in dialogue and oral testimony, and thus may provide a [probing point](http://members.aol.com/nonverbal2/probe.htm){target="_top"}, i.e., an opportunity to examine an unverbalized belief or opinion.\ \ Usage II: The shrug gesture bears an interesting relationship to the English word, just, as in, \"I don\'t know why I took the money\--I just took it.\" In this sense, \"just\" conveys a feeling of powerlessness and uncertainty as to motive. The word also connotes \"merely,\" as in \"Just a scratch\" (Soukhanov 1992:979). These diminutive aspects of the word \"just\" resonate with the cringing, crouched aspect of the shoulder-shrug cue (see below, Origin).\ \ Anatomy. The trapezius and levator scapulae muscles lift the shoulder blades (scapulas). Trapezius (assisted by pectoralis major, p. minor, and serratus anterior) medially rotates (i.e., ventrally flexes) the shoulders, as well. Football. On January 25, 1998, in an NBC Sports interview conducted after his team had won Super Bowl XXXII in San Diego, Denver Broncos quarterback, John Elway, shrugged his shoulders and said, \"I can\'t believe it.\" *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. Actor James Dean\'s defensive shrug* set his style apart from the stiffer performances of male leads of his time. The contrast between Dean\'s nonverbal diffidence and Rock Hudson\'s square-shouldered dominance in the 1956 movie Giant, e.g., is so dramatic it seemed shoulders had been written into the script. But they had not, for Dean\'s shrug, according to director Elia Kazan, was \"natural.\" Dean cringed all the time. As American Icon author, David Dalton, wrote, \"Jimmy\'s body is a universe where gravitational pull stems from instability; fascination from asymmetrical shifts and awkward physical contortions formed under internal stress\" (1984:53).\ \ Observations. 1. Responding to his father\'s question (\"Do you have your lunch money?\"), a son\'s left shoulder lifts slightly as he answers, \"Yes.\" The father replies, \"Better make sure.\" 2. [Bowing](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm" target="_top"} forward, a finance director peeks around his boss\'s doorway and lifts his shoulders as he asks, \"May I talk to you, sir?\" 3. While conversing in a hotel bar, a man and woman flex, pitch, and roll their shoulders flirtatiously over cocktails (see [LOVE SIGNALS III](http://members.aol.com/nonverbal2/lovesig3.htm){target="_top"}).\ \ Origin. The shrug gesture originates from an ancient, protective [crouch](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm" target="_top"} pattern innervated by [paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"} designed for [flexion withdrawal](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm" target="_top"}. The shoulder-shrug complex was originally identified by Charles Darwin in 1872.\ \ Outer space. On July 11, 1996, while orbiting in the Russian spacecraft, Mir, U.S. astronaut Shannon Lucid shrugged her shoulders, tilted her head, and gestured with her palm up as she answered questions about her six-week delay in returning to Earth. \"You know,\" she told NBC\'s Today Show, \"that\'s life.\" Primatology. Shoulder-shrugging has been seen in South African adult and young adult baboons as a sign of fear and uncertainty, and as a response subsequent to the startle reaction (Hall and DeVore 1972).\ \ U.S. politics. On September 9, 1998, in Orlando, Florida, President Bill Clinton shrugged his shoulders and [gazed-down](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"} at a public apology as he said, \"I\'ve done my best to be your friend. But I also let you down, and I let my family down, and I let this country down.\" (Washington Post, September 10, 1998). *RESEARCH REPORTS: 1.* \"When a man wishes to show that he cannot do something, or prevent something being done, he often raises with a quick movement both shoulders\" (Darwin 1872:264). 2. Pulling in the shoulders is a response to spatial invasion (Sommer 1969). 3. The shrug is listed in two checklists of universal nonverbal signs: a. as \"A fairly sudden raising of both shoulders\" (Brannigan and Humphries 1972:60), and b. \"Raising both shoulders\" (Grant 1969:533). 4. Shrugging the shoulders is a submissive sign in children (McGrew 1972). Neuro-notes. As a branchiomeric muscle, upper trapezius is emotionally responsive (i.e., \"gut reactive\"; see [PHARYNGEAL ARCH](http://members.aol.com/nonverbal2/pharynx.htm){target="_top"}), and quite difficult to control by conscious means. Upper trapezius is innervated by the accessory nerve (cranial XI), a [special visceral nerve](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm" target="_top"} which also feeds into the voice box (or larynx). Thus, shoulder-shrugs and vocal whines may be given at the same time. See also [ADAM\'S-APPLE-JUMP](http://members.aol.com/nonverbal2/adajum.htm#ADAM'S-APPLE-JUMP){target="_top"}, [HEAD-TILT-SIDE](http://members.aol.com/nonverbal3/headside.htm){target="_top"}, [PALM-UP](http://members.aol.com/nonverbal2/palmup.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"})
SHOULDER-SHRUG DISPLAY	https://ns1.omnitech.net/data/Nonverbal/shrugdis.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>shrugdis</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="SHOULDER-SHRUG DISPLAY">SHOULDER-SHRUG DISPLAY<BR> <BR> </A></STRONG></FONT><EM><IMG BORDER="0" ALT="Tim Buckley" SRC="shrugdi1.jpg" tppabs="http://members.aol.com/nonverbal3/objects/shrugdi1.jpg" HEIGHT="75%" WIDTH="25%"><BR> <BR> Global <B><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movement</A></B></EM>. Identified by Charles Darwin in1872, an interrelated set of 13 body motions, from the head to the toes, used worldwide to show helplessness, resignation, and <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>.</P> <P><EM>Usage</EM>: Individually or in combination, signs from the shoulder-shrug display (e.g. <STRONG><A HREF="http://members.aol.com/nonverbal3/headside.htm" TARGET="_top">head-tilt-side</A></STRONG>, <STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">shoulder-shrug</A></STRONG>, and pigeon-toes)--suggest feelings of resignation, powerlessness, and <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submission</A></STRONG>. In <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courtship</A></STRONG> and <STRONG><A HREF="rapport1.htm" tppabs="http://members.aol.com/nonverbal3/rapport1.htm" TARGET="_top">rapport</A></STRONG>, the cues show harmlessness and friendly intent, thus inviting physical approach and affiliation.</P> <P><EM>Constituents</EM>. The shoulder-shrug display involves the entire body in a visual crouch. As described by Darwin (1872), the display consists of <STRONG>1.</STRONG> raised shoulders (elevated; trapezius and/or levator scapulae muscles contracted), <STRONG>2.</STRONG> head-tilt sideward (lateral flexion), <STRONG>3.</STRONG> elbows bent and held into the body (flexed and adducted), <STRONG>4.</STRONG> upraised palms (forearms supinated; see <STRONG><A HREF="http://members.aol.com/nonverbal2/palmup.htm" TARGET="_top">PALM-UP</A></STRONG>), <STRONG>5.</STRONG> palm-show (wrist extended), <STRONG>6.</STRONG> open hand (digits extended), <STRONG>7.</STRONG> fingers spread (abducted), <STRONG>8.</STRONG> eyebrows raised (frontalis contracted; see <STRONG><A HREF="browrai1.htm" tppabs="http://members.aol.com/doder1/browrai1.htm" TARGET="_top">EYEBROW-RAISE</A></STRONG>), and <STRONG>9.</STRONG> mouth opened (digastric and suprahyoid contracted; see <STRONG><A HREF="http://members.aol.com/nonverbal3/droop.htm" TARGET="_top">JAW-DROOP</A></STRONG>). A century later, <STRONG>10.</STRONG> pouted lips (mentalis contracted; see <STRONG><A HREF="pout.htm" tppabs="http://members.aol.com/doder1/pout.htm" TARGET="_top">LIP-POUT</A></STRONG>), <STRONG>11.</STRONG> knock-knees (tibial torsion), <STRONG>12.</STRONG> bending forward at the waist (flexion, slight bowing; see <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">BOW</A></STRONG>), and <STRONG>13.</STRONG> pigeon-toeing (toes angled in) were added to the display (Givens 1977).</P> <P><EM>Origin</EM>. The shoulder-shrug display incorporates defensive <STRONG><A HREF="crouch1.htm" tppabs="http://members.aol.com/doder1/crouch1.htm" TARGET="_top">crouch</A></STRONG> movements from the protective <STRONG><A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top">tactile withdrawal</A></STRONG> reflex.</P> <P><EM><B><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></B></EM>. In TV news reports, as she approached, gazed at, and spoke to "commoners," England's Princess Diana flexed her <EM>shoulders forward</EM> and <EM>tilted her head</EM> to the side, thus showing compassion for those beneath her station. (<STRONG><I>N.B.</I></STRONG>: Nonverbally, Lady Diana connected by curtseying back.)</P> <P><EM>Neuro-notes</EM>. Socioemotional stimuli for shrug-display cues involve the forebrain's <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> (LeDoux 1995, 1996) and <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG> (or "reptilian core"; MacLean 1990). Submissive feelings find expression in coordinated muscle contractions designed to bend, flex, and rotate parts of our axial skeleton and appendicular skeleton, to "shrink" the body and show a harmless "lower" profile. (<STRONG><I>N.B.</I></STRONG>: Unlike the <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">high-stand display</A></STRONG>, diverse motions of the shrug complex were designed for <EM>defense</EM> rather than for offense--for self-protection in a physical world, as well as self-protection in a <EM>social world</EM> mediated by signs, signals, and cues.) </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><BR> Photo of Tim Buckley in Central Park, by Linda McCartney (copyright 1992 by MPL Communications Limited; McCartney: "I think it captures his personality perfectly because it shows his vulnerability.")</P> </BODY> </HTML>	[SHOULDER-SHRUG DISPLAY\ \ ]{#SHOULDER-SHRUG DISPLAY}![Tim Buckley](shrugdi1.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/shrugdi1.jpg" height="75%" width="25%"}\ \ Global [body movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm" target="_top"}. Identified by Charles Darwin in1872, an interrelated set of 13 body motions, from the head to the toes, used worldwide to show helplessness, resignation, and [uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}*. Usage: Individually or in combination, signs from the shoulder-shrug display (e.g. [head-tilt-side](http://members.aol.com/nonverbal3/headside.htm){target="_top"}, [shoulder-shrug](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" target="_top"}, and pigeon-toes)\--suggest feelings of resignation, powerlessness, and [submission](http://members.aol.com/nonverbal2/submit.htm){target="_top"}. In [courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm" target="_top"}* and [rapport](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm" target="_top"}, the cues show harmlessness and friendly intent, thus inviting physical approach and affiliation. Constituents. The shoulder-shrug display involves the entire body in a visual crouch. As described by Darwin (1872), the display consists of 1. raised shoulders (elevated; trapezius and/or levator scapulae muscles contracted), 2. head-tilt sideward (lateral flexion), 3. elbows bent and held into the body (flexed and adducted), 4. upraised palms (forearms supinated; see [PALM-UP](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}), 5. palm-show (wrist extended), 6. open hand (digits extended), 7. fingers spread (abducted), 8. eyebrows raised (frontalis contracted; see [EYEBROW-RAISE](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm" target="_top"}), and 9. mouth opened (digastric and suprahyoid contracted; see [JAW-DROOP](http://members.aol.com/nonverbal3/droop.htm){target="_top"}). A century later, 10. pouted lips (mentalis contracted; see [LIP-POUT](pout.htm){tppabs="http://members.aol.com/doder1/pout.htm" target="_top"}), 11. knock-knees (tibial torsion), 12. bending forward at the waist (flexion, slight bowing; see [BOW](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm" target="_top"}), and 13. pigeon-toeing (toes angled in) were added to the display (Givens 1977). Origin. The shoulder-shrug display incorporates defensive [crouch](crouch1.htm){tppabs="http://members.aol.com/doder1/crouch1.htm" target="_top"} movements from the protective [tactile withdrawal](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm" target="_top"} reflex. *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. In TV news reports, as she approached, gazed at, and spoke to \"commoners,\" England\'s Princess Diana flexed her shoulders forward* and tilted her head to the side, thus showing compassion for those beneath her station. (*N.B.: Nonverbally, Lady Diana connected by curtseying back.) Neuro-notes. Socioemotional stimuli for shrug-display cues involve the forebrain\'s [amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}* (LeDoux 1995, 1996) and [basal ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"} (or \"reptilian core\"; MacLean 1990). Submissive feelings find expression in coordinated muscle contractions designed to bend, flex, and rotate parts of our axial skeleton and appendicular skeleton, to \"shrink\" the body and show a harmless \"lower\" profile. (*N.B.: Unlike the [high-stand display](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm" target="_top"}, diverse motions of the shrug complex were designed for defense* rather than for offense\--for self-protection in a physical world, as well as self-protection in a social world mediated by signs, signals, and cues.) Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ Photo of Tim Buckley in Central Park, by Linda McCartney (copyright 1992 by MPL Communications Limited; McCartney: \"I think it captures his personality perfectly because it shows his vulnerability.\")
SILENCE	https://ns1.omnitech.net/data/Nonverbal/silence1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>silence</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SILENCE</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><EM>I<FONT SIZE="-1">n quietness and in confidence shall be your strength</FONT></EM><FONT SIZE="-1">. --</FONT><EM><FONT SIZE="-1">Isaiah 15</FONT></EM></P> <P><EM><FONT SIZE="-1">And, as if satisfied, he was silent</FONT></EM><FONT SIZE="-1">. --Dante Alighieri (</FONT><EM><FONT SIZE="-1">Purgatorio, Canto XXIV</FONT></EM><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P> <P><EM>Not heard</EM>. <STRONG>1.</STRONG> Nonverbally, the condition or quality of being difficult or impossible to hear, as in <STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walking</A></STRONG> stealthily, swallowing a <STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">cry</A></STRONG>, curtailing bodily noises, and refraining from <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speech</A></STRONG>. <STRONG>2.</STRONG> Synonyms include <EM>secretive</EM> (see <STRONG><A HREF="deceive.htm" tppabs="http://members.aol.com/nonverbal3/deceive.htm" TARGET="_top">DECEPTION CUE</A></STRONG>), reserved (see <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">SUBMISSION</A></STRONG>), and <STRONG><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">tightlipped</A></STRONG> (which, in English, implies a conscious decision to withhold information). </P> <P><EM>Usage</EM>: Animals from reptiles to human beings have devised ingenious means to be silent in order to avoid detection.</P> <P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG><EM></EM>. <EM>Dead air</EM>: "An unintended interruption in a broadcast during which there is no sound" (Soukhanov 1992:478).</P> <P><EM>Pregnant pause</EM>. While giving a brief report at a conference table, important speaking points may be dramatized by inserting a brief pause immediately after their delivery. In a lengthier report, pauses may be used to separate main sections of the presentation; listeners feel refreshed by silence and pay renewed attention to vocalizations delivered after a pause (see <STRONG><A HREF="orient1.htm" tppabs="http://members.aol.com/doder1/orient1.htm" TARGET="_top">ORIENTING REFLEX</A></STRONG>).<BR> <BR> <B><I>RESEARCH REPORT</I></B>: "<I>Silences</I> also function to mark episode and position boundaries [in conversations, e.g., when closing a topic]" (Burgoon et al. 1989:409).</P> <P><FONT FACE="Times New Roman">See also <STRONG><A HREF="invisib1.htm" tppabs="http://members.aol.com/doder1/invisib1.htm" TARGET="_top">INVISIBILITY</A></STRONG>.</FONT></P> <P><FONT FACE="Times New Roman" SIZE="-1">Copyright 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>	SILENCE In quietness and in confidence shall be your strength. \--Isaiah 15 And, as if satisfied, he was silent. \--Dante Alighieri (Purgatorio, Canto XXIV) Not heard. 1. Nonverbally, the condition or quality of being difficult or impossible to hear, as in [walking](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm" target="_top"} stealthily, swallowing a [cry](http://members.aol.com/nonverbal3/cry.htm){target="_top"}, curtailing bodily noises, and refraining from [speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm" target="_top"}. 2. Synonyms include secretive (see [DECEPTION CUE](deceive.htm){tppabs="http://members.aol.com/nonverbal3/deceive.htm" target="_top"}), reserved (see [SUBMISSION](http://members.aol.com/nonverbal2/submit.htm){target="_top"}), and [tightlipped](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"} (which, in English, implies a conscious decision to withhold information). Usage: Animals from reptiles to human beings have devised ingenious means to be silent in order to avoid detection. *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. Dead air: \"An unintended interruption in a broadcast during which there is no sound\" (Soukhanov 1992:478). Pregnant pause. While giving a brief report at a conference table, important speaking points may be dramatized by inserting a brief pause immediately after their delivery. In a lengthier report, pauses may be used to separate main sections of the presentation; listeners feel refreshed by silence and pay renewed attention to vocalizations delivered after a pause (see [ORIENTING REFLEX](orient1.htm){tppabs="http://members.aol.com/doder1/orient1.htm" target="_top"}).\ \ RESEARCH REPORT: \"Silences* also function to mark episode and position boundaries \[in conversations, e.g., when closing a topic\]\" (Burgoon et al. 1989:409). See also [INVISIBILITY](invisib1.htm){tppabs="http://members.aol.com/doder1/invisib1.htm" target="_top"}. Copyright 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
SIT	https://ns1.omnitech.net/data/Nonverbal/sit1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>sit</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SIT</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Flexed-Adducted" SRC="sit.jpg" tppabs="http://members.aol.com/doder1/objects/sit.jpg" WIDTH="15%" HEIGHT="50%"><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 rest with the torso in an upright position and the body supported largely on the buttocks.</P> <P><EM>Usage</EM>: The manner of sitting at a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>, e.g., transmits <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG> about one's <EM>status</EM> (mental, physical, and social), <EM>feelings</EM>, and unvoiced <EM>opinions</EM>, <EM>attitudes</EM>, and <I>moods</I>.</P> <P><EM>Primatology</EM>. Sitting is the usually favored position of primates.<BR> <BR> <I>Salesmanship</I>. "Do not wait to be asked to be seated" (Delmar 1984:42).<FONT FACE="Times New Roman"></FONT><BR> <BR> <STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> The most detailed research on sitting positions is by the anthropologist Gordon W. Hewes (1957). <STRONG>2.</STRONG> Male, North-American college students express uneasiness with changes in sitting posture (e.g., by assuming a more <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">direct</A></STRONG> body orientation; Vrugt, Anneke, and Kerkstra 1984). <STRONG>3.</STRONG> Female, North-American college students show uneasiness by sitting <STRONG><A HREF="freeze1.htm" tppabs="http://members.aol.com/doder1/freeze1.htm" TARGET="_top">still</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/armcross.htm" TARGET="_top">arm-crossing</A></STRONG> (Vrugt, Anneke, and Kerkstra 1984). <B>4.</B> In chairs and couches, <B>a. </B><EM>ankle-ankle legs cross</EM> ("I am politely relaxed"; worldwide), <B>b. </B><EM>knee-knee legs cross</EM> ("I am very relaxed"; worldwide), <B>c.</B><EM> ankle-knee legs cross</EM> ("I am assertively relaxed"; widespread), and <B>d. </B><EM>legs twine</EM> ("I am slinkily relaxed"; widespread) have been identified as typical human sitting postures (Morris 1994:152-54).</P> <P><EM>Neuro-notes</EM>: <FONT FACE="Times New Roman"> As <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG>, couches are designed to recall the primate lap's protopathic softness, and to stimulate pleasure areas for grooming, childcare, and sexuality in the mammalian brain's <STRONG><A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top">cingulate gyrus</A></STRONG>.<BR> <BR> See also <A HREF="http://members.aol.com/nonverbal2/lovesig3.htm" TARGET="_top"><B>LOVE SIGNALS III</B></A> (</FONT><FONT FACE="Times New Roman" SIZE="-1"><B><I>E-Commentary</I></B>).</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/</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 (copyright the Loehr Collection)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P> </BODY> </HTML>	SIT ![Flexed-Adducted](sit.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/sit.jpg" width="15%" height="50%"}\ \ *[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm" target="_top"}. To rest with the torso in an upright position and the body supported largely on the buttocks. Usage: The manner of sitting at a [conference table](table.htm){tppabs="http://members.aol.com/doder1/table.htm" target="_top"}, e.g., transmits [information](http://members.aol.com/nonverbal2/info.htm){target="_top"}* about one\'s status (mental, physical, and social), feelings, and unvoiced opinions, attitudes, and moods. Primatology. Sitting is the usually favored position of primates.\ \ Salesmanship. \"Do not wait to be asked to be seated\" (Delmar 1984:42).\ \ *RESEARCH REPORTS: 1.* The most detailed research on sitting positions is by the anthropologist Gordon W. Hewes (1957). 2. Male, North-American college students express uneasiness with changes in sitting posture (e.g., by assuming a more [direct](http://members.aol.com/nonverbal2/angular.htm){target="_top"} body orientation; Vrugt, Anneke, and Kerkstra 1984). 3. Female, North-American college students show uneasiness by sitting [still](freeze1.htm){tppabs="http://members.aol.com/doder1/freeze1.htm" target="_top"} and [arm-crossing](http://members.aol.com/nonverbal2/armcross.htm){target="_top"} (Vrugt, Anneke, and Kerkstra 1984). 4. In chairs and couches, a. ankle-ankle legs cross (\"I am politely relaxed\"; worldwide), b. knee-knee legs cross (\"I am very relaxed\"; worldwide), c. ankle-knee legs cross (\"I am assertively relaxed\"; widespread), and d. legs twine (\"I am slinkily relaxed\"; widespread) have been identified as typical human sitting postures (Morris 1994:152-54). Neuro-notes: As [consumer products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}, couches are designed to recall the primate lap\'s protopathic softness, and to stimulate pleasure areas for grooming, childcare, and sexuality in the mammalian brain\'s [cingulate gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm" target="_top"}.\ \ See also [LOVE SIGNALS III](http://members.aol.com/nonverbal2/lovesig3.htm){target="_top"} (*E-Commentary). Copyright ©* 1998 - 2001 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ Detail of photo (copyright the Loehr Collection)
SNEAKER	https://ns1.omnitech.net/data/Nonverbal/sneaker.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>sneaker</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="SNEAKER">SNEAKER</A></STRONG></FONT></P> <P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top"><IMG BORDER="0" ALT="White Sneaker" SRC="B46182.jpg" tppabs="http://members.aol.com/nonverbal3/objects/B46182.jpg" HEIGHT="35%" WIDTH="25%"><BR> <BR> </A></EM></STRONG><FONT SIZE="-1"><I>Sneakers that promise movement of athletic perfection</I>. --Elizabeth Kastor (1994:30)<BR> <BR> </FONT><FONT SIZE="-1"><I><FONT SIZE="-1">When dressing casually, let sneakers determine the look of the clothes you're going to wear [--not the other way around]</FONT></I><FONT SIZE="-1">. -- Véronique Vienne (1997:15<FONT SIZE="-1">6)</FONT></FONT></FONT><BR> <BR> <STRONG><EM><A HREF="http://members.aol.com/nonverbal3/footwear.htm" TARGET="_top">Footwear</A></EM></STRONG><EM></EM>. A casual sports shoe made with a usually colorful canvas or nylon upper, and a soft, thick sole of rubber, latex, or <STRONG><A HREF="http://members.aol.com/nonverbal2/vinyl.htm" TARGET="_top">vinyl</A></STRONG>.</P> <P><EM>Usage I</EM>: Because they cover our very expressive <STRONG><A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top">feet</A></STRONG>, we are choosy about the brands, insignia, and styles of the sneakers we wear (see <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">MESSAGING FEATURE</A></STRONG>). (<STRONG><I>N.B.</I></STRONG>: As a nonverbal <STRONG><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">sign</A></STRONG> of gender, presence, and personality, sneakers communicate "who we are" much as do <STRONG><A HREF="http://members.aol.com/nonverbal2/haircue.htm" TARGET="_top">hair cues</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/hat.htm" TARGET="_top">hats</A></STRONG>).</P> <P><EM>Usage II</EM>: The large size, bold contrasts, and loud colors of running, training, and basketball shoes (all of which evolved from sneakers) suggest <STRONG>a. </STRONG><EM>youth</EM> and <EM>physical fitness</EM> (often more theatrical than real); <STRONG>b.</STRONG> identification with <EM>team sports</EM> (esp., e.g., with star players); and <STRONG>c.</STRONG> a preference for <EM>informality and comfort</EM>.</P> <P><EM>Usage III</EM>. Sneakers are rarely worn beneath <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference tables</A></STRONG> because <STRONG>a.</STRONG> they do not support the <STRONG><A HREF="http://members.aol.com/nonverbal2/busisuit.htm" TARGET="_top">business suit's</A></STRONG> power metaphor, and <STRONG>b.</STRONG> their thick, cushioning soles suggest "awkwardness." (<STRONG><I>N.B.</I></STRONG>: Soles greater than one-eighth inch give a clumsy appearance, suggestive less of coordination, grace, and savoir-faire than are communicated by, e.g., thinner, more elegant leather soles, esp. those of Italian or British design. Visually, sole thickness is equivalent to the contrast between mittens and kid gloves.)<BR> <BR> <EM>Anatomy</EM>. Running shoes may be the most comfortable footwear yet designed by humans. Perhaps better than any shoe, Nikes cushion the estimated five million pounds of impact born each day by the modern foot. (<I><B>N.B.</B></I>: The typical American, who walks seven and one-half miles a day, owns two and one-half pairs of athletic shoes.)</P> <P><EM>Evolution</EM>. On humanity's shoe tree, the sneaker (or <EM>tennis shoe</EM>) is a recent offshoot. The word "sneaker" crept into English around 1875 as a label for a croquet shoe made in the U.S., whose vulcanized rubber sole had been attached to white canvas uppers (magically, it seemed) without stitches or thongs. The 1910-era American rubber-sole design known as <EM>Keds®</EM> paved the way for a more modern species of footwear, the <EM>Nikes® </EM><EM>ultralight running shoe</EM> of the 1970s. (<STRONG><I>N.B.</I></STRONG>: In the mid-1990s, Americans spent ca. $12 billion a year on running shoes--yet nine out of ten who owned them never ran.)</P> <P><EM><B><A HREF="sneaker.htm" tppabs="http://members.aol.com/nonverbal3/sneaker.htm" TARGET="_top">Media</A></B></EM>. <B>1.</B> Sneakers were popularized by James Dean in <EM>Guys and Dolls</EM> (1955), and by Elvis Presley's teen cohort in <EM>Jailhouse Rock</EM> (1957). In the 1950s sneakers broke the formality of corporate leather shoes to express a kinder, gentler world for feet and the lifestyle for which they stand. <B>2.</B> "Nike Air shoes with pressurized air soles helped more than double sales from $1.7 billion in 1989 to $3.8 billion just five years later, with the help of a determined marketing effort led by NBA star Michael Jordan" (McCall 2000:A14). </P> <P>See also <A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top"><B>BLUE JEANS</B></A>, <STRONG><A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top">BOOT</A></STRONG>, <STRONG><A HREF="mens.htm" tppabs="http://members.aol.com/nonverbal3/mens.htm" TARGET="_top">MEN'S SHOES</A></STRONG>, <STRONG><A HREF="womens.htm" tppabs="http://members.aol.com/nonverbal3/womens.htm" TARGET="_top">WOMEN'S SHOES</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>	[SNEAKER]{#SNEAKER} *[![White Sneaker](B46182.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/B46182.jpg" height="35%" width="25%"}\ \ ](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}*Sneakers that promise movement of athletic perfection. \--Elizabeth Kastor (1994:30)\ \ When dressing casually, let sneakers determine the look of the clothes you\'re going to wear \[\--not the other way around\]. \-- Véronique Vienne (1997:156)\ \ *[Footwear](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}. A casual sports shoe made with a usually colorful canvas or nylon upper, and a soft, thick sole of rubber, latex, or [vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}. Usage I: Because they cover our very expressive [feet](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm" target="_top"}, we are choosy about the brands, insignia, and styles of the sneakers we wear (see [MESSAGING FEATURE](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}). (N.B.: As a nonverbal [sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}* of gender, presence, and personality, sneakers communicate \"who we are\" much as do [hair cues](http://members.aol.com/nonverbal2/haircue.htm){target="_top"} and [hats](http://members.aol.com/nonverbal2/hat.htm){target="_top"}). Usage II: The large size, bold contrasts, and loud colors of running, training, and basketball shoes (all of which evolved from sneakers) suggest a. youth and physical fitness (often more theatrical than real); b. identification with team sports (esp., e.g., with star players); and c. a preference for informality and comfort. Usage III. Sneakers are rarely worn beneath [conference tables](table.htm){tppabs="http://members.aol.com/doder1/table.htm" target="_top"} because a. they do not support the [business suit\'s](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"} power metaphor, and b. their thick, cushioning soles suggest \"awkwardness.\" (*N.B.: Soles greater than one-eighth inch give a clumsy appearance, suggestive less of coordination, grace, and savoir-faire than are communicated by, e.g., thinner, more elegant leather soles, esp. those of Italian or British design. Visually, sole thickness is equivalent to the contrast between mittens and kid gloves.)\ \ Anatomy. Running shoes may be the most comfortable footwear yet designed by humans. Perhaps better than any shoe, Nikes cushion the estimated five million pounds of impact born each day by the modern foot. (N.B.: The typical American, who walks seven and one-half miles a day, owns two and one-half pairs of athletic shoes.) Evolution. On humanity\'s shoe tree, the sneaker (or tennis shoe) is a recent offshoot. The word \"sneaker\" crept into English around 1875 as a label for a croquet shoe made in the U.S., whose vulcanized rubber sole had been attached to white canvas uppers (magically, it seemed) without stitches or thongs. The 1910-era American rubber-sole design known as Keds®* paved the way for a more modern species of footwear, the Nikes® ultralight running shoe of the 1970s. (*N.B.: In the mid-1990s, Americans spent ca. \$12 billion a year on running shoes\--yet nine out of ten who owned them never ran.) [Media](sneaker.htm){tppabs="http://members.aol.com/nonverbal3/sneaker.htm" target="_top"}. 1.* Sneakers were popularized by James Dean in Guys and Dolls (1955), and by Elvis Presley\'s teen cohort in Jailhouse Rock (1957). In the 1950s sneakers broke the formality of corporate leather shoes to express a kinder, gentler world for feet and the lifestyle for which they stand. 2. \"Nike Air shoes with pressurized air soles helped more than double sales from \$1.7 billion in 1989 to \$3.8 billion just five years later, with the help of a determined marketing effort led by NBA star Michael Jordan\" (McCall 2000:A14). See also [BLUE JEANS](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"}, [BOOT](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm" target="_top"}, [MEN\'S SHOES](mens.htm){tppabs="http://members.aol.com/nonverbal3/mens.htm" target="_top"}, [WOMEN\'S SHOES](womens.htm){tppabs="http://members.aol.com/nonverbal3/womens.htm" target="_top"}. Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
SOFT SIGN	https://ns1.omnitech.net/data/Nonverbal/softsign.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>softsign</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="SOFT SIGN">SOFT SIGN</A></STRONG></FONT></P> <P><EM>Neuro cue</EM>. A <A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top"><B>gesture</B></A>, <B><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">body movement</A></B>, or <A HREF="posture1.htm" tppabs="http://members.aol.com/doder1/posture1.htm" TARGET="_top"><B>posture</B></A> used clinically to diagnose a psychiatric or movement disorder.</P> <P><EM>Usage</EM>: Soft signs include, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/apraxia.htm" TARGET="_top">apraxia</A></STRONG> cues, <STRONG><A HREF="http://members.aol.com/nonverbal2/eyeblink.htm" TARGET="_top">eye-blink</A></STRONG> rates, and <STRONG><A HREF="startle1.htm" tppabs="http://members.aol.com/doder1/startle1.htm" TARGET="_top">startle reflex</A></STRONG> signs. Two generic types of soft sign have been identified: <STRONG>a.</STRONG> those involving motor systems suggestive of early-life brain disturbances, and <STRONG>b.</STRONG> those involving less localized systems suggestive of adult neural dysfunctions and behavioral disturbances (Woods 1992). "Both . . . appear to be clinically useful in [the psychiatric] patient population" (Woods 1992:446).</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>) </P> </BODY> </HTML>	[SOFT SIGN]{#SOFT SIGN} Neuro cue. A [gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}, [body movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm" target="_top"}, or [posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm" target="_top"} used clinically to diagnose a psychiatric or movement disorder. Usage: Soft signs include, e.g., [apraxia](http://members.aol.com/nonverbal2/apraxia.htm){target="_top"} cues, [eye-blink](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"} rates, and [startle reflex](startle1.htm){tppabs="http://members.aol.com/doder1/startle1.htm" target="_top"} signs. Two generic types of soft sign have been identified: a. those involving motor systems suggestive of early-life brain disturbances, and b. those involving less localized systems suggestive of adult neural dysfunctions and behavioral disturbances (Woods 1992). \"Both . . . appear to be clinically useful in \[the psychiatric\] patient population\" (Woods 1992:446). Copyright 1999 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
SOLITARY DINER'S GLANCE	https://ns1.omnitech.net/data/Nonverbal/foodgaz1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>foodgaze</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SOLITARY DINER'S GLANCE</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Level Gaze" SRC="foodgaze.jpg" tppabs="http://members.aol.com/doder1/objects/foodgaze.jpg" HEIGHT="35%" WIDTH="18%"><BR WP="BR1"> <BR WP="BR2"> <I>Gaze direction</I>. The tendency of a lone diner <STRONG>a.</STRONG> to look up in a cafe or restaurant, and <STRONG>b.</STRONG> to move the eyes horizontally across the view-field while taking a bite of food or drinking from a cup, bottle, or glass.</P> <P><EM>Usage</EM>: Solitary diner's glance resembles the cautious <EM>visual checking</EM> that goes on among unacquainted individuals (e.g., in elevators and waiting rooms), though it occurs at regular intervals (i.e., usually with each bite or sip) and with greater frequency. The behavior may be a protective response to <STRONG><A HREF="strange1.htm" tppabs="http://members.aol.com/doder1/strange1.htm" TARGET="_top">stranger anxiety</A></STRONG>.</P> <P><STRONG><EM>RESEARCH REPORT</EM></STRONG><EM></EM>: Eibl-Eibesfeldt (1970) observed that individuals who ate alone <EM>looked up and around into the distance after each bite or two</EM>, alertly "scanning the horizon" against enemies, much as baboons and chimpanzees do in the wild.</P> <P>See also <A HREF="http://members.aol.com/nonverbal2/eyecon.htm" TARGET="_top"><B>EYE CONTACT</B></A>.</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 photo by Eddy Van der Elsken (Copyright Rapho Guillumette)</P> </BODY> </HTML>	SOLITARY DINER\'S GLANCE ![Level Gaze](foodgaze.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/foodgaze.jpg" height="35%" width="18%"}\ \ Gaze direction. The tendency of a lone diner a. to look up in a cafe or restaurant, and b. to move the eyes horizontally across the view-field while taking a bite of food or drinking from a cup, bottle, or glass. Usage: Solitary diner\'s glance resembles the cautious visual checking that goes on among unacquainted individuals (e.g., in elevators and waiting rooms), though it occurs at regular intervals (i.e., usually with each bite or sip) and with greater frequency. The behavior may be a protective response to [stranger anxiety](strange1.htm){tppabs="http://members.aol.com/doder1/strange1.htm" target="_top"}. *RESEARCH REPORT: Eibl-Eibesfeldt (1970) observed that individuals who ate alone looked up and around into the distance after each bite or two, alertly \"scanning the horizon\" against enemies, much as baboons and chimpanzees do in the wild. See also [EYE CONTACT](http://members.aol.com/nonverbal2/eyecon.htm){target="_top"}. Copyright 1999 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}*)\ Detail of photo by Eddy Van der Elsken (Copyright Rapho Guillumette)
SPACE	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 ![Bodies in Space](proxemic.jpg){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)\
SPECIAL VISCERAL NERVE	https://ns1.omnitech.net/data/Nonverbal/viscera1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>visceral</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SPECIAL VISCERAL NERVE</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Embryonic Special Visceral Nerves" SRC="visceral.jpg" tppabs="http://members.aol.com/doder1/objects/visceral.jpg" HEIGHT="35%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <EM>Neuro term</EM>. <STRONG>1.</STRONG> A nerve linked to a facial, jaw, neck, shoulder, or throat muscle that once played a role in eating or breathing. <STRONG>2.</STRONG> A cranial nerve whose original role in digestion and respiration renders it emotionally responsive today.</P> <P><EM>Usage</EM>: Special visceral nerves mediate those "gut reactive" signs of <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></STRONG> we unconsciously send through <STRONG><A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top">facial expressions</A></STRONG>, <STRONG></STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/throat.htm" TARGET="_top">throat-clears</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/headside.htm" TARGET="_top">head-tilts</A></STRONG>, and <STRONG><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top">shoulder-shrugs</A></STRONG>. Nonverbally these nerves are indeed "special," because the muscle contractions they mediate are less easily (i.e., voluntarily) controlled than are those of the skeletal muscles (which are innervated by <I>somatic</I> nerves).</P> <P><EM>Evolution</EM>. Associated with the <STRONG><A HREF="http://members.aol.com/nonverbal2/pharynx.htm" TARGET="_top">pharyngeal arches</A></STRONG>, special visceral nerves control the branchiomeric muscles which once constricted, or dilated, "gill" pouches of the ancient alimentary canal.</P> <P><EM>Anatomy I</EM>. Special visceral nerves include efferent fibers of <STRONG>a.</STRONG> the <EM>trigeminal nerve</EM> (cranial V, for biting and chewing); <STRONG>b.</STRONG> the <EM>facial nerve</EM> (cranial VII, for facial expression); <STRONG>c.</STRONG> the <EM>glossopharyngeal nerve</EM> (cranial IX, for swallowing); <STRONG>d.</STRONG> the <EM>vagus nerve</EM> (cranial X, for <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">tone of voice</A></STRONG>); and the <EM>accessory nerve</EM> (cranial XI, for <STRONG><A HREF="headshak.htm" tppabs="http://members.aol.com/nonverbal3/headshak.htm" TARGET="_top">head-shaking</A></STRONG> and the shoulder-shrug).</P> <P><EM>Anatomy II</EM>. The <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of visceral nerves--which originally mediated the muscles for <EM>opening</EM> (i.e., dilating) or <EM>closing</EM> (i.e., constricting) parts of the primitive "gill" apparatus in eating and breathing--are today linked to the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG>.<BR> <BR> <I>Vagus nerve stimulation</I>. "As the nerve is stimulated [by electrical current from an implanted VNS generator device to treat resistant depression], some people may experience a tingling sensation, hoarseness, or the urge to cough" (Cantor 2001).<BR> <BR> <EM>Neuro-notes</EM>. The <EM>special visceral motor column</EM> (in which special visceral nerves are rooted) lies in separate brain-stem and spinal-cord areas from the <EM>somatic motor column</EM> (which controls skeletal muscles). Overall, the structure of special visceral nerves in mammals is <EM>conservative</EM> (i.e., is much the same as it used to be in fishes; Walker 1986:223). The most conservative nerve of all (see Walker 1986:213) may be the glossopharyngeal (cranial IX), which renders cues such as the <STRONG><A HREF="http://members.aol.com/nonverbal2/adajum.htm" TARGET="_top">Adam's-apple-jump</A></STRONG> and throat constriction of the <STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">cry</A></STRONG> so sensitive, trustworthy, and revealing of mood. In fishes, the vagus may have been formed from four separate nerves, each similar to the glossopharyngeal (Walker 1986:213), and may have worked mainly as muscle constrictors. In reptiles, the accessory nerve split off from the vagus: "With the elaboration of the cucullaris to form the trapezius and sternocleidomastoid complex, we find that the special visceral motor fibers that supply these muscles separate from the vagus to form a new cranial nerve, the accessory (XI)" (Walker 1986:223).</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/disgust.htm" TARGET="_top">DISGUST</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"> Illustration detail from Larsen 1993 (copyright 1993 by Churchill Livingstone)</FONT><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	SPECIAL VISCERAL NERVE ![Embryonic Special Visceral Nerves](visceral.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/visceral.jpg" height="35%" width="25%"}\ \ Neuro term. 1. A nerve linked to a facial, jaw, neck, shoulder, or throat muscle that once played a role in eating or breathing. 2. A cranial nerve whose original role in digestion and respiration renders it emotionally responsive today. Usage: Special visceral nerves mediate those \"gut reactive\" signs of [emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"} we unconsciously send through [facial expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}, [throat-clears](http://members.aol.com/nonverbal2/throat.htm){target="_top"}, [head-tilts](http://members.aol.com/nonverbal3/headside.htm){target="_top"}, and [shoulder-shrugs](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" target="_top"}. Nonverbally these nerves are indeed \"special,\" because the muscle contractions they mediate are less easily (i.e., voluntarily) controlled than are those of the skeletal muscles (which are innervated by somatic nerves). Evolution. Associated with the [pharyngeal arches](http://members.aol.com/nonverbal2/pharynx.htm){target="_top"}, special visceral nerves control the branchiomeric muscles which once constricted, or dilated, \"gill\" pouches of the ancient alimentary canal. Anatomy I. Special visceral nerves include efferent fibers of a. the trigeminal nerve (cranial V, for biting and chewing); b. the facial nerve (cranial VII, for facial expression); c. the glossopharyngeal nerve (cranial IX, for swallowing); d. the vagus nerve (cranial X, for [tone of voice](http://members.aol.com/nonverbal2/tone.htm){target="_top"}); and the accessory nerve (cranial XI, for [head-shaking](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm" target="_top"} and the shoulder-shrug). Anatomy II. The [paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"} of visceral nerves\--which originally mediated the muscles for opening (i.e., dilating) or closing (i.e., constricting) parts of the primitive \"gill\" apparatus in eating and breathing\--are today linked to the [limbic system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm" target="_top"}.\ \ Vagus nerve stimulation. \"As the nerve is stimulated \[by electrical current from an implanted VNS generator device to treat resistant depression\], some people may experience a tingling sensation, hoarseness, or the urge to cough\" (Cantor 2001).\ \ Neuro-notes. The special visceral motor column (in which special visceral nerves are rooted) lies in separate brain-stem and spinal-cord areas from the somatic motor column (which controls skeletal muscles). Overall, the structure of special visceral nerves in mammals is conservative (i.e., is much the same as it used to be in fishes; Walker 1986:223). The most conservative nerve of all (see Walker 1986:213) may be the glossopharyngeal (cranial IX), which renders cues such as the [Adam\'s-apple-jump](http://members.aol.com/nonverbal2/adajum.htm){target="_top"} and throat constriction of the [cry](http://members.aol.com/nonverbal3/cry.htm){target="_top"} so sensitive, trustworthy, and revealing of mood. In fishes, the vagus may have been formed from four separate nerves, each similar to the glossopharyngeal (Walker 1986:213), and may have worked mainly as muscle constrictors. In reptiles, the accessory nerve split off from the vagus: \"With the elaboration of the cucullaris to form the trapezius and sternocleidomastoid complex, we find that the special visceral motor fibers that supply these muscles separate from the vagus to form a new cranial nerve, the accessory (XI)\" (Walker 1986:223). See also [DISGUST](http://members.aol.com/nonverbal2/disgust.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 Larsen 1993 (copyright 1993 by Churchill Livingstone)
SPEECH	https://ns1.omnitech.net/data/Nonverbal/speech1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>speech</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SPEECH</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Speech Sound" SRC="speech.jpg" tppabs="http://members.aol.com/doder1/objects/speech.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <EM><FONT SIZE="-1">Out of the abundance of the heart the mouth speaketh</FONT></EM><FONT SIZE="-1">. --</FONT><I><FONT SIZE="-1">Matthew</FONT></I><FONT SIZE="-1">, XII, 34</FONT><FONT SIZE="-1"></FONT><BR> <BR> <I><FONT SIZE="-1">Talk on, my son; say anything that comes to your mind or to the tip of your tongue</FONT></I><FONT SIZE="-1"> . . . --Miguel de Cervantes (</FONT><I><FONT SIZE="-1">Don Quixote</FONT></I><FONT SIZE="-1">, 1605:695)<BR> <BR> Nixon: <I>"But they were told to uh"</I><BR> Haldeman: <I>"uh and refused uh"</I><BR> Nixon: <I>[Expletive deleted.]</I> --Excerpt from the Nixon Tape Transcripts (Lardner 1997) <BR> </FONT><FONT SIZE="-1"></FONT><BR> <BR> <EM>Spoken language</EM>. <STRONG>1.</STRONG> A verbal and vocal means of communicating emotions, perceptions, and thoughts by the articulation of <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">words</A></STRONG>. <STRONG>2.</STRONG> The organization of systems of sound into <EM>language</EM>, which has enabled <EM>Homo sapiens</EM><STRONG> a.</STRONG> to transcend the limits of individual memory, and <STRONG>b.</STRONG> to store vast amounts of <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG>.</P> <P><EM>Usage I</EM>: Speech (and manual sign language, e.g., ASL) has become the indispensable means for sharing ideas, observations, and feelings, and for conversing about the past and future. Speech so engages the brain in self-conscious deliberation that we overlook our place in <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">Nonverbal World</A></STRONG>.</P> <P><EM>Usage II</EM>: "Earth's inhabitants speak some 6,000 different languages" (Raloff 1995).</P> <P><EM>Anatomy</EM>. To speak we produce complex sequences of body movements and articulations, not unlike the motions of <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gesture</A></STRONG>. Evolutionary recent speech-production areas of the neocortex, basal ganglia, and cerebellum enable us to talk, while evolutionary recent areas of the neocortex give heightened sensitivity <STRONG>a.</STRONG> to voice sounds (see <A HREF="auditor1.htm" tppabs="http://members.aol.com/doder1/auditor1.htm" TARGET="_top"><B>AUDITORY CUE</B></A>), and <STRONG>b.</STRONG> to positions of the fingers and hands.<BR> <BR> <I>Babble</I>. <B>1.</B> "Manual babbling has now been reported to occur in deaf children exposed to signed languages from birth" (Petitto and Marentette 1991:1493). <B>2.</B> "Instead of babbling with their voices, deaf babies babble with their hands, repeating the same motions over and over again" (Fishman 1992:66).</P> <P><EM>Evolution I</EM>. Spoken language is considered to be between 200-thousand (Lieberman 1991) and two-million (Gibson 1993) years old. The likely precursor of speech is sign language (see <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">HANDS</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/mimecue.htm" TARGET="_top">MIME CUE</A></STRONG>). Our ability <STRONG>a.</STRONG> to converse using manual signs and <STRONG>b.</STRONG> to manufacture <STRONG><A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top">artifacts</A></STRONG> (e.g., the Oldowan stone tools manufactured 2.4-to-1.5 m.y.a.) evolved in tandem on eastern Africa's savannah plains. Signing may not have evolved without artifacts, nor artifacts without signs. (<B><I>N.B.</I></B>: Anthropologists agree that some form of communication was needed to pass the knowledge of tool design on from one generation to the next.) </P> <P><EM>Evolution II</EM>. Handling, seeing, making, and carrying stone implements stimulated the creation of conceptual categories, available for word labels, which came in handy, e.g., for teaching the young. Through an intimate relationship with tools and artifacts, human beings became information-sharing primates of the highest order.</P> <P><EM>Evolution III</EM>. Preadaptations for vocal speech involved the human tongue. Before saying words, the tongue had been a humble manager of "food tossing." Through acrobatic maneuvers, chewed morsels were distributed to premolars and molars for finer grinding and pulping. (The trick was not getting bitten in the process.) As upright posture evolved, the throat grew in length, and the voice box was retrofit lower in the windpipe. As a result the larynx, originally for mammalian calling, increased its vocal range as the dexterous tongue waited to speak.<BR> <BR> <EM>Evolution IV</EM>. ". . . the earliest linguistic systems emerged out of vocalizations like those of the great apes. The earliest innovation was probably an increase in the number of distinctive calls" (Foley 1997:70; see <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">TONE OF VOICE</A></STRONG>, <A HREF="verbal1.htm" tppabs="http://members.aol.com/doder1/verbal1.htm" TARGET="_top"><B></B></A><I>Evolution</I>).<BR> <BR> <I>Gestural origin</I>. "[David B.] Givens has called our attention to matters too often ignored: the biological imperative to communicate, present along the whole evolutionary track; the persistence, out of awareness, of very ancient bodily signals and their penetration of all our social interaction; and the powerful neoteny--human gestures and sign language signs make use of some of the same actions to signal semantically related messages. These same powerful influences, it seems from the study of sign languages, are beneath and behind language as we know it today. Thus it should be easier to construct a theory of gesture turning into language, complete with duality of patterning and syntactic structures, and thence into spoken language, than to find spoken language springing full grown from a species but one step removed from the higher apes" (Stokoe 1986:180-81). </P> <P><I>Law</I>. According to the Federal Rules of Evidence (Article VIII. Hearsay), "A 'statement' is (1) an oral or written assertion or (2) <A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top"><B>nonverbal conduct</B></A> of a person, if it is intended by the person as an assertion" (Rule 801. Definitions).<BR> <BR> <B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. <B>1.</B> According to the <I>CBS Evening News</I> show (October 17, 1995), the earliest known recording of a human voice was made on a wax cylinder in 1888 by Thomas Edison. The voice says, "I'll take you around the world." <B>2.</B> The world's second most-recorded human voice is that of singer Frank Sinatra; the most recorded is that of crooner Bing Crosby (Schwartz 1995).<BR> <BR> <I>Sex differences I</I>. "During phonological tasks [i.e., the processing of afferent (incoming), rhyming, vocal sounds], brain activation in males is lateralized to the left inferior frontal gyrus regions; in females the pattern of activation is very different, engaging more diffuse neural systems that involve both the left and right inferior frontal gyrus (Shaywitz et al. 1995:607).<BR> <BR> <I>Sex differences II: Recent finding</I>. "Study: Women Listen More than Men [Associated Press, Copyright 2000] <BR> "Nov. 28, 2000 Score one for exasperated women: New research suggests men really do listen with just half their brains. <BR> "In a study of 20 men and 20 women, brain scans showed that men when listening mostly used the left sides of their brains, the region long associated with understanding language. Women in the study, however, used both sides. Other studies have suggested that women "can handle listening to two conversations at once," said Dr. Joseph T. Lurito, an assistant radiology professor at Indiana University School of Medicine. "One of the reasons may be that they have more brain devoted to it." Lurito's findings, presented Tuesday at the Radiological Society of North America's annual meeting, don't necessarily mean women are better listeners. It could be that "it's harder for them," Lurito suggested, since they apparently need to use more of their brains than men to do the same task. "I don't want a battle of the sexes," he said. "I just want people to realize that men and women" may process language differently. In the study, functional magnetic resonance imaging or fMRI was used to measure brain activity by producing multidimensional images of blood flow to various parts of the brain. Inside an MRI scanner, study participants wore headphones and listened to taped excerpts from John Grisham's novel "The Partner," while researchers watched blood-flow images of their brains, displayed on a nearby video screen. Listening resulted in increased blood flow in the left temporal lobes of the men's brains. In women, both temporal lobes showed activity" (Source: Discovery.com <I>News</I>, December 12, 2000).<BR> <BR> <I>Vocal recognition</I>. In his EMOVOX project ("Voice variability related to speaker-emotional state in Automatic Speaker Verification"), Prof. Klaus Scherer (Department of Psychology, University of Geneva) and his colleagues are researching the effects of emotion on speech to improve the effectiveness of automatic speaker verification (as used, e.g., in security systems). </P> <P> <B><I>RESEARCH REPORTS</I></B>: <B>1.</B> "The general model encompassing both spoken and signed languages to be presented here assumes that the key lies in describing both with a single vocabulary, the vocabulary of neuromuscular activity--i.e. gesture" (Armstrong, Stokoe, and Wilcox 1995:6). <B>2.</B> "With all due respect to my esteemed colleague [Iain Davidson], our disagreement doesn't really rest so much on whether or not I see a Broca's area on [fossil cranium] 1470, whichever Homo it turns out to be . . . . Our disagreement really stems from whether or not the manufacture of stone tools gives us any insights to previous cognitive behavioral patterns, and as I wrote back in 1969, 'Culture: A Human Domain,' in <I>CA</I> [<I>Current Anthropology</I>], I think there are more similarities than not between language behavior and stone tool making, and I haven't retreated from this position, because I haven't seen effective rebuttal, just denial" (Ralph L. Holloway, posting on Anthro-L, June 21, 1996, 4:04 PM). <B>3.</B> "We tend to perceive speech sounds in terms of 'articulatory gestures,' whose boundaries and distinctions correspond to articulatory (i.e., somato-motor) features, not just sound features . . ." (Deacon 1997:359-60). <BR> <BR> <EM>Neuro-notes I</EM>. Speaking is our most complex activity, requiring ca. 140,000 neuromuscular events per second to succeed. No animal on earth can match a human's extraordinary coordination of <STRONG><A HREF="lips.htm" tppabs="http://members.aol.com/doder1/lips.htm" TARGET="_top">lips</A></STRONG>, jaws, tongue, larynx, <STRONG><A HREF="http://members.aol.com/nonverbal2/pharynx.htm" TARGET="_top">pharynx</A></STRONG>, speech centers, <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG>, cerebellum, <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotions</A>,</STRONG> and memory, all required to utter a phrase.</P> <P><EM>Neuro-notes II</EM>. During the 1990-2000 Decade of the Brain, neuroscientists established that flaking a stone tool and uttering a word (e.g., <EM>handaxe</EM>) make use of the same--and closely related--brain areas. So nearly alike, in fact, are the neural pathways for manual dexterity and speech that a handaxe itself may be deciphered as though it were a paleolithic word or petrified phrase. Because <STRONG>a.</STRONG> the word "handaxe," and <STRONG>b.</STRONG> the perception of the worked stone (for which it stands) both exist as mental concepts (the neural templates for each are linked in the brain).</P> <P><EM>Neuro-notes III</EM>. Speech rests on an incredibly simple ability to pair stored mental concepts with incoming data from the senses. Ivan Pavlov (1849-1936; the Russian physiologist who discovered the <EM>conditioned response</EM>), e.g., observed dogs in his laboratory as they paired the sound of human footsteps (incoming data) with memories of meat (stored mental concepts). Not only did the meat itself cause Pavlov's dogs to salivate, but the mental concept of meat--i.e., memories of mealtimes past--was also called up by the sound of human feet. (<STRONG><I>N.B.</I></STRONG>: Pairing one sensation with memories of another [a process known as <EM>sensitization</EM> or <EM>associative learning</EM>] is an ability given to sea slugs, as well.)</P> <P><EM>Neuro-notes IV</EM>. Tool use itself probably increased concept formation. MRI studies, reveal that children who make early, skilled use of the digits of the right hand (e.g., in playing the violin) develop larger areas in the left sensory cortex devoted to fingering. Thus, Pleistocene youngsters who were precociously introduced to tool-making may have developed enhanced neural circuitry for the task.</P> <P>See also <A HREF="verbal1.htm" tppabs="http://members.aol.com/doder1/verbal1.htm" TARGET="_top"><B>VERBAL CENTER</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><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><STRONG><FONT SIZE="-1">Center for Nonverbal Studies</FONT></STRONG></A><STRONG><FONT SIZE="-1"></FONT></STRONG><FONT SIZE="-1">)</FONT><BR> <FONT SIZE="-1"> Detail of photo by Lennart Nilsson (copyright </FONT><I><FONT SIZE="-1">Black Star</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	SPEECH ![Speech Sound](speech.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/speech.jpg" height="40%" width="25%"}\ \ Out of the abundance of the heart the mouth speaketh. \--Matthew, XII, 34\ \ Talk on, my son; say anything that comes to your mind or to the tip of your tongue . . . \--Miguel de Cervantes (Don Quixote, 1605:695)\ \ Nixon: \"But they were told to uh\"\ Haldeman: \"uh and refused uh\"\ Nixon: \[Expletive deleted.\] \--Excerpt from the Nixon Tape Transcripts (Lardner 1997)\ \ \ Spoken language. 1. A verbal and vocal means of communicating emotions, perceptions, and thoughts by the articulation of [words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm" target="_top"}. 2. The organization of systems of sound into language, which has enabled Homo sapiens a. to transcend the limits of individual memory, and b. to store vast amounts of [information](http://members.aol.com/nonverbal2/info.htm){target="_top"}. Usage I: Speech (and manual sign language, e.g., ASL) has become the indispensable means for sharing ideas, observations, and feelings, and for conversing about the past and future. Speech so engages the brain in self-conscious deliberation that we overlook our place in [Nonverbal World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}. Usage II: \"Earth\'s inhabitants speak some 6,000 different languages\" (Raloff 1995). Anatomy. To speak we produce complex sequences of body movements and articulations, not unlike the motions of [gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}. Evolutionary recent speech-production areas of the neocortex, basal ganglia, and cerebellum enable us to talk, while evolutionary recent areas of the neocortex give heightened sensitivity a. to voice sounds (see [AUDITORY CUE](auditor1.htm){tppabs="http://members.aol.com/doder1/auditor1.htm" target="_top"}), and b. to positions of the fingers and hands.\ \ Babble. 1. \"Manual babbling has now been reported to occur in deaf children exposed to signed languages from birth\" (Petitto and Marentette 1991:1493). 2. \"Instead of babbling with their voices, deaf babies babble with their hands, repeating the same motions over and over again\" (Fishman 1992:66). Evolution I. Spoken language is considered to be between 200-thousand (Lieberman 1991) and two-million (Gibson 1993) years old. The likely precursor of speech is sign language (see [HANDS](http://members.aol.com/nonverbal2/hands.htm){target="_top"}, [MIME CUE](http://members.aol.com/nonverbal2/mimecue.htm){target="_top"}). Our ability a. to converse using manual signs and b. to manufacture [artifacts](http://members.aol.com/nonverbal3/artifact.htm){target="_top"} (e.g., the Oldowan stone tools manufactured 2.4-to-1.5 m.y.a.) evolved in tandem on eastern Africa\'s savannah plains. Signing may not have evolved without artifacts, nor artifacts without signs. (*N.B.: Anthropologists agree that some form of communication was needed to pass the knowledge of tool design on from one generation to the next.) Evolution II. Handling, seeing, making, and carrying stone implements stimulated the creation of conceptual categories, available for word labels, which came in handy, e.g., for teaching the young. Through an intimate relationship with tools and artifacts, human beings became information-sharing primates of the highest order. Evolution III. Preadaptations for vocal speech involved the human tongue. Before saying words, the tongue had been a humble manager of \"food tossing.\" Through acrobatic maneuvers, chewed morsels were distributed to premolars and molars for finer grinding and pulping. (The trick was not getting bitten in the process.) As upright posture evolved, the throat grew in length, and the voice box was retrofit lower in the windpipe. As a result the larynx, originally for mammalian calling, increased its vocal range as the dexterous tongue waited to speak.\ \ Evolution IV. \". . . the earliest linguistic systems emerged out of vocalizations like those of the great apes. The earliest innovation was probably an increase in the number of distinctive calls\" (Foley 1997:70; see [TONE OF VOICE](http://members.aol.com/nonverbal2/tone.htm){target="_top"}, [](verbal1.htm){tppabs="http://members.aol.com/doder1/verbal1.htm" target="_top"}Evolution).\ \ Gestural origin. \"\[David B.\] Givens has called our attention to matters too often ignored: the biological imperative to communicate, present along the whole evolutionary track; the persistence, out of awareness, of very ancient bodily signals and their penetration of all our social interaction; and the powerful neoteny\--human gestures and sign language signs make use of some of the same actions to signal semantically related messages. These same powerful influences, it seems from the study of sign languages, are beneath and behind language as we know it today. Thus it should be easier to construct a theory of gesture turning into language, complete with duality of patterning and syntactic structures, and thence into spoken language, than to find spoken language springing full grown from a species but one step removed from the higher apes\" (Stokoe 1986:180-81). Law. According to the Federal Rules of Evidence (Article VIII. Hearsay), \"A \'statement\' is (1) an oral or written assertion or (2) [nonverbal conduct](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm" target="_top"} of a person, if it is intended by the person as an assertion\" (Rule 801. Definitions).\ \ [Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. 1.* According to the CBS Evening News show (October 17, 1995), the earliest known recording of a human voice was made on a wax cylinder in 1888 by Thomas Edison. The voice says, \"I\'ll take you around the world.\" 2. The world\'s second most-recorded human voice is that of singer Frank Sinatra; the most recorded is that of crooner Bing Crosby (Schwartz 1995).\ \ Sex differences I. \"During phonological tasks \[i.e., the processing of afferent (incoming), rhyming, vocal sounds\], brain activation in males is lateralized to the left inferior frontal gyrus regions; in females the pattern of activation is very different, engaging more diffuse neural systems that involve both the left and right inferior frontal gyrus (Shaywitz et al. 1995:607).\ \ Sex differences II: Recent finding. \"Study: Women Listen More than Men \[Associated Press, Copyright 2000\]\ \"Nov. 28, 2000 --- Score one for exasperated women: New research suggests men really do listen with just half their brains.\ \"In a study of 20 men and 20 women, brain scans showed that men when listening mostly used the left sides of their brains, the region long associated with understanding language. Women in the study, however, used both sides. Other studies have suggested that women \"can handle listening to two conversations at once,\" said Dr. Joseph T. Lurito, an assistant radiology professor at Indiana University School of Medicine. \"One of the reasons may be that they have more brain devoted to it.\" Lurito\'s findings, presented Tuesday at the Radiological Society of North America\'s annual meeting, don\'t necessarily mean women are better listeners. It could be that \"it\'s harder for them,\" Lurito suggested, since they apparently need to use more of their brains than men to do the same task. \"I don\'t want a battle of the sexes,\" he said. \"I just want people to realize that men and women\" may process language differently. In the study, functional magnetic resonance imaging --- or fMRI --- was used to measure brain activity by producing multidimensional images of blood flow to various parts of the brain. Inside an MRI scanner, study participants wore headphones and listened to taped excerpts from John Grisham\'s novel \"The Partner,\" while researchers watched blood-flow images of their brains, displayed on a nearby video screen. Listening resulted in increased blood flow in the left temporal lobes of the men\'s brains. In women, both temporal lobes showed activity\" (Source: Discovery.com News, December 12, 2000).\ \ Vocal recognition. In his EMOVOX project (\"Voice variability related to speaker-emotional state in Automatic Speaker Verification\"), Prof. Klaus Scherer (Department of Psychology, University of Geneva) and his colleagues are researching the effects of emotion on speech to improve the effectiveness of automatic speaker verification (as used, e.g., in security systems). *RESEARCH REPORTS: 1.* \"The general model encompassing both spoken and signed languages to be presented here assumes that the key lies in describing both with a single vocabulary, the vocabulary of neuromuscular activity\--i.e. gesture\" (Armstrong, Stokoe, and Wilcox 1995:6). 2. \"With all due respect to my esteemed colleague \[Iain Davidson\], our disagreement doesn\'t really rest so much on whether or not I see a Broca\'s area on \[fossil cranium\] 1470, whichever Homo it turns out to be . . . . Our disagreement really stems from whether or not the manufacture of stone tools gives us any insights to previous cognitive behavioral patterns, and as I wrote back in 1969, \'Culture: A Human Domain,\' in CA \[Current Anthropology\], I think there are more similarities than not between language behavior and stone tool making, and I haven\'t retreated from this position, because I haven\'t seen effective rebuttal, just denial\" (Ralph L. Holloway, posting on Anthro-L, June 21, 1996, 4:04 PM). 3. \"We tend to perceive speech sounds in terms of \'articulatory gestures,\' whose boundaries and distinctions correspond to articulatory (i.e., somato-motor) features, not just sound features . . .\" (Deacon 1997:359-60).\ \ Neuro-notes I. Speaking is our most complex activity, requiring ca. 140,000 neuromuscular events per second to succeed. No animal on earth can match a human\'s extraordinary coordination of [lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm" target="_top"}, jaws, tongue, larynx, [pharynx](http://members.aol.com/nonverbal2/pharynx.htm){target="_top"}, speech centers, [basal ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}, cerebellum, [emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}, and memory, all required to utter a phrase. Neuro-notes II. During the 1990-2000 Decade of the Brain, neuroscientists established that flaking a stone tool and uttering a word (e.g., handaxe) make use of the same\--and closely related\--brain areas. So nearly alike, in fact, are the neural pathways for manual dexterity and speech that a handaxe itself may be deciphered as though it were a paleolithic word or petrified phrase. Because a. the word \"handaxe,\" and b. the perception of the worked stone (for which it stands) both exist as mental concepts (the neural templates for each are linked in the brain). Neuro-notes III. Speech rests on an incredibly simple ability to pair stored mental concepts with incoming data from the senses. Ivan Pavlov (1849-1936; the Russian physiologist who discovered the conditioned response), e.g., observed dogs in his laboratory as they paired the sound of human footsteps (incoming data) with memories of meat (stored mental concepts). Not only did the meat itself cause Pavlov\'s dogs to salivate, but the mental concept of meat\--i.e., memories of mealtimes past\--was also called up by the sound of human feet. (*N.B.: Pairing one sensation with memories of another \[a process known as sensitization* or associative learning\] is an ability given to sea slugs, as well.) Neuro-notes IV. Tool use itself probably increased concept formation. MRI studies, reveal that children who make early, skilled use of the digits of the right hand (e.g., in playing the violin) develop larger areas in the left sensory cortex devoted to fingering. Thus, Pleistocene youngsters who were precociously introduced to tool-making may have developed enhanced neural circuitry for the task. See also [VERBAL CENTER](verbal1.htm){tppabs="http://members.aol.com/doder1/verbal1.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 Lennart Nilsson (copyright Black Star)
SPEECH ERRORS	https://ns1.omnitech.net/data/Nonverbal/sperrors.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>sperrors</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="SPEECH ERRORS">SPEECH ERRORS</A></STRONG></FONT><STRONG></STRONG></P> <P><EM>Vocal cues</EM>. <STRONG>1.</STRONG> Mistakes in verbal fluency, including repetition, stuttering, mispronounced words, incomplete clauses, and <STRONG><A HREF="http://members.aol.com/nonverbal2/throat.htm" TARGET="_top">throat-clearing</A></STRONG>.</P> <P><EM>Usage</EM>: Increased frequency in speech errors may indicate <STRONG><A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top">anger</A></STRONG>, anxiety, or stress (Mehrabian 1974:89).<BR> <BR> <I>Hem and haw</I>. <B>1.</B> <I>Hem</I>: "A short cough or clearing of the throat made especially to gain attention, warn another, hide embarrassment, or fill a pause in speech" (Soukhanov 1992:841). <B>2.</B> <I>Haw</I>: "An utterance used by a speaker who is fumbling for words" (Soukhanov 1992:829).</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> Speech hesitations tend to occur at the beginnings of clauses, usually after the first word (Boomer 1965). <STRONG>2.</STRONG> "George Mahl of Yale University has found that errors become more frequent as the speaker's discomfort or anxiety increases" (Mehrabian 1974:89).</P> <P><EM>Neuro-notes</EM>. <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">Emotion</A></STRONG> from the <STRONG><A HREF="limbic.htm" tppabs="http://members.aol.com/nonverbal3/limbic.htm" TARGET="_top">limbic system</A></STRONG> carries to the <EM>larynx</EM> and <EM>pharynx</EM> through <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">special visceral</A></STRONG> (i.e., "gut reactive") <STRONG><A HREF="viscera1.htm" tppabs="http://members.aol.com/doder1/viscera1.htm" TARGET="_top">nerves</A></STRONG>. Anxiety may also divert mental concentration.</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/adajum.htm" TARGET="_top">ADAM'S-APPLE-JUMP</A></STRONG>, <STRONG><A HREF="deceive.htm" tppabs="http://members.aol.com/nonverbal3/deceive.htm" TARGET="_top">DECEPTION CUE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top">TONE OF VOICE</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>	[SPEECH ERRORS]{#SPEECH ERRORS} Vocal cues. 1. Mistakes in verbal fluency, including repetition, stuttering, mispronounced words, incomplete clauses, and [throat-clearing](http://members.aol.com/nonverbal2/throat.htm){target="_top"}. Usage: Increased frequency in speech errors may indicate [anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}, anxiety, or stress (Mehrabian 1974:89).\ \ Hem and haw. 1. Hem: \"A short cough or clearing of the throat made especially to gain attention, warn another, hide embarrassment, or fill a pause in speech\" (Soukhanov 1992:841). 2. Haw: \"An utterance used by a speaker who is fumbling for words\" (Soukhanov 1992:829). *RESEARCH REPORTS: 1.* Speech hesitations tend to occur at the beginnings of clauses, usually after the first word (Boomer 1965). 2. \"George Mahl of Yale University has found that errors become more frequent as the speaker\'s discomfort or anxiety increases\" (Mehrabian 1974:89). Neuro-notes. [Emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"} from the [limbic system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm" target="_top"} carries to the larynx and pharynx through [special visceral](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm" target="_top"} (i.e., \"gut reactive\") [nerves](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm" target="_top"}. Anxiety may also divert mental concentration. See also [ADAM\'S-APPLE-JUMP](http://members.aol.com/nonverbal2/adajum.htm){target="_top"}, [DECEPTION CUE](deceive.htm){tppabs="http://members.aol.com/nonverbal3/deceive.htm" target="_top"}, [TONE OF VOICE](http://members.aol.com/nonverbal2/tone.htm){target="_top"}. Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
STARTLE REFLEX	https://ns1.omnitech.net/data/Nonverbal/startle1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>startle</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">STARTLE REFLEX</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Kramer" SRC="startle.jpg" tppabs="http://members.aol.com/doder1/objects/startle.jpg" HEIGHT="50%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <EM><FONT SIZE="-1">I'm an eccentricity specialist</FONT></EM><FONT SIZE="-1">. --Michael Richards (Kramer on </FONT><I><FONT SIZE="-1">Seinfeld</FONT></I><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P> <P><EM>Neuro term</EM>. <STRONG>1.</STRONG> A sudden, involuntary movement made in response to a touch, an unexpected motion, or a loud noise. <STRONG>2.</STRONG> A set of automatic protective movements designed to withdraw the body and its parts from harm.</P> <P><EM>Usage</EM>: Many defensive <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/nonverbal2/submit.htm" TARGET="_top">submissive</A></STRONG><STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top"> gestures</A></STRONG> (e.g., diverse movements of the <STRONG><A HREF="shrugdis.htm" tppabs="http://members.aol.com/nonverbal3/shrugdis.htm" TARGET="_top">shoulder-shrug display</A></STRONG>) derive from <STRONG><A HREF="http://members.aol.com/nonverbal2/paleo.htm" TARGET="_top">paleocircuits</A></STRONG> of the mammalian startle. Its status as a reflex explains why human beings (in all cultures) <STRONG>a. </STRONG><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/blink.htm" TARGET="_top">blink</A></EM></STRONG> and <EM>grimace</EM>; <STRONG>b. </STRONG><EM>flex</EM> the neck, elbows, trunk, and knees; and <STRONG>c.</STRONG><EM> elevate</EM> the <STRONG><A HREF="http://members.aol.com/nonverbal2/shoulder.htm" TARGET="_top">shoulders</A></STRONG> when feeling physically, emotionally, or socially threatened (Andermann and Andermann 1992:498).</P> <P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG><EM></EM>. Eccentric twisting, plunging, blinking, and flexing spasms made from 1989-98 by <EM>Seinfeld</EM> TV character, Cosmo Kramer are typical of people with an <EM>exaggerated startle response</EM>. Increasing with anxiety and fatigue, the startle underlies such culturally recognized "startle syndromes" as Indonesian <EM>latah</EM>, Japanese <EM>imu</EM>, and Lapland's <EM>Lapp panic</EM> (Joseph and Saint-Hilaire 1992:487-88).</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: The startle reflex is related to the <EM>Moro</EM> or "clamping" reflex of young primates, which includes <STRONG>a.</STRONG> arm, leg, and spinal-column <EM>extension</EM> movements; <STRONG>b.</STRONG> head <STRONG><A HREF="bow1.htm" tppabs="http://members.aol.com/doder1/bow1.htm" TARGET="_top">bowing</A></STRONG> (over the chest); and <STRONG>c. </STRONG><STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">crying</A></STRONG> (McGraw 1943:19). Present in the human fetus after 30 weeks, the startle is predominantly a <EM>flexor</EM> reflex, possibly rooted in the primitive <EM>orienting</EM> response (Joseph and Saint-Hilaire 1992:487).</P> <P><EM>Neuro-notes</EM>. Sudden movements, <STRONG><A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top">looming objects</A></STRONG>, or bright lights trigger midbrain <EM>optic centers</EM> which automatically turn our faces and eyes toward what could be dangerous--before the forebrain knows, on a conscious level, danger even exists. The midbrain's <EM>auditory lobes</EM>, meanwhile, are reflexively attuned to changes in sound. Located just below the optic-center lobes, these pea-sized areas control our <EM>auditory startle</EM>. Picked up by the <EM>cochlear nucleus</EM>, a scream received by the auditory lobes triggers the <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> and circuits of the reticulospinal tract to activate the startle. Thus, recoiling from a karate yell, e.g., is a primal response prompted by paleocircuits of the <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibian brain</A></STRONG>.</P> <P>See also <STRONG>CHATTERING TEETH</STRONG>, <STRONG><A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top">FLEXION WITHDRAWAL</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 publicity photo (copyright 1998 by </FONT><EM><FONT SIZE="-1">People Weekly</FONT></EM><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT></P> <BR WP="BR1"> <BR WP="BR2"> </BODY> </HTML>	STARTLE REFLEX ![Kramer](startle.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/startle.jpg" height="50%" width="25%"}\ \ I\'m an eccentricity specialist. \--Michael Richards (Kramer on Seinfeld) Neuro term. 1. A sudden, involuntary movement made in response to a touch, an unexpected motion, or a loud noise. 2. A set of automatic protective movements designed to withdraw the body and its parts from harm. Usage: Many defensive [postures](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm" target="_top"} and [submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"} [gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"} (e.g., diverse movements of the [shoulder-shrug display](shrugdis.htm){tppabs="http://members.aol.com/nonverbal3/shrugdis.htm" target="_top"}) derive from [paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"} of the mammalian startle. Its status as a reflex explains why human beings (in all cultures) a. *[blink](http://members.aol.com/nonverbal2/blink.htm){target="_top"}* and grimace; b. flex the neck, elbows, trunk, and knees; and c. elevate the [shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"} when feeling physically, emotionally, or socially threatened (Andermann and Andermann 1992:498). *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. Eccentric twisting, plunging, blinking, and flexing spasms made from 1989-98 by Seinfeld* TV character, Cosmo Kramer are typical of people with an exaggerated startle response. Increasing with anxiety and fatigue, the startle underlies such culturally recognized \"startle syndromes\" as Indonesian latah, Japanese imu, and Lapland\'s Lapp panic (Joseph and Saint-Hilaire 1992:487-88). *RESEARCH REPORTS: The startle reflex is related to the Moro* or \"clamping\" reflex of young primates, which includes a. arm, leg, and spinal-column extension movements; b. head [bowing](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm" target="_top"} (over the chest); and c. [crying](http://members.aol.com/nonverbal3/cry.htm){target="_top"} (McGraw 1943:19). Present in the human fetus after 30 weeks, the startle is predominantly a flexor reflex, possibly rooted in the primitive orienting response (Joseph and Saint-Hilaire 1992:487). Neuro-notes. Sudden movements, [looming objects](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm" target="_top"}, or bright lights trigger midbrain optic centers which automatically turn our faces and eyes toward what could be dangerous\--before the forebrain knows, on a conscious level, danger even exists. The midbrain\'s auditory lobes, meanwhile, are reflexively attuned to changes in sound. Located just below the optic-center lobes, these pea-sized areas control our auditory startle. Picked up by the cochlear nucleus, a scream received by the auditory lobes triggers the [amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"} and circuits of the reticulospinal tract to activate the startle. Thus, recoiling from a karate yell, e.g., is a primal response prompted by paleocircuits of the [amphibian brain](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}. See also CHATTERING TEETH, [FLEXION WITHDRAWAL](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm" target="_top"}. Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ Detail of publicity photo (copyright 1998 by People Weekly) \ \
STEINZOR EFFECT	https://ns1.omnitech.net/data/Nonverbal/steinzor.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>steinzor</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="STEINZOR EFFECT">STEINZOR EFFECT</A><BR> <BR> <IMG BORDER="0" ALT="Bodies Aligned with the Leader" SRC="steinzor.jpg" tppabs="http://members.aol.com/nonverbal3/objects/steinzor.jpg" HEIGHT="35%" WIDTH="40%"></STRONG></FONT></P> <P><EM>Group dynamic</EM>. The finding that <STRONG>a.</STRONG> with minimal leadership, members of a discussion group address most remarks to colleagues sitting <EM>across</EM> a conference table; <STRONG>b.</STRONG> with a strong leader, members address colleagues seated <EM>beside</EM> them; and <STRONG>c.</STRONG> where leadership is shared, <EM>no spatial effect</EM> is seen (Sommer 1967).</P> <P><EM>Usage</EM>: The Steinzor effect reveals a telling link between <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye contact</A></STRONG> and <STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominance</A></STRONG>. We may find it difficult, e.g., to gaze directly at, or to cross lines of sight with, a dominant individual seated nearby at the same <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>.</P> <P><STRONG><EM>RESEARCH REPORT</EM></STRONG><EM></EM>: "In task discussions, people direct more comments to those seated across from them in a circle or at a table, whereas in social discussions, they are more likely to talk to the person seated next to them. The presence of a directive leader may also encourage more talking to those in adjacent seats" (Burgoon et. al 1989:389).</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/angular.htm" TARGET="_top">ANGULAR DISTANCE</A></STRONG>, <STRONG><A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top">PROXEMICS</A></STRONG>.</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>)</P> </BODY> </HTML>	[STEINZOR EFFECT]{#STEINZOR EFFECT}\ \ ![Bodies Aligned with the Leader](steinzor.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/steinzor.jpg" height="35%" width="40%"} Group dynamic. The finding that a. with minimal leadership, members of a discussion group address most remarks to colleagues sitting across a conference table; b. with a strong leader, members address colleagues seated beside them; and c. where leadership is shared, no spatial effect is seen (Sommer 1967). Usage: The Steinzor effect reveals a telling link between [eye contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"} and [dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}. We may find it difficult, e.g., to gaze directly at, or to cross lines of sight with, a dominant individual seated nearby at the same [conference table](table.htm){tppabs="http://members.aol.com/doder1/table.htm" target="_top"}. *RESEARCH REPORT: \"In task discussions, people direct more comments to those seated across from them in a circle or at a table, whereas in social discussions, they are more likely to talk to the person seated next to them. The presence of a directive leader may also encourage more talking to those in adjacent seats\" (Burgoon et. al 1989:389). See also [ANGULAR DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}, [PROXEMICS](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm" target="_top"}. Copyright 1999 (David B. Givens/[Center for Nonverbal Studies*](http://members.aol.com/nonverbal2/index.htm){target="_top"})
STOMP	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 *![Cool Boots](B43976.jpg){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"})
STRANGER ANXIETY	https://ns1.omnitech.net/data/Nonverbal/strange1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>stranger</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG>STRANGER ANXIETY</STRONG></FONT></P> <P><IMG BORDER="0" ALT="Pucker Face" SRC="stranger.jpg" tppabs="http://members.aol.com/doder1/objects/stranger.jpg" HEIGHT="42%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">Emotion</A></EM></STRONG><EM></EM>. An innate anxiety, mistrust, or wariness of foreigners, newcomers, outsiders, or other unacquainted and unknown individuals.</P> <P><EM>Usage</EM>: A panoply of nonverbal signs reveals our anxiety as we interact with unfamiliar people. Before city life, our ancestors spent most of their time dealing face-to-face with people they knew. Today, we spend a great deal of time interacting with strangers.<BR> <BR> <FONT FACE="Times New Roman"><FONT FACE="Times New Roman"><I>Psychology</I>. Our aversion to the intrusion of strangers into our usual areas may be innate (Thorndike 1940; see <A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top"><B>PROXEMICS</B></A>).</FONT></FONT></P> <P><STRONG><EM><A HREF="sweaty1.htm" tppabs="http://members.aol.com/doder1/sweaty1.htm" TARGET="_top">Sweaty palms</A></EM></STRONG>. "No social relationship is more stressful than the encounter with a stranger, an unknown and potentially threatening fellow human being. . . . studies of the galvanic skin response (e.g., McBride et al. 1965) indicate that anxiety increases in subjects, i.e., skin resistance decreases, as they are approached by strangers" (Givens 1978d:351).</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> A mild form of stranger anxiety is <EM>social jeopardy</EM>: "By saying something, the speaker opens himself up to the possibility that the intended recipients will affront him by not listening or will think him forward, foolish, or offensive in what he has said" (Goffman 1967:37). <STRONG> 2.</STRONG> Among Zhun/twasi infants (of N.W. Botswana), responses to strangers include <EM>cling</EM>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">cry</A></EM></STRONG><EM></EM>, <EM>approach mother</EM>, <I>gaze aversion</I>, <EM>gaze at mother</EM>, <EM>pucker-face</EM>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top">mouth-hand</A></EM></STRONG><EM></EM>, <EM>stare</EM>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top">smile</A></EM></STRONG><A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top"><EM></EM></A>, <STRONG><EM><A HREF="http://members.aol.com/nonverbal3/laugh.htm" TARGET="_top">laugh</A></EM></STRONG><A HREF="http://members.aol.com/nonverbal3/laugh.htm" TARGET="_top"><EM></EM></A>, and <EM>touch</EM> (Konner (1972). <STRONG>3.</STRONG> In western children, responses to strangers include <EM>sobering</EM>, slight <STRONG><EM><A HREF="http://members.aol.com/doder1/frown.htm" TARGET="_top">frowning</A></EM></STRONG><EM></EM>, and <EM>marked and pronounced puckering</EM> (as negative signs; infants respond more negatively to adult than to child strangers; Lewis and Brooks 1974). <B>4.</B> In a study of 150 adult encounters with unfamiliar adults, 90% (137) showed negative signs, e.g., "<B><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top">lip-compression</A></B><A HREF="http://members.aol.com/nonverbal2/tensemou.htm" TARGET="_top"></A>, lip-bite, <A HREF="http://members.aol.com/nonverbal2/tonguesh.htm" TARGET="_top"><B>tongue-show</B></A>, tongue-in-cheek; downward, lateral, and maximal-lateral gaze avoidance [see <B><A HREF="cutoff1.htm" tppabs="http://members.aol.com/doder1/cutoff1.htm" TARGET="_top">CUT-OFF</A></B>]; <A HREF="http://members.aol.com/nonverbal2/selftouc.htm" TARGET="_top"><B>hand-to-face</B></A>, hand-to-hand, hand-to-body, and <A HREF="http://members.aol.com/nonverbal2/handbehi.htm" TARGET="_top"><B>hand-behind-head</B></A> automanipulations; and postures involving <A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top"><B>flexion and adduction</B></A> of the upper limbs" (Givens 1978d:354). <STRONG>5.</STRONG> "For a time, scientists thought almost all infants this age [6-to-8 months] were distressed by unfamiliar people. It's now clear that babies react to new people in a wide variety of ways" (Chase and Rubin 1979:118).</P> <P>See also<STRONG><A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top">FIGHT-OR-FLIGHT</A></STRONG>, <STRONG><A HREF="freeze1.htm" tppabs="http://members.aol.com/doder1/freeze1.htm" TARGET="_top">FREEZE REACTION</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>)<BR> Detail of photo by Wayne Miller (Copyright Wayne Miller) </FONT><FONT FACE="Times New Roman"> </FONT></P> </BODY> </HTML>	STRANGER ANXIETY ![Pucker Face](stranger.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/stranger.jpg" height="42%" width="25%"}\ \ *[Emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}. An innate anxiety, mistrust, or wariness of foreigners, newcomers, outsiders, or other unacquainted and unknown individuals. Usage: A panoply of nonverbal signs reveals our anxiety as we interact with unfamiliar people. Before city life, our ancestors spent most of their time dealing face-to-face with people they knew. Today, we spend a great deal of time interacting with strangers.\ \ Psychology. Our aversion to the intrusion of strangers into our usual areas may be innate (Thorndike 1940; see [PROXEMICS](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm" target="_top"}). [Sweaty palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm" target="_top"}. \"No social relationship is more stressful than the encounter with a stranger, an unknown and potentially threatening fellow human being. . . . studies of the galvanic skin response (e.g., McBride et al. 1965) indicate that anxiety increases in subjects, i.e., skin resistance decreases, as they are approached by strangers\" (Givens 1978d:351). RESEARCH REPORTS: 1.* A mild form of stranger anxiety is social jeopardy: \"By saying something, the speaker opens himself up to the possibility that the intended recipients will affront him by not listening or will think him forward, foolish, or offensive in what he has said\" (Goffman 1967:37). 2. Among Zhun/twasi infants (of N.W. Botswana), responses to strangers include cling, *[cry](http://members.aol.com/nonverbal3/cry.htm){target="_top"}, approach mother, gaze aversion, gaze at mother, pucker-face, [mouth-hand](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}, stare, [smile](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}[](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}, [laugh](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}[](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}, and touch* (Konner (1972). 3. In western children, responses to strangers include sobering, slight *[frowning](http://members.aol.com/doder1/frown.htm){target="_top"}, and marked and pronounced puckering* (as negative signs; infants respond more negatively to adult than to child strangers; Lewis and Brooks 1974). 4. In a study of 150 adult encounters with unfamiliar adults, 90% (137) showed negative signs, e.g., \"[lip-compression](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}[](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}, lip-bite, [tongue-show](http://members.aol.com/nonverbal2/tonguesh.htm){target="_top"}, tongue-in-cheek; downward, lateral, and maximal-lateral gaze avoidance \[see [CUT-OFF](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm" target="_top"}\]; [hand-to-face](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}, hand-to-hand, hand-to-body, and [hand-behind-head](http://members.aol.com/nonverbal2/handbehi.htm){target="_top"} automanipulations; and postures involving [flexion and adduction](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm" target="_top"} of the upper limbs\" (Givens 1978d:354). 5. \"For a time, scientists thought almost all infants this age \[6-to-8 months\] were distressed by unfamiliar people. It\'s now clear that babies react to new people in a wide variety of ways\" (Chase and Rubin 1979:118). See also[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm" target="_top"}, [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"})\ Detail of photo by Wayne Miller (Copyright Wayne Miller)
SUPERBALL	https://ns1.omnitech.net/data/Nonverbal/super1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>super</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SUPERBALL®</FONT></STRONG></P> <P><IMG BORDER="0" ALT="Superball Wannabes" SRC="super.jpg" tppabs="http://members.aol.com/doder1/objects/super.jpg" HEIGHT="48%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <FONT SIZE="-1">. . . </FONT><I><FONT SIZE="-1">our little life is rounded</FONT></I><FONT SIZE="-1"> . . . . --Shakespeare (</FONT><I><FONT SIZE="-1">The Tempest</FONT></I><FONT SIZE="-1">, IV, I)</FONT><FONT SIZE="-1"></FONT></P> <P><STRONG><EM><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer product</A></EM></STRONG>. A small, lively, spherical <STRONG><A HREF="http://members.aol.com/nonverbal3/artifact.htm" TARGET="_top">artifact</A></STRONG> of <STRONG><A HREF="http://members.aol.com/nonverbal2/vinyl.htm" TARGET="_top">vinyl</A></STRONG>, designed to bounce approximately 90 percent as high as the point from whence it was dropped.</P> <P><EM>Usage</EM>: Considered a child's toy, adults too enjoy Superball's animated bounce. The rhythmic, back-and-forth reciprocity of releasing and catching a Superball is a "whole brain" workout which stimulates the entirety of the central nervous system (including circuits of the spinal cord, hindbrain, midbrain, and forebrain).<BR> <BR> <FONT FACE="Times New Roman"><EM>Anatomy</EM>. Made of Zectron®, the Superball contains 50,000 lbs. of compressed energy (source: WHAM-O package).<BR> <BR> <EM>History I</EM>. In the 1960s, a chemical engineer accidentally created a plastic product that bounced uncontrollably. Thus the Superball was born, followed by the Super Gold Ball, Super Baseball, and Super Dice. "In one celebrated incident, a giant, promotional Superball was accidentally dropped from of a 23rd floor hotel window in Australia. It shot back up 15 floors, then down again into a parked convertible car. The car was totaled but the ball survived in perfect condition." (Source: <EM><A HREF="http://www.wham-o.com/content/history.html" TARGET="_top">www.wham-o.com</A></EM>)<BR> <BR> <FONT FACE="Times New Roman"><EM>History II</EM>. </FONT>During the 1960s, ca. 20 million Superballs were sold. However, the toy was so copied by competitors <FONT FACE="Times New Roman">(e.g., today, by Taiwan's Hi-Bouncing Ball)</FONT> that WHAM-O® "bounced" the product from its line. "If you're one of the countless others who've never been satisfied with mere copies, the wait is over! WHAM-O has brought back the original Superball." <FONT FACE="Times New Roman"></FONT>(Source: <EM><A HREF="http://www.wham-o.com/content/history.html" TARGET="_top">www.wham-o.com</A></EM>)<BR> <BR> <I>Literature</I>. "It's alive!" (Mary Wollstonecraft Shelley, <I>Frankenstein</I>, 1818)</FONT></P> <P><EM>Meaning</EM>. Through its shape, color, texture, and lifelike movements, the Superball has a great deal to "say," especially to children--and to the young at heart. Nonverbally, its body-language motions are <STRONG><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></STRONG> which carry information, attract our fancy, and catch our eyes (see <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">MESSAGING FEATURE</A></STRONG>).<BR> <BR> <FONT FACE="Times New Roman"><STRONG><EM>RESEARCH REPORT</EM></STRONG></FONT><FONT FACE="Times New Roman"><EM></EM>: Our attraction to the zany body language of Superballs is due, in part, to the unusual amount of energy they contain. According to the researcher, Margaret D. Campbell, ". . . when two superballs of different masses are dropped with the larger on the bottom, the smaller one has its velocity increased by a factor of three and reaches a final height of nine times its original height." Thus, "<STRONG></STRONG>The first collision will have only the effect of reversing the large ball's velocity. For the second collision, involving both balls, we use the fact that the total momentum and the total kinetic energy of the two balls is the same before and after the collision, and, solving for the final velocities, obtain the equations (where Mr = M1/M2 is the mass ratio): </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>V1f = [(Mr - 1) / (Mr + 1)]V1i + [2 / (Mr + 1)]V2i </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>V2f = [2Mr / (Mr + 1)]V1i + [(1 - Mr) / (Mr + 1)]V2i </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>or, if V1i = V2i = Vi </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>V1f = [(-Mr + 3) / (Mr + 1)] Vi </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>V2f = [(1 - Mr) / (Mr + 1)] Vi </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>and Mr -->0, </FONT></P> <P><FONT FACE="Times New Roman"><STRONG></STRONG>V1f = 3Vi . . . [and thus,] the smaller ball will gain <I><B>three times the velocity</B></I> it started with . . . ."<BR> <BR> <HR> </FONT><FONT FACE="Times New Roman" SIZE="-1"><B><I>E-Commentary</I></B>: "I am a high school student and basketball player, and I'm working on a science project. I need some advice. I know this might be off topic and not in your field, but anyway, I saw your report on the superball, and for my project I would like to manipulate the superball material into insoles for my shoes which, in theory (mine anyway), will improve my jumping ability. Do you think it would actually work? And if so, how could I manipulate the material into an insole? Would melting it change its bouncy' properties? Any help would be greatly appreciated." Jay (8/31/00 8:17:23 AM Pacific Daylight Time)</FONT><FONT FACE="Times New Roman"> <HR> </FONT></P> <P><FONT FACE="Times New Roman"><EM>Neuro-notes</EM>. Like many successful products, a Superball "speaks" to our senses. Its color targets the ventral temporal lobe; when bounced it addresses the middle temporal gyrus. At a deeper level, via emotional modules linked to vision centers of the <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibian midbrain</A></STRONG>, lively movements give the Superball its charming "personality." The diminutive size confers <STRONG>cuteness</STRONG>, and (like human skin itself) the <STRONG><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">smoothness</A></STRONG> of its vinyl contours pleases free nerve endings in our <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>.</FONT></P> <P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">BIG MAC®</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>)<BR> Imitation bouncy balls (various brands) amid fragments of Superball package (copyright 1999 by WHAM-O</FONT><FONT FACE="Times New Roman" SIZE="-1">®</FONT><FONT FACE="Times New Roman" SIZE="-1">)</FONT><FONT FACE="Times New Roman" SIZE="-1"></FONT></P> </BODY> </HTML>	SUPERBALL® ![Superball Wannabes](super.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/super.jpg" height="48%" width="25%"}\ \ . . . our little life is rounded . . . . \--Shakespeare (The Tempest, IV, I) *[Consumer product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}. A small, lively, spherical [artifact](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}* of [vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}, designed to bounce approximately 90 percent as high as the point from whence it was dropped. Usage: Considered a child\'s toy, adults too enjoy Superball\'s animated bounce. The rhythmic, back-and-forth reciprocity of releasing and catching a Superball is a \"whole brain\" workout which stimulates the entirety of the central nervous system (including circuits of the spinal cord, hindbrain, midbrain, and forebrain).\ \ Anatomy. Made of Zectron®, the Superball contains 50,000 lbs. of compressed energy (source: WHAM-O package).\ \ History I. In the 1960s, a chemical engineer accidentally created a plastic product that bounced uncontrollably. Thus the Superball was born, followed by the Super Gold Ball, Super Baseball, and Super Dice. \"In one celebrated incident, a giant, promotional Superball was accidentally dropped from of a 23rd floor hotel window in Australia. It shot back up 15 floors, then down again into a parked convertible car. The car was totaled but the ball survived in perfect condition.\" (Source: [www.wham-o.com](http://www.wham-o.com/content/history.html){target="_top"})\ \ History II. During the 1960s, ca. 20 million Superballs were sold. However, the toy was so copied by competitors (e.g., today, by Taiwan\'s Hi-Bouncing Ball) that WHAM-O® \"bounced\" the product from its line. \"If you\'re one of the countless others who\'ve never been satisfied with mere copies, the wait is over! WHAM-O has brought back the original Superball.\" (Source: [www.wham-o.com](http://www.wham-o.com/content/history.html){target="_top"})\ \ Literature. \"It\'s alive!\" (Mary Wollstonecraft Shelley, Frankenstein, 1818) Meaning. Through its shape, color, texture, and lifelike movements, the Superball has a great deal to \"say,\" especially to children\--and to the young at heart. Nonverbally, its body-language motions are [gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"} which carry information, attract our fancy, and catch our eyes (see [MESSAGING FEATURE](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}).\ \ *RESEARCH REPORT: Our attraction to the zany body language of Superballs is due, in part, to the unusual amount of energy they contain. According to the researcher, Margaret D. Campbell, \". . . when two superballs of different masses are dropped with the larger on the bottom, the smaller one has its velocity increased by a factor of three and reaches a final height of nine times its original height.\" Thus, \"The first collision will have only the effect of reversing the large ball\'s velocity. For the second collision, involving both balls, we use the fact that the total momentum and the total kinetic energy of the two balls is the same before and after the collision, and, solving for the final velocities, obtain the equations (where Mr = M1/M2 is the mass ratio): V1f = \[(Mr - 1) / (Mr + 1)\]V1i + \[2 / (Mr + 1)\]V2i V2f = \[2Mr / (Mr + 1)\]V1i + \[(1 - Mr) / (Mr + 1)\]V2i or, if V1i = V2i = Vi V1f = \[(-Mr + 3) / (Mr + 1)\] Vi V2f = \[(1 - Mr) / (Mr + 1)\] Vi and Mr \--\>0, V1f = 3Vi . . . \[and thus,\] the smaller ball will gain three times the velocity* it started with . . . .\"\ \ ------------------------------------------------------------------------ *E-Commentary: \"I am a high school student and basketball player, and I\'m working on a science project. I need some advice. I know this might be off topic and not in your field, but anyway, I saw your report on the superball, and for my project I would like to manipulate the superball material into insoles for my shoes which, in theory (mine anyway), will improve my jumping ability. Do you think it would actually work? And if so, how could I manipulate the material into an insole? Would melting it change its 'bouncy\' properties? Any help would be greatly appreciated.\" --Jay (8/31/00 8:17:23 AM Pacific Daylight Time) ------------------------------------------------------------------------ Neuro-notes. Like many successful products, a Superball \"speaks\" to our senses. Its color targets the ventral temporal lobe; when bounced it addresses the middle temporal gyrus. At a deeper level, via emotional modules linked to vision centers of the [amphibian midbrain](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}, lively movements give the Superball its charming \"personality.\" The diminutive size confers cuteness, and (like human skin itself) the [smoothness](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm" target="_top"}* of its vinyl contours pleases free nerve endings in our [hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}. See also [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"})\ Imitation bouncy balls (various brands) amid fragments of Superball package (copyright 1999 by WHAM-O®)
SWAGGER-WALK	https://ns1.omnitech.net/data/Nonverbal/swagger1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>swagger</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SWAGGER-WALK</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Best Swagger Guy" SRC="swagger.jpg" tppabs="http://members.aol.com/doder1/objects/swagger.jpg" HEIGHT="35%" WIDTH="15%"><BR WP="BR1"> <BR> <I><FONT SIZE="-1">I don't mean military courage, or civil courage, or any special kind of courage. I mean just that inborn ability to look temptations straight in the face--a readiness unintellectual enough, goodness knows, but without pose--a power of resistance, don't you see, ungracious if you like, but priceless--an unthinking and blessed stiffness before the outward and inward terrors, before the might of nature, and the seductive corruption of men--backed by a faith invulnerable to the strength of facts, to the </FONT><A HREF="http://members.aol.com/nonverbal2/isoprax.htm" TARGET="_top"><B><FONT SIZE="-1">contagion of example</FONT></B></A><FONT SIZE="-1">, to the solicitation of ideas. Hang ideas!</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/nonverbal2/broadsid.htm" TARGET="_top">Broadside display</A></EM></STRONG><EM></EM>. <STRONG>1.</STRONG> A slight or moderate exaggeration in the side-to-side movements of <STRONG><A HREF="walk1.htm" tppabs="http://members.aol.com/doder1/walk1.htm" TARGET="_top">walking</A></STRONG>. <STRONG>2.</STRONG> A usually masculine style of upper-body strutting. <STRONG>3.</STRONG> A visual means of filling-up space or occupying a greater expanse of <A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top"><B>personal territory</B></A>.</P> <P><EM>Usage</EM>: In greetings, a man may use the swagger-walk while approaching another man to demonstrate power, strength, and <STRONG><A HREF="http://members.aol.com/nonverbal2/dominate.htm" TARGET="_top">dominance</A></STRONG>. (<B><I>N.B.</I></B>: The swagger-walk is not generally used to greet a woman.) In a culturally elaborated version, African-American men may drag one foot and limp from side-to-side in a <EM>pimp strut</EM>. The swagger-walk may be seen as men enter taverns or bars, to show "attitude" before engaging in rituals of <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courtship</A></STRONG>. </P> <P><EM>Primatology</EM>. Our closest relatives, the great apes, show dominance by straightening and holding their arms away from the body as they swagger-walk from side to side.<BR> <BR> <I>Transexuality</I>. "I never mind the swagger of young men. It is their right to swank, and I know the sensation!" (Morris 1974:83).</P> <P><STRONG><EM><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></EM></STRONG>. The best-known human swagger-walker was John Wayne, in such movie classics as <I>Rio Bravo</I> (1959), <I>The Alamo</I> (1960), and <I>The Green Berets</I> (1968).</P> <P> See also <A HREF="http://members.aol.com/nonverbal2/goose.htm" TARGET="_top"><B>GOOSE-STEP</B></A>, <STRONG><A HREF="boot1.htm" tppabs="http://members.aol.com/nonverbal3/boot1.htm" TARGET="_top">STOMP</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"> Photo copyright by Yevonde</FONT><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	SWAGGER-WALK ![Best Swagger Guy](swagger.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/swagger.jpg" height="35%" width="15%"}\ \ I don\'t mean military courage, or civil courage, or any special kind of courage. I mean just that inborn ability to look temptations straight in the face\--a readiness unintellectual enough, goodness knows, but without pose\--a power of resistance, don\'t you see, ungracious if you like, but priceless\--an unthinking and blessed stiffness before the outward and inward terrors, before the might of nature, and the seductive corruption of men\--backed by a faith invulnerable to the strength of facts, to the [contagion of example](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}, to the solicitation of ideas. Hang ideas! \--Joseph Conrad (Lord Jim, 1899)\ \ *[Broadside display](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}. 1.* A slight or moderate exaggeration in the side-to-side movements of [walking](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm" target="_top"}. 2. A usually masculine style of upper-body strutting. 3. A visual means of filling-up space or occupying a greater expanse of [personal territory](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm" target="_top"}. Usage: In greetings, a man may use the swagger-walk while approaching another man to demonstrate power, strength, and [dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}. (*N.B.: The swagger-walk is not generally used to greet a woman.) In a culturally elaborated version, African-American men may drag one foot and limp from side-to-side in a pimp strut. The swagger-walk may be seen as men enter taverns or bars, to show \"attitude\" before engaging in rituals of [courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm" target="_top"}. Primatology. Our closest relatives, the great apes, show dominance by straightening and holding their arms away from the body as they swagger-walk from side to side.\ \ Transexuality. \"I never mind the swagger of young men. It is their right to swank, and I know the sensation!\" (Morris 1974:83). [Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. The best-known human swagger-walker was John Wayne, in such movie classics as Rio Bravo* (1959), The Alamo (1960), and The Green Berets (1968). See also [GOOSE-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}, [STOMP](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm" target="_top"}. Copyright© 1998 - 2001 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ Photo copyright by Yevonde
SWEATY PALMS	https://ns1.omnitech.net/data/Nonverbal/sweaty1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>sweaty</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">SWEATY-PALMS</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Fear Water" SRC="sweaty.jpg" tppabs="http://members.aol.com/doder1/objects/sweaty.jpg" HEIGHT="40%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/emotionq.htm" TARGET="_top">Emotion cue</A></EM></STRONG><EM></EM>. The excretion of eccrine-gland moisture onto the palmar surface of the hands in response to anxiety, stress, or <STRONG><A HREF="http://members.aol.com/nonverbal2/fear.htm" TARGET="_top">fear</A></STRONG>.</P> <P><EM>Usage</EM>: Sweaty palms may be detected while shaking hands. It is reputed that former F.B.I. director J. Edgar Hoover would not hire candidates whose handshakes were moist and cold.</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG><EM></EM>: <STRONG>1.</STRONG> Cannon's "emergency reaction" involves redistribution of blood from the skin and viscera to the muscles and brain (Cannon 1929; see <A HREF="fight.htm" tppabs="http://members.aol.com/nonverbal3/fight.htm" TARGET="_top"><B>FIGHT-OR-FLIGHT</B></A>). <STRONG>2.</STRONG> A college student's GSR (galvanic skin response) is greatest when he or she is approached frontally by a member of the opposite sex (McBride et al.1965; see <A HREF="strange1.htm" tppabs="http://members.aol.com/doder1/strange1.htm" TARGET="_top"><B>STRANGER ANXIETY</B></A>).<BR> <BR> <I>Neuro-notes I</I>. Like other <A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top"><B>body-motion</B></A> cues, sweating requires the movement of body parts to deliver its watery substance to the skin's surface. <I>Myoepithelial</I> cells, which contain smooth-visceral-muscle-like organs, contract to squeeze the sweaty fluid through thin ducts in the skin. Myoepithelial "muscles" are innervated by sympathetic nerve fibers; the muscle-like organs also contract in response to adrenaline (Horne 1995:411). </P> <P><EM>Neuro-notes II</EM>. <B>1.</B> "Studies in animals have established that the <STRONG><A HREF="http://members.aol.com/nonverbal2/amygdala.htm" TARGET="_top">amygdala</A></STRONG> is critical for emotional conditioning [e.g., of the SCR or skin conductance response (i.e., sweaty palms)], whereas several human and nonhuman primate studies have established that the hippocampus and surrounding regions are necessary for establishing declarative knowledge" (Bechara et al. 1995:1115). <STRONG>2.</STRONG> "Bilateral damage to the amygdala entirely blocked the ability . . . to acquire conditioned SCRs . . ." (Bechara et al. 1995:1117). <STRONG>3.</STRONG> The subject "failed to generate SCRs to the CSs [conditioned stimuli] in both the visual and auditory experiments but was able to provide accurate and complete factual information regarding which stimuli had been followed by the US [unconditioned stimulus]" (Bechara et al. 1995:1117). <STRONG>4.</STRONG> The amygdala is "essential for the coupling of sensory stimuli with affect . . ." (Bechara et al. 1995:1117).</P> <P>See also <STRONG><A HREF="blush.htm" tppabs="http://members.aol.com/nonverbal3/blush.htm" TARGET="_top">FACIAL FLUSHING</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 by Linda McCartney</FONT><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	SWEATY-PALMS ![Fear Water](sweaty.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/sweaty.jpg" height="40%" width="25%"}\ \ *[Emotion cue](http://members.aol.com/nonverbal2/emotionq.htm){target="_top"}. The excretion of eccrine-gland moisture onto the palmar surface of the hands in response to anxiety, stress, or [fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}. Usage: Sweaty palms may be detected while shaking hands. It is reputed that former F.B.I. director J. Edgar Hoover would not hire candidates whose handshakes were moist and cold. RESEARCH REPORTS: 1.* Cannon\'s \"emergency reaction\" involves redistribution of blood from the skin and viscera to the muscles and brain (Cannon 1929; see [FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm" target="_top"}). 2. A college student\'s GSR (galvanic skin response) is greatest when he or she is approached frontally by a member of the opposite sex (McBride et al.1965; see [STRANGER ANXIETY](strange1.htm){tppabs="http://members.aol.com/doder1/strange1.htm" target="_top"}).\ \ Neuro-notes I. Like other [body-motion](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm" target="_top"} cues, sweating requires the movement of body parts to deliver its watery substance to the skin\'s surface. Myoepithelial cells, which contain smooth-visceral-muscle-like organs, contract to squeeze the sweaty fluid through thin ducts in the skin. Myoepithelial \"muscles\" are innervated by sympathetic nerve fibers; the muscle-like organs also contract in response to adrenaline (Horne 1995:411). Neuro-notes II. 1. \"Studies in animals have established that the [amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"} is critical for emotional conditioning \[e.g., of the SCR or skin conductance response (i.e., sweaty palms)\], whereas several human and nonhuman primate studies have established that the hippocampus and surrounding regions are necessary for establishing declarative knowledge\" (Bechara et al. 1995:1115). 2. \"Bilateral damage to the amygdala entirely blocked the ability . . . to acquire conditioned SCRs . . .\" (Bechara et al. 1995:1117). 3. The subject \"failed to generate SCRs to the CSs \[conditioned stimuli\] in both the visual and auditory experiments but was able to provide accurate and complete factual information regarding which stimuli had been followed by the US \[unconditioned stimulus\]\" (Bechara et al. 1995:1117). 4. The amygdala is \"essential for the coupling of sensory stimuli with affect . . .\" (Bechara et al. 1995:1117). See also [FACIAL FLUSHING](blush.htm){tppabs="http://members.aol.com/nonverbal3/blush.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
TABLE-SLAP	https://ns1.omnitech.net/data/Nonverbal/tablslap.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>tablslap</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="TABLE-SLAP">TABLE-SLAP</A></STRONG></FONT></P> <P><EM><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top"><B>Gesture</B></A></EM>. A <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/palmdown.htm#PALM-DOWN">palm-down</A></STRONG> cue in which a tabletop or level surface is struck by a percussive clap with the open <A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top"><B>hand</B></A>.</P> <P><EM>Usage</EM>: The table-slap is used <STRONG>a.</STRONG> to accent a key speaking point; <STRONG>b.</STRONG> to object to another speaker's statement; <STRONG>c.</STRONG> to demonstrate an emotion, e.g., anger or mirth; and <STRONG>d.</STRONG> to call attention to one's own presence.</P> <P><EM>Observations</EM>. In the workplace, table-slaps are visible at meetings around a <STRONG><A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top">conference table</A></STRONG>. In offices with cubicles, senior staff may table-slap the dividers of junior staff members at will, but the latter may not slap a supervisor's partition, railing, or office door. On a subordinate's cubicle partition, the table-slap signals <STRONG>a.</STRONG> "I am here," <STRONG>b.</STRONG> "I have something to say," and <STRONG>c.</STRONG> "I am more important than you." Example: Hearing his boss slap, a senior executive in range establishes <STRONG><A HREF="http://members.aol.com/nonverbal3/eyecon.htm" TARGET="_top">eye-contact</A></STRONG> and slaps a nearby surface to answer the call. Each subsequently <EM>averts gaze</EM>, approaches the other with a <STRONG><A HREF="swagger1.htm" tppabs="http://members.aol.com/doder1/swagger1.htm" TARGET="_top">swagger-walk</A></STRONG>, and <EM>leans</EM> on a junior staff member's partition to chat, before returning to private offices a short distance away.<BR> <BR> <I>Primatology</I>. Slapping the ground with an open hand is a gesture directed by adult or young adult baboons at other baboons in the wild (Hall and DeVore 1972).</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> <EM>Slamming an open hand on a tabletop</EM> is called a <EM>baton</EM>, a nonverbal sign used to emphasize a speaking point (Ekman and Friesen 1969). <STRONG>2.</STRONG> The <EM>pound</EM> gesture is "A sharp blow by one hand against the other immobile hand or against an object such as a table" (Brannigan and Humphries 1972:61). <STRONG>3.</STRONG> <EM>Slap ground</EM> is an aggressive gesture in langurs (Dolhinow 1972) and savannah baboons (Hall and DeVore 1972). <STRONG>4.</STRONG> "The animal [a chimpanzee] raises one or both hands forward or to the sides and hits the ground or an inanimate object with a flat palm" (Berdecio and Nash 1981:30). "In this study the gesture always appeared to function as an attention getting device. In general, instances performed with the alert face served as play invitations" (Berdecio and Nash 1981:30). <STRONG>5.</STRONG> Palm-down <EM>ground-slapping</EM> is a <EM>threat gesture</EM> in chimpanzees (<EM>Pan troglodytes</EM>; Goodall 1990) and in bonobos (<EM>P. paniscus</EM>; Waal 1997).</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></P> </BODY> </HTML>	[TABLE-SLAP]{#TABLE-SLAP} [Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}. A [palm-down](http://members.aol.com/nonverbal2/palmdown.htm#PALM-DOWN){target="_top"} cue in which a tabletop or level surface is struck by a percussive clap with the open [hand](http://members.aol.com/nonverbal2/hands.htm){target="_top"}. Usage: The table-slap is used a. to accent a key speaking point; b. to object to another speaker\'s statement; c. to demonstrate an emotion, e.g., anger or mirth; and d. to call attention to one\'s own presence. Observations. In the workplace, table-slaps are visible at meetings around a [conference table](table.htm){tppabs="http://members.aol.com/doder1/table.htm" target="_top"}. In offices with cubicles, senior staff may table-slap the dividers of junior staff members at will, but the latter may not slap a supervisor\'s partition, railing, or office door. On a subordinate\'s cubicle partition, the table-slap signals a. \"I am here,\" b. \"I have something to say,\" and c. \"I am more important than you.\" Example: Hearing his boss slap, a senior executive in range establishes [eye-contact](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"} and slaps a nearby surface to answer the call. Each subsequently averts gaze, approaches the other with a [swagger-walk](swagger1.htm){tppabs="http://members.aol.com/doder1/swagger1.htm" target="_top"}, and leans on a junior staff member\'s partition to chat, before returning to private offices a short distance away.\ \ Primatology. Slapping the ground with an open hand is a gesture directed by adult or young adult baboons at other baboons in the wild (Hall and DeVore 1972). *RESEARCH REPORTS: 1.* Slamming an open hand on a tabletop is called a baton, a nonverbal sign used to emphasize a speaking point (Ekman and Friesen 1969). 2. The pound gesture is \"A sharp blow by one hand against the other immobile hand or against an object such as a table\" (Brannigan and Humphries 1972:61). 3. Slap ground is an aggressive gesture in langurs (Dolhinow 1972) and savannah baboons (Hall and DeVore 1972). 4. \"The animal \[a chimpanzee\] raises one or both hands forward or to the sides and hits the ground or an inanimate object with a flat palm\" (Berdecio and Nash 1981:30). \"In this study the gesture always appeared to function as an attention getting device. In general, instances performed with the alert face served as play invitations\" (Berdecio and Nash 1981:30). 5. Palm-down ground-slapping is a threat gesture in chimpanzees (Pan troglodytes; Goodall 1990) and in bonobos (P. paniscus; Waal 1997). Copyright 1998, 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
TACTILE CUE	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 ![Hand Held](touch1.jpg){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.)
TACTILE 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 ![Flexion Protection](withdraw.jpg){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)
TERRITORY	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 ![Bodies in Space](proxemic.jpg){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)\
TICKLE	https://ns1.omnitech.net/data/Nonverbal/tickle1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>tickle</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">TICKLE</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Tickle Laugh" SRC="tickle.jpg" tppabs="http://members.aol.com/doder1/objects/tickle.jpg" HEIGHT="50%" WIDTH="20%"><BR WP="BR1"> <BR WP="BR2"> <STRONG><EM><A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top">Touch cue</A></EM></STRONG><EM></EM>. <FONT FACE="Times New Roman">Tickle is a tingling, tactile sensation, considered both pleasant and unpleasant, which 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></P> <P><EM>Usage I</EM>: Tickling, a playful cue, is often seen in child-child, parent-child, and male-female (i.e., <STRONG><A HREF="court1.htm" tppabs="http://members.aol.com/doder1/court1.htm" TARGET="_top">courting</A></STRONG>) pairs. Its harmless-seeming, "unserious" nature has made tickling an ideal form of communication in courtship's fourth (or <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig4.htm" TARGET="_top">touch</A></STRONG>) phase. The two tickle types are <STRONG>a. </STRONG><EM>knismesis</EM> (a light tickle which may or may not produce laughter), and <STRONG>b.</STRONG><EM> gargalesis</EM> (a heavy tickle which usually produces the laugh response). <FONT FACE="Times New Roman"> <FONT FACE="Times New Roman">Examples of light tickle include touching the sole of the foot with a feather, and feeling a fly walk about on one's knee. An example of heavy tickling is indenting the skin of another's ribs or waist with one's poking fingertips. (<B><I>N.B.</I></B>: </FONT>In the Middle Ages prolonged tickling was used as a form of torture.)<BR> <BR> <FONT FACE="Times New Roman"><EM>Usage II</EM>: Tickling produces laughter, which releases euphoria-promoting brain chemicals, such as endorphin, enkephalin, dopamine, noradrenaline, and adrenaline. Mutual laughter stimulated by tickling can promote bonding and strengthen emotional ties. Tickling reinforces psychological closeness through the physical medium of touch. Tickling the neck, armpits, and sides of the abdomen may also arouse sexual feelings, as it stimulates nonspecific erogenous areas of the skin.</FONT></FONT></P> <P><FONT FACE="Times New Roman"><STRONG><EM><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top">Word</A></EM></STRONG></FONT><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top"><FONT FACE="Times New Roman"><EM></EM></FONT></A><FONT FACE="Times New Roman"><EM> origin</EM>. "Tickle" comes from Middle English <I>tikelen</I>, "to touch lightly."</FONT></P> <P><FONT FACE="Times New Roman"><STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">Consumer product</A></STRONG>. Tickle Me Elmo</FONT><FONT FACE="Times New Roman">®</FONT><FONT FACE="Times New Roman"> ". . . laughs and shakes when tickled. Tickle Elmo once to make him giggle. Tickle him a second time to make him laugh longer. Tickle Elmo a third time to make him shake and laugh uncontrollably. There is an auto shut-off for longer battery life (batteries included)" (Plush Elmo ad by Fisher Price). </FONT></P> <P><FONT FACE="Times New Roman"><STRONG>RESEARCH REPORTS</STRONG>. <FONT FACE="Times New Roman">While the philosophers Plato and Aristotle speculated about tickling, the first scientific study was published in1872 by Charles Darwin.</FONT> <STRONG>1.</STRONG> "Everyone knows how immoderately children laugh, and how their whole bodies are convulsed, when they are tickled" (Darwin 1872:197). <STRONG>2.</STRONG> "The anthropoid apes . . . likewise utter a reiterated sound, corresponding with our own laughter, when they are tickled, especially under the armpits" (Darwin 1872:197-98). <STRONG>3.</STRONG> "Such movements [i.e., <STRONG><A HREF="withdra1.htm" tppabs="http://members.aol.com/doder1/withdra1.htm" TARGET="_top">jerking away</A></STRONG>], as well as laughter from being tickled, are manifestly reflex actions . . . ." (Darwin 1872:198). <STRONG>4.</STRONG></FONT> A study in <EM>Nature Neuroscience</EM> (Nov. 1998) by University College London researchers determined <STRONG>a.</STRONG> that during self-tickling, areas of the cerebellum are active (causing the anticipation of tickle cues), but <STRONG>b.</STRONG> that cerebellar areas are not active when subjects are tickled by experimenters (thus causing an emotional, <I>surprise</I> response).<FONT FACE="Times New Roman"></FONT><BR> <BR> <FONT FACE="Times New Roman"><I>Innateness</I>. Recent studies suggest that, like laughter, which first appears in infants between 23 days and four months, the tickle response is innate. Studies of deaf-and-blind-born children, for example, show normal bodily responses to being tickled. Because tickle sensations travel through the same nerves as tactile impulses for pain and itch, they stimulate similar movements of tactile-withdrawal and scratching, both of which are innate as well.</FONT></P> <P><I>Anatomy</I>. <FONT FACE="Times New Roman">The most ticklish areas of the body for light-tickle sensations (based on the duration of laughing and <A HREF="http://members.aol.com/nonverbal2/zygosmi.htm" TARGET="_top"><B>smiling</B></A>) are, in order, <B>a.</B> underarms, <B>b.</B> waist, <B>c.</B> ribs, <B>d.</B> feet, <B>e.</B> knees, <B>f.</B> throat, <B>g.</B> neck, and <B>h.</B> palms. Though heavy tickling usually produces laughter, most people say they dislike being tickled.</FONT><BR> <BR> <FONT FACE="Times New Roman"><EM>Evolution</EM>. <FONT FACE="Times New Roman">Tickling and breathy, laugh-like panting exhalations appear in the human being's closest primate relatives, the great apes. The primate tickle response may have evolved, in part, from the mammalian scratch reflex, which utilizes ancient vertebrate pathways for pain. The scratch reflex produces rhythmic movements of the limbs, designed to remove the irritating sources of itch stimulated, for instance, by mosquitoes and flies. Tickling a dog's abdomen produces repeated movements of the hind limb to rid the body of imagined fleas. The withdrawal response, an innate escape motion designed to remove a body part from danger, produces an involuntary movement away from a tickler's annoying fingertips.</FONT><BR> <BR> <EM>Erogenous tickle</EM>. Like other forms of touching, tickling may stimulate sexuality as an</FONT> erotic stimulus to the skin (see <STRONG><A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top">feet</A></STRONG>). Touching <I>nonspecific</I> erogenous areas of the neck, armpits, and sides of the abdomen, e.g., may produce pleasurable tickling sensations. Touching <I>specific</I> erogenous zones (i.e., the mucocutaneous skin of the genital regions; see <STRONG><A HREF="http://members.aol.com/nonverbal2/lovesig5.htm" TARGET="_top">LOVE SIGNALS V</A></STRONG>) may stimulate acute sexual sensations. (<STRONG><EM>N.B.</EM></STRONG>: Specialized mucocutaneous end-organs appear to be involved in experiencing tactile pleasure from erogenous zones.)</P> <P><EM>Neuro-notes</EM>.<FONT FACE="Times New Roman"> Tickle (and <I>itch</I>) sensations are produced through mild stimulation of the nerve endings (group C unmyelinated fibres) for <STRONG><A HREF="pain1.htm" tppabs="http://members.aol.com/doder1/pain1.htm" TARGET="_top">pain</A></STRONG> (<FONT FACE="Times New Roman">i.e., group C unmyelinated fibres).<FONT FACE="Times New Roman"> As noted above, heavy tickling by oneself of one's own body does not lead to laughter. Imaging studies suggest that the brain's cerebellum anticipates the tickling movements, and thus unconsciously nullifies the required element of surprise. The reason human beings laugh while being tickled is still unknown. Tickle's laughter may be prompted by a neural link between vocalizing and grooming in the <A HREF="cingulat.htm" tppabs="http://members.aol.com/nonverbal3/cingulat.htm" TARGET="_top"><B>cingulate gyrus</B></A> of the <A HREF="mammal.htm" tppabs="http://members.aol.com/nonverbal3/mammal.htm" TARGET="_top"><B>mammalian brain</B></A>.</FONT></FONT></FONT><BR> <BR> Copyright 1999 (David B. Givens/<STRONG><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></STRONG>)<FONT FACE="Times New Roman"><BR> Detail of photo by Eve Arnold (copyright <EM>Magnum</EM>)</FONT></P> </BODY> </HTML>	TICKLE ![Tickle Laugh](tickle.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/tickle.jpg" height="50%" width="20%"}\ \ *[Touch cue](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm" target="_top"}. Tickle is a tingling, tactile sensation, considered both pleasant and unpleasant, which results in [laughter](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}, smiling, and involuntary twitching movements of the head, limbs, and torso. Usage I: Tickling, a playful cue, is often seen in child-child, parent-child, and male-female (i.e., [courting](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm" target="_top"}) pairs. Its harmless-seeming, \"unserious\" nature has made tickling an ideal form of communication in courtship\'s fourth (or [touch](http://members.aol.com/nonverbal2/lovesig4.htm){target="_top"}) phase. The two tickle types are a.* knismesis (a light tickle which may or may not produce laughter), and b. gargalesis (a heavy tickle which usually produces the laugh response). Examples of light tickle include touching the sole of the foot with a feather, and feeling a fly walk about on one\'s knee. An example of heavy tickling is indenting the skin of another\'s ribs or waist with one\'s poking fingertips. (*N.B.: In the Middle Ages prolonged tickling was used as a form of torture.)\ \ Usage II: Tickling produces laughter, which releases euphoria-promoting brain chemicals, such as endorphin, enkephalin, dopamine, noradrenaline, and adrenaline. Mutual laughter stimulated by tickling can promote bonding and strengthen emotional ties. Tickling reinforces psychological closeness through the physical medium of touch. Tickling the neck, armpits, and sides of the abdomen may also arouse sexual feelings, as it stimulates nonspecific erogenous areas of the skin. [Word](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm" target="_top"}[](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm" target="_top"} origin. \"Tickle\" comes from Middle English tikelen, \"to touch lightly.\" [Consumer product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}. Tickle Me Elmo® \". . . laughs and shakes when tickled. Tickle Elmo once to make him giggle. Tickle him a second time to make him laugh longer. Tickle Elmo a third time to make him shake and laugh uncontrollably. There is an auto shut-off for longer battery life (batteries included)\" (Plush Elmo ad by Fisher Price). RESEARCH REPORTS. While the philosophers Plato and Aristotle speculated about tickling, the first scientific study was published in1872 by Charles Darwin. 1.* \"Everyone knows how immoderately children laugh, and how their whole bodies are convulsed, when they are tickled\" (Darwin 1872:197). 2. \"The anthropoid apes . . . likewise utter a reiterated sound, corresponding with our own laughter, when they are tickled, especially under the armpits\" (Darwin 1872:197-98). 3. \"Such movements \[i.e., [jerking away](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm" target="_top"}\], as well as laughter from being tickled, are manifestly reflex actions . . . .\" (Darwin 1872:198). 4. A study in Nature Neuroscience (Nov. 1998) by University College London researchers determined a. that during self-tickling, areas of the cerebellum are active (causing the anticipation of tickle cues), but b. that cerebellar areas are not active when subjects are tickled by experimenters (thus causing an emotional, surprise response).\ \ Innateness. Recent studies suggest that, like laughter, which first appears in infants between 23 days and four months, the tickle response is innate. Studies of deaf-and-blind-born children, for example, show normal bodily responses to being tickled. Because tickle sensations travel through the same nerves as tactile impulses for pain and itch, they stimulate similar movements of tactile-withdrawal and scratching, both of which are innate as well. Anatomy. The most ticklish areas of the body for light-tickle sensations (based on the duration of laughing and [smiling](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}) are, in order, a. underarms, b. waist, c. ribs, d. feet, e. knees, f. throat, g. neck, and h. palms. Though heavy tickling usually produces laughter, most people say they dislike being tickled.\ \ Evolution. Tickling and breathy, laugh-like panting exhalations appear in the human being\'s closest primate relatives, the great apes. The primate tickle response may have evolved, in part, from the mammalian scratch reflex, which utilizes ancient vertebrate pathways for pain. The scratch reflex produces rhythmic movements of the limbs, designed to remove the irritating sources of itch stimulated, for instance, by mosquitoes and flies. Tickling a dog\'s abdomen produces repeated movements of the hind limb to rid the body of imagined fleas. The withdrawal response, an innate escape motion designed to remove a body part from danger, produces an involuntary movement away from a tickler\'s annoying fingertips.\ \ Erogenous tickle. Like other forms of touching, tickling may stimulate sexuality as an erotic stimulus to the skin (see [feet](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm" target="_top"}). Touching nonspecific erogenous areas of the neck, armpits, and sides of the abdomen, e.g., may produce pleasurable tickling sensations. Touching specific erogenous zones (i.e., the mucocutaneous skin of the genital regions; see [LOVE SIGNALS V](http://members.aol.com/nonverbal2/lovesig5.htm){target="_top"}) may stimulate acute sexual sensations. (*N.B.: Specialized mucocutaneous end-organs appear to be involved in experiencing tactile pleasure from erogenous zones.) Neuro-notes. Tickle (and itch) sensations are produced through mild stimulation of the nerve endings (group C unmyelinated fibres) for [pain](pain1.htm){tppabs="http://members.aol.com/doder1/pain1.htm" target="_top"}* (i.e., group C unmyelinated fibres). As noted above, heavy tickling by oneself of one\'s own body does not lead to laughter. Imaging studies suggest that the brain\'s cerebellum anticipates the tickling movements, and thus unconsciously nullifies the required element of surprise. The reason human beings laugh while being tickled is still unknown. Tickle\'s laughter may be prompted by a neural link between vocalizing and grooming in the [cingulate gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm" target="_top"} of the [mammalian brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm" target="_top"}.\ \ Copyright 1999 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ Detail of photo by Eve Arnold (copyright Magnum)
TOUCH CUE	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 ![Hand Held](touch1.jpg){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.)
TREE SIGN	https://ns1.omnitech.net/data/Nonverbal/tree1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>tree</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">TREE SIGN<BR> <BR> <IMG BORDER="0" ALT="Tree Trance" SRC="tree.jpg" tppabs="http://members.aol.com/doder1/objects/tree.jpg" HEIGHT="35%" WIDTH="35%"></FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><EM><FONT FACE="Times New Roman" SIZE="-1">I wonder about the trees:</FONT><BR> <FONT FACE="Times New Roman" SIZE="-1"> Why do we wish to bear</FONT><BR> <FONT FACE="Times New Roman" SIZE="-1"> Forever the noise of these</FONT><BR> <FONT FACE="Times New Roman" SIZE="-1"> More than another noise</FONT><BR> <FONT FACE="Times New Roman" SIZE="-1"> So close to our dwelling-place?</FONT></EM><FONT FACE="Times New Roman" SIZE="-1"> --Robert Frost (</FONT><EM><FONT FACE="Times New Roman" SIZE="-1">The Sound of Trees</FONT></EM><FONT FACE="Times New Roman" SIZE="-1">)</FONT><FONT FACE="Times New Roman" SIZE="-1"></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 bark, branches, crown, leaves, or trunk of a perennial woody plant (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"> People of all ages find something elementary and comforting in trees, which have long been symbols of transcendental beliefs among traditional folk such as the Druids. Taking the world as a whole, the custom of climbing trees is still widespread, especially among those young enough to mend after a fall. (<STRONG><EM>N.B.</EM></STRONG></FONT><FONT FACE="Times New Roman">: The phone number of Tree Climbers International, a voluntary association of human beings dedicated to arboreal climbing, is 404/659-TREE.)</FONT></P> <P><FONT FACE="Times New Roman"><EM><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_top"><B>Word</B></A> origin</EM>. The word <EM>tree</EM> comes from the ancient Indo-European root <EM>deru-</EM>, derivatives of which include <EM>endure</EM>, <EM>trust</EM>, and <EM>truth</EM>.</FONT><FONT FACE="Times New Roman"></FONT> </P> <P><FONT FACE="Times New Roman"><EM>Anthropology</EM>. An arboreal theme is rooted in human perception, language, and thought. Trees and tree-climbing have become psychic planks in the mind's evolutionary platform, not only of Druids but of modern folk as well. Bark and limbs still appeal to <STRONG><A HREF="http://members.aol.com/nonverbal2/hands.htm" TARGET="_top">hands</A></STRONG>, and even now a human's primate eyes seek shelter and safety overhead in branches and boughs. Thus influenced and inspired, Claude Monet painted willows, while poets have celebrated oaks, and municipal governments have lined their city streets with sycamores, maples, and elms.</FONT><FONT FACE="Times New Roman"></FONT><BR> <BR> <I>Archaeology</I>. Included in the 5,300 year-old Copper Age "Iceman's" equipment were <B>a.</B> an arrow quiver reinforced by a <I>hazel wood</I> spine, <B>b.</B> 14 arrows made of <I>viburnum wood</I>, <B>c.</B> a backpack made of an arch of hazel wood and two slats of <I>larch</I>, <B>d.</B> a copper-bladed ax with a handle made of <I>yew</I>, and<B> e.</B> two eight-inch tall canisters made of <I>birch bark</I> (Rensberger 1992; see <A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top"><B>CONSUMER PRODUCT</B></A>).<BR> <BR> <I>Culture</I>. In the British Isles, <I>knuckle touch-wood</I>--rapping the knuckles on a wooden surface (e.g., on top of a <A HREF="table.htm" tppabs="http://members.aol.com/doder1/table.htm" TARGET="_top"><B>conference table</B></A>)--offers "protection." "This is an ancient superstitious practice dating back to the days of tree-worship, when it was the custom to touch the sacred oak to placate the powerful Tree Spirits. The roots of the mighty oak were thought to descend into the underworld" (Morris 1994:151). <BR> <BR> <FONT FACE="Times New Roman"><EM>Evolution I</EM>. </FONT><FONT FACE="Times New Roman">The earliest tree yet discovered by humans is a 40-foot-high, fossilized <EM>Eospermatopteris</EM>, unearthed in Gilboa, New York, near Manhattan. Now on display at the Smithsonian, the oldest tree dates back ca. 365 million years to the Middle Devonian Period of the Paleozoic Era, ca. 363 million years before the arrival on earth of the first fossil human, <EM>Homo</EM>.</FONT><FONT FACE="Times New Roman"></FONT> </P> <P><FONT FACE="Times New Roman"><EM>Evolution II</EM>. Trees have a very special meaning. </FONT><FONT FACE="Times New Roman">Human beings, along with lemurs, monkeys and apes, evolved from a long line of tree climbing <EM>primates</EM>, a biological order of agile mammals with grasping hands, which originated ca. 65 m.y.a. in the Paleocene Epoch of the Cenozoic Era.<BR> <BR> <I><B><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></B></I>. To focus world attention on the plight of redwood trees, activist Julia Hill lived in an ancient redwood named "Luna" for 738 days, beginning on December 10, 1997. Explaining the significance of her bold gesture and months of survival on a wooden platform 180' above terra firma in northern California's Humboldt County, Hill invoked the nonverbal medium of <A HREF="touch1.htm" tppabs="http://members.aol.com/doder1/touch1.htm" TARGET="_top"><B>touch</B></A>: "'They [the redwoods] touched me unlike any malls, cars, make-up and magazines,' said Hill, who brought the audience to laughter by simulating the first time she hugged a redwood. 'It was a spiritual level that no cathedral, church or money could touch in me'" (Tran 2000).<BR> <BR> <I>Oregon Heritage Tree</I>. <B>1.</B> "BROOKINGS, Ore.--A sequoia tree planted on the spot where a Japanese bomb fell in the southern Oregon forest in 1942 will be named an Oregon Heritage Tree" (Anonymous 2001D). <B>2.</B> "Nubou Fujita, who dropped firebombs on Oregon forests during WWII, returned in 1992 to plant a sequoia tree in a peace ceremony" <FONT FACE="Times New Roman">(Anonymous 2001D)</FONT>. <B>3.</B> "He [Fujita] died in 1997 and his daughter scattered some of his ashes near the tree"<FONT FACE="Times New Roman"> (Anonymous 2001D)</FONT>. </FONT></P> <P><I>Sacred trees</I>. <B>1.</B> Nonverbally, the great size of trees is a factor in their worship (see <A HREF="loom1.htm" tppabs="http://members.aol.com/doder1/loom1.htm" TARGET="_top"><B>LOOM</B></A>). <B>2.</B> Important in the sacredness of trees, as well, is a spatial concept, i.e., of being at the <I>center</I> (see <A HREF="proxemi1.htm" tppabs="http://members.aol.com/doder1/proxemi1.htm" TARGET="_top"><B>PROXEMICS</B></A>): "The tree cult is most clearly present in Ireland where there was a special term for the sacred tree, <I>bile</I>. Each tribe had a sacred tree, or grove of trees, probably at an inauguration site near the centre of the tribal territory . . ." (Eliade 1959).</P> <P><FONT FACE="Times New Roman">See also <STRONG><A HREF="http://members.aol.com/nonverbal2/branch.htm" TARGET="_top">BRANCH SUBSTITUTE</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal3/color.htm" TARGET="_top">GREEN</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/herb.htm" TARGET="_top">HERBS & SPICES</A></STRONG>, <STRONG><A HREF="power1.htm" tppabs="http://members.aol.com/doder1/power1.htm" TARGET="_top">POWER GRIP</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/<A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top"><B>Center for Nonverbal Studies</B></A>)</FONT><FONT FACE="Times New Roman"> </FONT></P> </BODY> </HTML>	TREE SIGN\ \ ![Tree Trance](tree.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/tree.jpg" height="35%" width="35%"} I wonder about the trees:\ Why do we wish to bear\ Forever the noise of these\ More than another noise\ So close to our dwelling-place? \--Robert Frost (The Sound of Trees) *[Signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}. A message emitted by the bark, branches, crown, leaves, or trunk of a perennial woody plant (see [EFFERENT CUE](efferen1.htm){tppabs="http://members.aol.com/doder1/efferen1.htm" target="_top"}). Usage: People of all ages find something elementary and comforting in trees, which have long been symbols of transcendental beliefs among traditional folk such as the Druids. Taking the world as a whole, the custom of climbing trees is still widespread, especially among those young enough to mend after a fall. (N.B.: The phone number of Tree Climbers International, a voluntary association of human beings dedicated to arboreal climbing, is 404/659-TREE.) [Word](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm" target="_top"} origin. The word tree* comes from the ancient Indo-European root deru-, derivatives of which include endure, trust, and truth. Anthropology. An arboreal theme is rooted in human perception, language, and thought. Trees and tree-climbing have become psychic planks in the mind\'s evolutionary platform, not only of Druids but of modern folk as well. Bark and limbs still appeal to [hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}, and even now a human\'s primate eyes seek shelter and safety overhead in branches and boughs. Thus influenced and inspired, Claude Monet painted willows, while poets have celebrated oaks, and municipal governments have lined their city streets with sycamores, maples, and elms.\ \ Archaeology. Included in the 5,300 year-old Copper Age \"Iceman\'s\" equipment were a. an arrow quiver reinforced by a hazel wood spine, b. 14 arrows made of viburnum wood, c. a backpack made of an arch of hazel wood and two slats of larch, d. a copper-bladed ax with a handle made of yew, and e. two eight-inch tall canisters made of birch bark (Rensberger 1992; see [CONSUMER PRODUCT](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}).\ \ Culture. In the British Isles, knuckle touch-wood\--rapping the knuckles on a wooden surface (e.g., on top of a [conference table](table.htm){tppabs="http://members.aol.com/doder1/table.htm" target="_top"})\--offers \"protection.\" \"This is an ancient superstitious practice dating back to the days of tree-worship, when it was the custom to touch the sacred oak to placate the powerful Tree Spirits. The roots of the mighty oak were thought to descend into the underworld\" (Morris 1994:151).\ \ Evolution I. The earliest tree yet discovered by humans is a 40-foot-high, fossilized Eospermatopteris, unearthed in Gilboa, New York, near Manhattan. Now on display at the Smithsonian, the oldest tree dates back ca. 365 million years to the Middle Devonian Period of the Paleozoic Era, ca. 363 million years before the arrival on earth of the first fossil human, Homo. Evolution II. Trees have a very special meaning. Human beings, along with lemurs, monkeys and apes, evolved from a long line of tree climbing primates, a biological order of agile mammals with grasping hands, which originated ca. 65 m.y.a. in the Paleocene Epoch of the Cenozoic Era.\ \ *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. To focus world attention on the plight of redwood trees, activist Julia Hill lived in an ancient redwood named \"Luna\" for 738 days, beginning on December 10, 1997. Explaining the significance of her bold gesture and months of survival on a wooden platform 180\' above terra firma in northern California\'s Humboldt County, Hill invoked the nonverbal medium of [touch](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm" target="_top"}: \"\'They \[the redwoods\] touched me unlike any malls, cars, make-up and magazines,\' said Hill, who brought the audience to laughter by simulating the first time she hugged a redwood. \'It was a spiritual level that no cathedral, church or money could touch in me\'\" (Tran 2000).\ \ Oregon Heritage Tree. 1.* \"BROOKINGS, Ore.\--A sequoia tree planted on the spot where a Japanese bomb fell in the southern Oregon forest in 1942 will be named an Oregon Heritage Tree\" (Anonymous 2001D). 2. \"Nubou Fujita, who dropped firebombs on Oregon forests during WWII, returned in 1992 to plant a sequoia tree in a peace ceremony\" (Anonymous 2001D). 3. \"He \[Fujita\] died in 1997 and his daughter scattered some of his ashes near the tree\" (Anonymous 2001D). Sacred trees. 1. Nonverbally, the great size of trees is a factor in their worship (see [LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm" target="_top"}). 2. Important in the sacredness of trees, as well, is a spatial concept, i.e., of being at the center (see [PROXEMICS](proxemi1.htm){tppabs="http://members.aol.com/doder1/proxemi1.htm" target="_top"}): \"The tree cult is most clearly present in Ireland where there was a special term for the sacred tree, bile. Each tribe had a sacred tree, or grove of trees, probably at an inauguration site near the centre of the tribal territory . . .\" (Eliade 1959). See also [BRANCH SUBSTITUTE](http://members.aol.com/nonverbal2/branch.htm){target="_top"}, [GREEN](http://members.aol.com/nonverbal3/color.htm){target="_top"}, [HERBS & SPICES](http://members.aol.com/nonverbal2/herb.htm){target="_top"}, [POWER GRIP](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm" target="_top"}. Copyright © 1998 - 2001 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
VEHICULAR STRIPE	https://ns1.omnitech.net/data/Nonverbal/vstripe.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>vstripe</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="VEHICULAR STRIPE">VEHICULAR STRIPE</A><BR> <BR> <IMG BORDER="0" ALT=""Speed" Stripe" SRC="vstripe.jpg" tppabs="http://members.aol.com/nonverbal3/objects/vstripe.jpg" HEIGHT="35%" WIDTH="38%"></STRONG></FONT> <P><EM><FONT SIZE="-1">It was an effort to make the car look longer and lower</FONT></EM><FONT SIZE="-1">. --Harley Earl (Patton 1992:185)</FONT><FONT SIZE="-1"></FONT></P> </P> <P><EM>Product cue</EM>. <STRONG>1.</STRONG> A horizontal pinstripe, painted by hand or by mechanical means, running the length of a motor vehicle just below the windows. <STRONG>2.</STRONG> Any of several thin, linear markings <STRONG>a.</STRONG> of <EM>chrome</EM> stripping or <STRONG><A HREF="http://members.aol.com/nonverbal2/vinyl.htm" TARGET="_top">vinyl</A></STRONG>, or <STRONG>b.</STRONG> stamped as embossments or indentations, running along the sides of an automobile or truck body.</P> <P><EM>Usage</EM>: Vehicular stripes decorate virtually all U.S. automobiles produced since 1927. Through an optical illusion, horizontal stripes suggest that cars are both "longer" and "lower" to the ground. Horizontal stripes also suggest greater "speed."</P> <P><EM>Evolution</EM>. The vehicular stripe originated as a <STRONG><A HREF="http://members.aol.com/nonverbal2/messafea.htm" TARGET="_top">messaging feature</A></STRONG> around the body (or "beltline") of the 1927 LaSalle. According to its inventor, Harley Earl, "This strip was placed there to eat up the overpowering vertical expanse of that tall car" (Patton 1992:185).</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "Earl dictated that a single highlight should run the length of the car, like a theme or plot" (Patton 1992:185). <STRONG>2.</STRONG> Originally, "These encircling lines were painted by hand instead of by mechanical means because a rule line is a 'dead' line, and a perfect, rule line lacked the insouciant raciness a hand drawn line gives a finished automobile" (Patton 1992:185).</P> <P><EM>Neuro-notes</EM>. We are highly stimulated by edges, lines and linear details (perhaps from a primate fascination with branches and trees). Just as the linear necktie (see <STRONG><A HREF="http://members.aol.com/nonverbal2/neckwear.htm" TARGET="_top">NECKWEAR</A></STRONG>) creates an illusion of greater verticality and physically imposing height (see <STRONG><A HREF="highstan.htm" tppabs="http://members.aol.com/nonverbal3/highstan.htm" TARGET="_top">HIGH-STAND DISPLAY</A></STRONG>), the automobile pinstripe creates an illusory vision of length and "speed." This is because one layer of our primary visual cortex contains specialized <EM>orientation-selective</EM> neurons, which respond only to vertical or horizontal lines, or to linear angles between the two.</P> <P>See also <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">CONSUMER PRODUCT</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/vegrille.htm" TARGET="_top">VEHICULAR GRILLE</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>	[VEHICULAR STRIPE]{#VEHICULAR STRIPE}\ \ ![\"Speed\" Stripe](vstripe.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/vstripe.jpg" height="35%" width="38%"} It was an effort to make the car look longer and lower. \--Harley Earl (Patton 1992:185) Product cue. 1. A horizontal pinstripe, painted by hand or by mechanical means, running the length of a motor vehicle just below the windows. 2. Any of several thin, linear markings a. of chrome stripping or [vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}, or b. stamped as embossments or indentations, running along the sides of an automobile or truck body. Usage: Vehicular stripes decorate virtually all U.S. automobiles produced since 1927. Through an optical illusion, horizontal stripes suggest that cars are both \"longer\" and \"lower\" to the ground. Horizontal stripes also suggest greater \"speed.\" Evolution. The vehicular stripe originated as a [messaging feature](http://members.aol.com/nonverbal2/messafea.htm){target="_top"} around the body (or \"beltline\") of the 1927 LaSalle. According to its inventor, Harley Earl, \"This strip was placed there to eat up the overpowering vertical expanse of that tall car\" (Patton 1992:185). *RESEARCH REPORTS: 1.* \"Earl dictated that a single highlight should run the length of the car, like a theme or plot\" (Patton 1992:185). 2. Originally, \"These encircling lines were painted by hand instead of by mechanical means because a rule line is a \'dead\' line, and a perfect, rule line lacked the insouciant raciness a hand drawn line gives a finished automobile\" (Patton 1992:185). Neuro-notes. We are highly stimulated by edges, lines and linear details (perhaps from a primate fascination with branches and trees). Just as the linear necktie (see [NECKWEAR](http://members.aol.com/nonverbal2/neckwear.htm){target="_top"}) creates an illusion of greater verticality and physically imposing height (see [HIGH-STAND DISPLAY](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm" target="_top"}), the automobile pinstripe creates an illusory vision of length and \"speed.\" This is because one layer of our primary visual cortex contains specialized orientation-selective neurons, which respond only to vertical or horizontal lines, or to linear angles between the two. See also [CONSUMER PRODUCT](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"}, [VEHICULAR GRILLE](http://members.aol.com/nonverbal2/vegrille.htm){target="_top"}. Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
VERBAL CENTER	https://ns1.omnitech.net/data/Nonverbal/verbal1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>verbal</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">VERBAL CENTER</FONT><FONT SIZE="+1"></FONT><BR> <BR> <IMG BORDER="0" ALT="Where the Words Are" SRC="verbal.jpg" tppabs="http://members.aol.com/doder1/objects/verbal.jpg" HEIGHT="35%" WIDTH="35%"></STRONG></P> <P><I><FONT SIZE="-1">"The question is," said Alice, "whether you</FONT></I><FONT SIZE="-1"> can </FONT><I><FONT SIZE="-1">make words mean so many different things."</FONT><BR> <FONT SIZE="-1">"The question is," said Humpty Dumpty, "which is to be the master--that's all."</FONT></I><FONT SIZE="-1"> --Lewis Carroll (</FONT><I><FONT SIZE="-1">Through the Looking-Glass</FONT></I><FONT SIZE="-1">)<BR> <BR> <I>Neurologists have found a tiny area of tissue--about 1 centimetre square--near to Wernicke's area that lights up only when consonants are heard</I>. --Rita Carter (1998:150)<BR> </FONT><FONT SIZE="-1"></FONT><BR> <BR> <EM>Neuro term</EM>. A component of the brain, such as <EM>Broca's</EM> or <EM>Wernicke's area</EM>, which governs the use of manually articulated (i.e., signed) or vocally articulated (i.e., <STRONG><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">spoken</A></STRONG>) language. Also, an association (arcuate) fiber link, such as the <I>arcuate fasciculus</I>, connecting verbal components. </P> <P><EM>Usage</EM>: Verbal centers are used to control the production and/or comprehension of linguistic communication and <STRONG><A HREF="word1.htm" tppabs="http://members.aol.com/doder1/word1.htm" TARGET="_parent">words</A></STRONG>.<BR> <BR> <HR> <B> <I>VERBAL CENTERS</I></B><BR> <BR> <I>Angular gyrus</I>. A visible bulge on the cerebral cortex marking regions of the occipital, parietal, and temporal lobes (behind Wernicke's area) which link visual word recognition with other linguistic abilities.<BR> <BR> <I>Arcuate fasciculus</I>. A tract of association fibers connecting Broca's and Wernicke's areas. In a less robust form, the arcuate fasciculus may predate--and thus may be a preadaptation for--speech. Similar tracts of association fibers (the superior longitudinal fasciculus, inferior longitudinal fasciculus, and uncinate fasciculus) found in the right-brain hemisphere connect nonverbal centers of the cerebral cortex. <BR> <BR> <I>Basal ganglia</I>. "It is likely that the enlargement of the prefrontal cortex reflects, in part, its role in speech production. The rewiring appears to involve the <A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top"><B>basal ganglia</B></A>; data from recent comparative studies suggest that basal ganglia circuits may be the key to the unique brain bases of human speech and syntax" (Lieberman 1991:106-07).<BR> <BR> <I></I><EM>Broca's area</EM>. A premotor module of the neocortex (in the lower lateral frontal lobe; specifically, Brodmann's areas 44 and 45) identified in 1861 by Paul Broca as essentially involved in the production and control of human speech. Damage to this area (called Broca's aphasia) produces problems in speaking (while comprehension of another's speech is left unimpaired). According to Philip Lieberman, Broca's area ". . . has no functional equivalent in nonhumans" (Lieberman 1991:24; but see below, <I>Evolution I</I> and <I>II</I>). Recently, a language module immediately anterior to Broca's area has been identified, which suggests that the Broca module may be involved in sequencing complex articulations which are not just limited to speech. Broca's area does not seem to control syntax (i.e., the combinatorial or grammatical arrangement of speech elements; see below, <I>Neuro-notes II)</I>.<BR> <BR> <I>Insula</I>. Some regard the insula as a verbal center (see, e.g., Ardila 1999). Damage to the left insula may result in language disturbances, including Broca's aphasia, conduction aphasia, speech apraxia, mutism, and the word-deafness of Wernicke's aphasia (Ardila 1999). ("Then on the other hand, recent studies of anatomical connections of the insula point to an important viscero-limbic role and it has been suggested that the insula may influence verbal motivation and verbal affect" [Ardila 1999].)<BR> <BR> <I>Planum temporale</I>. "The planum temporale (PT) is a key site within Wernicke's posterior receptive language area in the left hemisphere of the human brain and is thought to be an epicenter within a dispersed mosaic of language-related regions in the cerebral cortex. The left hemisphere predominance of the PT is more pronounced than any other human brain asymmetry" (Gannon 1998:220). (See below, <I>Neuro-notes</I>.) </P> <P><EM>Wernicke's area</EM>. A supplementary-auditory module of the neocortex (in the left temporal lobe; specifically, Brodmann's areas 39, 40, posterior 21 and 22, and part of 37) identified as involved in the understanding of auditory words. Damage to this area (called Wernicke's aphasia) produces problems in deciphering the meanings of the speech sounds one hears (even of one's own speech sounds). According to a recent study, Wernicke's area is not unique to <I>Homo</I> (see below, <I>Neuro-notes</I>).<BR> <HR> <BR> <EM>Embryology</EM>. "It is important to recognize that the speech areas of the human brain are already formed before birth . . ." (Eccles 1989:87).</P> <P><EM>Evolution I</EM>. <B>1.</B> "The evolutionary origin of human language may have been founded on this basal anatomic substrate, which was already lateralized to the left hemisphere in the common ancestor of chimpanzees and humans 8 million years ago" (Gannon 1998:220). <B>2.</B> Regarding endocasts of <I>Homo habilis</I> skulls: "There was a further development of the inferior frontal lobule in the Broca area, but most remarkable was the rounded fullness of the inferior parietal lobule [corresponding to part of Wernicke's area]" (Eccles 1989:23).<BR> <BR> <I>Evolution II</I>. In non-human primates, Broca's area controls muscles of the face and vocal tract. <B>1.</B> "The homologue of Broca's area in nonhuman primates is the part of the lower precentral cortex that is the primary motor area for facial musculature" (Lieberman 1991:106). <B>2.</B> In monkeys, the link between Broca-like and Wernicke-like areas is not as massively connected as it is in humans (Aboitiz and Garcia 1997).<BR> <BR> <I>Nonverbal speech areas</I>. With regard to language, relationships between the right (nonverbal) and left (verbal) hemispheres are still poorly understood, with more deference being paid by researchers to the left-hand (i.e., dominant) side. <B>1.</B> In the right cerebral hemisphere, modules control the production and interpretation of the nonverbal communication that accompanies words, e.g., <A HREF="http://members.aol.com/nonverbal3/facialx.htm" TARGET="_top"><B>facial expressions</B></A>, <A HREF="http://members.aol.com/nonverbal2/tone.htm" TARGET="_top"><B> voice tones</B></A>, and <B><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">gestures</A></B> of the arms and hands. (Some of the latter, hand gestures are actually more verbal than nonverbal [see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/mimecue.htm" TARGET="_top">MIME CUE</A></STRONG>].) <B>2.</B> <I>Prosody</I>--the emotional content of speech--is right hemispheric in human beings with left-hemisphere verbal centers. <B>3.</B> The right (or non-dominant) hemisphere is less involved in literal meanings of a speech element than it is with interpreting the figurative meanings conveyed by, e.g., hesitations, humor, metaphor, poetry, and voice tone. <B>4.</B> Damage to the right parietal lobe's angular gyrus and supra-marginal gyrus results in <B>a.</B> problems using spatial concepts, <B>b.</B> difficulties dressing one's own body, <B>c.</B> feeling spatially disoriented, <B>d.</B> inability to draw simple 3D pictures, and <B>e.</B> neglect of left-handed body parts and objects to the left.<BR> <BR> <I>Stuttering</I>. "But the stutterers were far less left-dominant; activation in their brains was shifted toward the right in both the motor and auditory language areas, revealing an inherent difference in the way the two groups [normal and stutterers] process language" (Barinaga 1995:1438).<BR> <BR> <HR> <B><FONT SIZE="-1"><I>E-Commentary</I></FONT></B><FONT SIZE="-1">: "I have two questions about the arcuate fasciculus, the fiber bundle from Wernicke's area to Broca's area. Can anyone help me? </FONT><B><FONT SIZE="-1">1.</FONT></B><FONT SIZE="-1"> Are there also fibers going in the opposite direction, from Broca's area to Wernicke's (we know that many cortico-cortical connections are bidirectional--what about this one?)? </FONT><B><FONT SIZE="-1">2.</FONT></B><FONT SIZE="-1"> How many fibers are we talking about? </FONT><B><FONT SIZE="-1">3.</FONT></B><FONT SIZE="-1"> A third question: What can anyone tell me about connections between Wernicke's area and the angular gyrus? (Bidirectional? How many fibers?) Thanx loads." --Syd Lamb, Linguistics and Cognitive Science, Rice University Houston TX 77251-1892 USA; [email protected] (Sydney M Lamb) (Tue Jan 30 14:02:03 1996</FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR> <HR> <BR> <I>Neuro-notes I</I>. In most humans, Wernicke's area is significantly larger in the left hemisphere than it is in the right. Its asymmetry dwarfs that of most other cerebral-cortex modules. And yet, though specialized for language, Wernicke's area is not unique to <I>Homo</I>. Recently, e.g., Patrick Gannon and his colleagues measured the corresponding area of chimpanzee brains. After spreading apart 15 chimp brains at the temporal lobe (i.e., at the sylvian fissure), they measured the planum temporale, and found it to be larger on the left than on the right in 14 cases (Gannon et al. 1998).<BR> <BR> <I>Neuro-notes II</I>. "Lesions to Broca's area and its vicinity do not affect semantic abilities, nor do they disrupt basic syntactic abilities. Most notably, Broca's aphasics combine lexical meaning into propositions, create and analyze sentences of considerably complex structure, and are also able to synthesize and analyze words morphophonologically. It thus follows that most human linguistic abilities, including most syntax, are not localized in the anterior language areas--Broca's area and deeper white matter, operculum, and anterior insula" (Grodzinsky2000).<BR> <BR> <I>Neuro-notes III</I>. <B>1.</B> "We can assert unequivocally: no combinatorial language abilities reside in the non-dominant cerebral hemisphere" (Grodzinsky2000). <B>2.</B> "Thus the evidence is that this side of the brain has an important an role in communication, but makes no syntactic contribution to language use" (Grodzinsky2000). </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><FONT SIZE="-1"><A HREF="http://members.aol.com/nonverbal2/index.htm" TARGET="_top">Center for Nonverbal Studies</A></FONT></STRONG><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><FONT FACE="Times New Roman"></FONT></P> </BODY> </HTML>	VERBAL CENTER\ \ ![Where the Words Are](verbal.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/verbal.jpg" height="35%" width="35%"} \"The question is,\" said Alice, \"whether you can make words mean so many different things.\"\ \"The question is,\" said Humpty Dumpty, \"which is to be the master\--that\'s all.\" \--Lewis Carroll (Through the Looking-Glass)\ \ Neurologists have found a tiny area of tissue\--about 1 centimetre square\--near to Wernicke\'s area that lights up only when consonants are heard. \--Rita Carter (1998:150)\ \ \ Neuro term. A component of the brain, such as Broca\'s or Wernicke\'s area, which governs the use of manually articulated (i.e., signed) or vocally articulated (i.e., [spoken](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm" target="_top"}) language. Also, an association (arcuate) fiber link, such as the arcuate fasciculus, connecting verbal components. Usage: Verbal centers are used to control the production and/or comprehension of linguistic communication and [words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm" target="_parent"}.\ \ ------------------------------------------------------------------------ *VERBAL CENTERS\ \ Angular gyrus. A visible bulge on the cerebral cortex marking regions of the occipital, parietal, and temporal lobes (behind Wernicke\'s area) which link visual word recognition with other linguistic abilities.\ \ Arcuate fasciculus. A tract of association fibers connecting Broca\'s and Wernicke\'s areas. In a less robust form, the arcuate fasciculus may predate\--and thus may be a preadaptation for\--speech. Similar tracts of association fibers (the superior longitudinal fasciculus, inferior longitudinal fasciculus, and uncinate fasciculus) found in the right-brain hemisphere connect nonverbal centers of the cerebral cortex.\ \ Basal ganglia. \"It is likely that the enlargement of the prefrontal cortex reflects, in part, its role in speech production. The rewiring appears to involve the [basal ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}; data from recent comparative studies suggest that basal ganglia circuits may be the key to the unique brain bases of human speech and syntax\" (Lieberman 1991:106-07).\ \ Broca\'s area. A premotor module of the neocortex (in the lower lateral frontal lobe; specifically, Brodmann\'s areas 44 and 45) identified in 1861 by Paul Broca as essentially involved in the production and control of human speech. Damage to this area (called Broca\'s aphasia) produces problems in speaking (while comprehension of another\'s speech is left unimpaired). According to Philip Lieberman, Broca\'s area \". . . has no functional equivalent in nonhumans\" (Lieberman 1991:24; but see below, Evolution I* and II). Recently, a language module immediately anterior to Broca\'s area has been identified, which suggests that the Broca module may be involved in sequencing complex articulations which are not just limited to speech. Broca\'s area does not seem to control syntax (i.e., the combinatorial or grammatical arrangement of speech elements; see below, Neuro-notes II).\ \ Insula. Some regard the insula as a verbal center (see, e.g., Ardila 1999). Damage to the left insula may result in language disturbances, including Broca\'s aphasia, conduction aphasia, speech apraxia, mutism, and the word-deafness of Wernicke\'s aphasia (Ardila 1999). (\"Then on the other hand, recent studies of anatomical connections of the insula point to an important viscero-limbic role and it has been suggested that the insula may influence verbal motivation and verbal affect\" \[Ardila 1999\].)\ \ Planum temporale. \"The planum temporale (PT) is a key site within Wernicke\'s posterior receptive language area in the left hemisphere of the human brain and is thought to be an epicenter within a dispersed mosaic of language-related regions in the cerebral cortex. The left hemisphere predominance of the PT is more pronounced than any other human brain asymmetry\" (Gannon 1998:220). (See below, Neuro-notes.) Wernicke\'s area. A supplementary-auditory module of the neocortex (in the left temporal lobe; specifically, Brodmann\'s areas 39, 40, posterior 21 and 22, and part of 37) identified as involved in the understanding of auditory words. Damage to this area (called Wernicke\'s aphasia) produces problems in deciphering the meanings of the speech sounds one hears (even of one\'s own speech sounds). According to a recent study, Wernicke\'s area is not unique to Homo (see below, Neuro-notes).\ ------------------------------------------------------------------------ \ Embryology. \"It is important to recognize that the speech areas of the human brain are already formed before birth . . .\" (Eccles 1989:87). Evolution I. 1. \"The evolutionary origin of human language may have been founded on this basal anatomic substrate, which was already lateralized to the left hemisphere in the common ancestor of chimpanzees and humans 8 million years ago\" (Gannon 1998:220). 2. Regarding endocasts of Homo habilis skulls: \"There was a further development of the inferior frontal lobule in the Broca area, but most remarkable was the rounded fullness of the inferior parietal lobule \[corresponding to part of Wernicke\'s area\]\" (Eccles 1989:23).\ \ Evolution II. In non-human primates, Broca\'s area controls muscles of the face and vocal tract. 1. \"The homologue of Broca\'s area in nonhuman primates is the part of the lower precentral cortex that is the primary motor area for facial musculature\" (Lieberman 1991:106). 2. In monkeys, the link between Broca-like and Wernicke-like areas is not as massively connected as it is in humans (Aboitiz and Garcia 1997).\ \ Nonverbal speech areas. With regard to language, relationships between the right (nonverbal) and left (verbal) hemispheres are still poorly understood, with more deference being paid by researchers to the left-hand (i.e., dominant) side. 1. In the right cerebral hemisphere, modules control the production and interpretation of the nonverbal communication that accompanies words, e.g., [facial expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}, [voice tones](http://members.aol.com/nonverbal2/tone.htm){target="_top"}, and [gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"} of the arms and hands. (Some of the latter, hand gestures are actually more verbal than nonverbal \[see, e.g., [MIME CUE](http://members.aol.com/nonverbal2/mimecue.htm){target="_top"}\].) 2. Prosody\--the emotional content of speech\--is right hemispheric in human beings with left-hemisphere verbal centers. 3. The right (or non-dominant) hemisphere is less involved in literal meanings of a speech element than it is with interpreting the figurative meanings conveyed by, e.g., hesitations, humor, metaphor, poetry, and voice tone. 4. Damage to the right parietal lobe\'s angular gyrus and supra-marginal gyrus results in a. problems using spatial concepts, b. difficulties dressing one\'s own body, c. feeling spatially disoriented, d. inability to draw simple 3D pictures, and e. neglect of left-handed body parts and objects to the left.\ \ Stuttering. \"But the stutterers were far less left-dominant; activation in their brains was shifted toward the right in both the motor and auditory language areas, revealing an inherent difference in the way the two groups \[normal and stutterers\] process language\" (Barinaga 1995:1438).\ \ ------------------------------------------------------------------------ *E-Commentary: \"I have two questions about the arcuate fasciculus, the fiber bundle from Wernicke\'s area to Broca\'s area. Can anyone help me? 1.* Are there also fibers going in the opposite direction, from Broca\'s area to Wernicke\'s (we know that many cortico-cortical connections are bidirectional\--what about this one?)? 2. How many fibers are we talking about? 3. A third question: What can anyone tell me about connections between Wernicke\'s area and the angular gyrus? (Bidirectional? How many fibers?) Thanx loads.\" \--Syd Lamb, Linguistics and Cognitive Science, Rice University Houston TX 77251-1892 USA; [email protected] (Sydney M Lamb) (Tue Jan 30 14:02:03 1996)\ ------------------------------------------------------------------------ \ Neuro-notes I. In most humans, Wernicke\'s area is significantly larger in the left hemisphere than it is in the right. Its asymmetry dwarfs that of most other cerebral-cortex modules. And yet, though specialized for language, Wernicke\'s area is not unique to Homo. Recently, e.g., Patrick Gannon and his colleagues measured the corresponding area of chimpanzee brains. After spreading apart 15 chimp brains at the temporal lobe (i.e., at the sylvian fissure), they measured the planum temporale, and found it to be larger on the left than on the right in 14 cases (Gannon et al. 1998).\ \ Neuro-notes II. \"Lesions to Broca\'s area and its vicinity do not affect semantic abilities, nor do they disrupt basic syntactic abilities. Most notably, Broca\'s aphasics combine lexical meaning into propositions, create and analyze sentences of considerably complex structure, and are also able to synthesize and analyze words morphophonologically. It thus follows that most human linguistic abilities, including most syntax, are not localized in the anterior language areas\--Broca\'s area and deeper white matter, operculum, and anterior insula\" (Grodzinsky2000).\ \ Neuro-notes III. 1. \"We can assert unequivocally: no combinatorial language abilities reside in the non-dominant cerebral hemisphere\" (Grodzinsky2000). 2. \"Thus the evidence is that this side of the brain has an important an role in communication, but makes no syntactic contribution to language use\" (Grodzinsky2000). Copyright© 1998 - 2001 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})
WAITING TIME	https://ns1.omnitech.net/data/Nonverbal/wait1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>wait</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG>WAITING TIME</STRONG></FONT></P> <P><I><FONT SIZE="-1">Time talks</FONT></I><FONT SIZE="-1">. --Edward T. Hall (</FONT><I><FONT SIZE="-1">The Silent Language</FONT></I><FONT SIZE="-1">)<BR> <BR> <I>Until the early 1300s, the length of an hour in London could vary from 38 minutes to 82 minutes. It wasn't because they had lousy clocks in the Middle Ages. They just had a different attitude toward the passage of that mysterious thing called time</I>. --Curt Suplee (1994:H1)<BR> <BR> <I>Never check your watch at a party, unless it's time to go</I>. --<FONT FACE="Times New Roman" SIZE="-1"><FONT SIZE="-1">Véronique Vienne (1997:156)</FONT></FONT></FONT><FONT SIZE="-1"></FONT><BR> <BR> <EM>Chronemic <STRONG><A HREF="http://members.aol.com/nonverbal2/cue.htm" TARGET="_top">cue</A></STRONG></EM>. The number of minutes, hours, days, or weeks spent between a scheduled appointment and a meeting with a business associate, medical professional, program administrator, or friend.</P> <P><EM>Usage</EM>: Waiting time varies across cultures. Appointments with business executives or government officials in Latin America, e.g., may require longer waiting times than are customary for U.S. workers. The different cultural norms for time spent waiting may trigger <A HREF="http://members.aol.com/nonverbal2/anger.htm" TARGET="_top"><B>anger</B></A> and strain <A HREF="rapport1.htm" tppabs="http://members.aol.com/nonverbal3/rapport1.htm" TARGET="_top"><B>rapport</B></A>. (<I><B>N.B.</B></I>: Waiting time is usually less with attractive, liked, and high-status individuals.)<BR> <BR> <I>Cultural differences</I>. <B>1.</B> "In northern Europe, the people are exact and precise about time, much like Americans on the East Coast. The northern Germans and Swiss are particularly punctual" (Vargas 1986:127). <B>2.</B> "In South America, most people know no other way of living and never explain or apologize [for being late]. To my upper Midwest sensitivity, their lack of respect for clock time is almost unbelievable" (Vargas 1986:127).<BR> <BR> <B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. "In Italy . . . television stations make no effort to begin their programs on the hour or half hour. One program is run until finished, and a new one begins with no concern for clock times or schedules" (Vargas 1986:127).</P> <P><I>Salesmanship</I>. "It is vitally important that you do not hesitate or pause in your entrance" (Delmar 1984:31).<BR> <BR> <I>Time sense</I>. Along with balance, hearing, sight, smell, taste, and touch, human beings have a highly developed sense of time. So time oriented has our species become that we define distance in chronometric terms. By international agreement, ". . . the meter is defined as the distance light travels in 1/299,792,458 of a second" (Itano and Ramsey 1993:64). <BR> <BR> <STRONG><EM>RESEARCH REPORTS</EM></STRONG>. As a nonverbal sign, waiting time (in the U.S.) has eight levels of duration: <EM>immediate</EM>, <EM>very short</EM>, <EM>short</EM>, <EM>neutral</EM>, <EM>long</EM>, <EM>very long</EM>, <I>terribly long</I>, and <EM>forever</EM> (Hall 1959).</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"> </BODY> </HTML>	WAITING TIME Time talks. \--Edward T. Hall (The Silent Language)\ \ Until the early 1300s, the length of an hour in London could vary from 38 minutes to 82 minutes. It wasn\'t because they had lousy clocks in the Middle Ages. They just had a different attitude toward the passage of that mysterious thing called time. \--Curt Suplee (1994:H1)\ \ Never check your watch at a party, unless it\'s time to go. \--Véronique Vienne (1997:156)\ \ Chronemic [cue](http://members.aol.com/nonverbal2/cue.htm){target="_top"}*. The number of minutes, hours, days, or weeks spent between a scheduled appointment and a meeting with a business associate, medical professional, program administrator, or friend. Usage: Waiting time varies across cultures. Appointments with business executives or government officials in Latin America, e.g., may require longer waiting times than are customary for U.S. workers. The different cultural norms for time spent waiting may trigger [anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"} and strain [rapport](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm" target="_top"}. (N.B.: Waiting time is usually less with attractive, liked, and high-status individuals.)\ \ Cultural differences. 1.* \"In northern Europe, the people are exact and precise about time, much like Americans on the East Coast. The northern Germans and Swiss are particularly punctual\" (Vargas 1986:127). 2. \"In South America, most people know no other way of living and never explain or apologize \[for being late\]. To my upper Midwest sensitivity, their lack of respect for clock time is almost unbelievable\" (Vargas 1986:127).\ \ *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. \"In Italy . . . television stations make no effort to begin their programs on the hour or half hour. One program is run until finished, and a new one begins with no concern for clock times or schedules\" (Vargas 1986:127). Salesmanship. \"It is vitally important that you do not hesitate or pause in your entrance\" (Delmar 1984:31).\ \ Time sense. Along with balance, hearing, sight, smell, taste, and touch, human beings have a highly developed sense of time. So time oriented has our species become that we define distance in chronometric terms. By international agreement, \". . . the meter is defined as the distance light travels in 1/299,792,458 of a second\" (Itano and Ramsey 1993:64).\ \ RESEARCH REPORTS. As a nonverbal sign, waiting time (in the U.S.) has eight levels of duration: immediate, very short, short, neutral, long, very long, terribly long, and forever* (Hall 1959). Copyright 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}) \ \
WALK	https://ns1.omnitech.net/data/Nonverbal/walk1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>walk</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">WALK</FONT></STRONG></P> <P><IMG BORDER="0" ALT="On Walkabout" SRC="walk.jpg" tppabs="http://members.aol.com/doder1/objects/walk.jpg" HEIGHT="45%" WIDTH="25%"><BR WP="BR1"> <BR WP="BR2"> <I><FONT SIZE="-1">He even walked like a crab, as if he were </FONT><A HREF="shoshrug.htm" tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" TARGET="_top"><B><FONT SIZE="-1">cringing</FONT></B></A><FONT SIZE="-1"> all the time</FONT></I><FONT SIZE="-1">. --Elia Kazan, commenting on actor James Dean (Dalton 1984:53)<BR> </FONT><FONT SIZE="-1"></FONT><BR> <BR> <STRONG><EM><A HREF="bodymov1.htm" tppabs="http://members.aol.com/doder1/bodymov1.htm" TARGET="_top">Body movement</A></EM></STRONG><EM></EM>. To travel by taking steps with the legs and <STRONG><A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top">feet</A></STRONG>, at a pace slower than jogging, sprinting, or running.</P> <P><EM>Usage</EM>: While we walk on our hind limbs to commute from point <STRONG>A</STRONG> to point <STRONG>B</STRONG>, the manner and style of our gait (e.g., <EM>marching</EM>, <EM>mincing</EM>, or <EM>swaggering</EM>) telegraphs <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG> about our status, feelings, and moods. Our bipedal walk's two-point rhythm provides the neurological foundation for <STRONG>a.</STRONG> music's syncopated beat, and <STRONG>b.</STRONG> the oscillating movements of <STRONG><A HREF="dance1.htm" tppabs="http://members.aol.com/doder1/dance1.htm" TARGET="_top">dance</A></STRONG>.<BR> <BR> <EM>Anthropology</EM>. A bipedal stride enabled our human ancestors to cover great distances on African <STRONG><A HREF="lawn1.htm" tppabs="http://members.aol.com/doder1/lawn1.htm" TARGET="_top">grasslands</A></STRONG> ca. three m.y.a. Survival required that they stay <EM>continually on the move</EM> (Devine 1985). The earliest physical evidence for human-style walking dates back 3.5 m.y.a. to the tracks of three upright ancients (probably australopithecines) who strolled across a bed of fresh volcanic ash one day on the east-African savannah, in what is now Laetoli, Tanzania. The footprints are nearly identical to those of modern humans, only smaller.</P> <P><EM>Evolution</EM>. Our legs originated ca. 400 m.y.a. from the <EM>lobe fins</EM> of Devonian fishes resembling <EM>crossopterygians</EM>. <BR> <BR> <I><B><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></B> I</I>. "I am in the moment, living the experience, when I am walking." --Joy Evans (<I>Washington Post</I>, November 25, 1995) </P> <P><I>Media II</I>. The scariest movie monsters walk upright like human beings. Their resemblance to people renders them even more terrible than ordinary land (i.e., quadrupedal), air, and sea monsters. Bipedal dynosaurs (e.g., <I>Velociraptor</I> and <I>Tyrannosaurus</I> in the 1993 movie <I>Jurassic Park</I>), insectoids (<I>Aliens</I>, 1996), and primates (<I>King Kong</I>, 1933) resonate with horrific images of the upright human form. </P> <P><EM>Pediatrics</EM>. Babies begin advancing one limb at a time on all fours between the 6th and 9th months of life, to <EM>crawl</EM> for the sheer pleasure of movement (Chase and Rubin 1979). Infants are born with two walking reflexes. The plantar reflex causes an infant's lower limbs to contract the extensor muscles when their feet touch a horizontal surface. Held under the arms, a baby can support its own weight and take several steps forward. The plantar reflex lasts for two months, and is not present in all infants. When a baby's leg touches the side of a flat surface, it will automatically lift its leg and place its foot on the horizontal plane. This, the tactile placing reflex, is also present in many other terrestrial vertebrates.</P> <P><I>Philosophy I</I>. Followers of Aristotle (384-322 <FONT SIZE="-1">BC</FONT><FONT SIZE="-1"></FONT>), who founded the Lyceum in 335<FONT SIZE="-1"> BC</FONT>, were known as <I>peripatetics</I> because they walked and underwent "restless practices" (Flew 1979:265) as they thought and shared ideas, rather than merely <A HREF="sit1.htm" tppabs="http://members.aol.com/doder1/sit1.htm" TARGET="_top"><B>sitting</B></A> in place. </P> <P><EM>Philosophy II</EM>.<FONT FACE="Courier"></FONT> The two-point rhythm of walking's stride clears the mind for thinking. (<STRONG><I>N.B.</I></STRONG>: Perhaps, after telling the spinal circuits to "take a walk," the forebrain shifts to automatic pilot, so to speak, freeing the neocortex to ponder important issues of the day.) Many philosophers were lifetime walkers, who found that <EM>bipedal rhythms</EM> facilitated creative contemplation and thought. In his short life, e.g., Henry David Thoreau walked an estimated 250,000 miles--ten times the circumference of earth.<BR> <BR> <I>U.S. politics</I>. "The black-footed species [of Pacific albatross, nicknamed "gooney bird"] . . . has a more distinctive walk--head down and clavicles hunched like shoulders. 'After [Richard Milhous] <A HREF="http://www.nixonfoundation.org/TheNixons/rnixon.html"><B> Nixon</B></A> visited here [Midway Island] during Vietnam, the black-footed species' distinctive method of walking suddenly looked familiar,' says [U.S. Fish and Wildlife manager Rob] Shallenberger. 'Since then, it's been referred to as the Nixon walk'" (Friend 2000:54).<BR> <BR> <HR> <B><I><FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "I was hoping you might be able to help me. I am a New York based author writing a book called </FONT><I><FONT SIZE="-1">The Encyclopedia of Aggravations and Annoyances</FONT></I><FONT SIZE="-1">. I am trying to find information on a particular occurrence, when you're </FONT><FONT SIZE="-1">walking down the street and you try to pass someone but you both dodge to the right then to the left. I have read articles on this in the past, but I have been unable to find them again. As the director of the Center for Nonverbal Studies, I was hoping you might be able to point me in the right direction?" Laura Lee (4/5/01 8:56:24 PM Pacific Daylight Time</FONT><FONT SIZE="-1">)</FONT><FONT SIZE="-1"></FONT><BR> <HR> </P> <P><B><I>RESEARCH REPORTS</I></B>: <FONT FACE="Courier"></FONT><STRONG>1.</STRONG> "The legs of an amphibian served the same function as the inertial force of water for a swimming animal, providing a fulcrum that enabled early <STRONG><A HREF="http://members.aol.com/nonverbal2/amphibia.htm" TARGET="_top">amphibians</A></STRONG> to be little more than fish that swam on land" (Jerison, 1976:11). <STRONG>2.</STRONG> Basal ganglia<STRONG></STRONG> initiate movement and ". . . are responsible for the automatic movements we make without thinking" (Restak, 1995:16).<FONT FACE="Courier"></FONT></P> <P><FONT FACE="Times New Roman"><I>Neuro-notes I</I>. 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).</FONT><BR> <BR> <FONT FACE="Times New Roman"></FONT><FONT FACE="Times New Roman"><EM>Neuro-notes II</EM>. </FONT>Something deep in our vertebrate soul finds walking for its own sake an evolutionary necessity. Impulses to go on walkabout are coordinated by oscillatory circuits of the <EM>spinal cord</EM>, by excitatory centers of the <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/aquatic.htm" TARGET="_top">aquatic midbrain</A></EM></STRONG><EM></EM>, and by the <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG> of the <STRONG><EM><A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top">reptilian forebrain</A></EM></STRONG><EM></EM>. (<STRONG><I>N.B.</I></STRONG>: Neurologically, our nonverbal nature lies in movement.<FONT FACE="Times New Roman">)</FONT></P> <P><FONT FACE="Times New Roman"><EM></EM></FONT><FONT FACE="Times New Roman">See also <STRONG><A HREF="swing.htm" tppabs="http://members.aol.com/nonverbal3/swing.htm" TARGET="_top">ARM-SWING</A></STRONG>, <STRONG><A HREF="golf.htm" tppabs="http://members.aol.com/nonverbal3/golf.htm" TARGET="_top">GOLF</A></STRONG>, <STRONG><A HREF="rapport1.htm" tppabs="http://members.aol.com/nonverbal3/rapport1.htm" TARGET="_top">RAPPORT</A></STRONG>, <A HREF="swagger1.htm" tppabs="http://members.aol.com/doder1/swagger1.htm" TARGET="_top"><B>SWAGGER-WALK</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> Detail of photo by George Rodger (copyright Magnum)</FONT><FONT FACE="Times New Roman"></FONT></P> <BR WP="BR1"> <BR WP="BR2"> <BR WP="BR1"> <BR WP="BR2"> <BR WP="BR1"> <BR WP="BR2"> <P>  </P> <BR WP="BR1"> <BR WP="BR2"> </BODY> </HTML>	WALK ![On Walkabout](walk.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/walk.jpg" height="45%" width="25%"}\ \ He even walked like a crab, as if he were [cringing](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm" target="_top"} all the time. \--Elia Kazan, commenting on actor James Dean (Dalton 1984:53)\ \ \ *[Body movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm" target="_top"}. To travel by taking steps with the legs and [feet](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm" target="_top"}, at a pace slower than jogging, sprinting, or running. Usage: While we walk on our hind limbs to commute from point A* to point B, the manner and style of our gait (e.g., marching, mincing, or swaggering) telegraphs [information](http://members.aol.com/nonverbal2/info.htm){target="_top"} about our status, feelings, and moods. Our bipedal walk\'s two-point rhythm provides the neurological foundation for a. music\'s syncopated beat, and b. the oscillating movements of [dance](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.htm" target="_top"}.\ \ Anthropology. A bipedal stride enabled our human ancestors to cover great distances on African [grasslands](lawn1.htm){tppabs="http://members.aol.com/doder1/lawn1.htm" target="_top"} ca. three m.y.a. Survival required that they stay continually on the move (Devine 1985). The earliest physical evidence for human-style walking dates back 3.5 m.y.a. to the tracks of three upright ancients (probably australopithecines) who strolled across a bed of fresh volcanic ash one day on the east-African savannah, in what is now Laetoli, Tanzania. The footprints are nearly identical to those of modern humans, only smaller. Evolution. Our legs originated ca. 400 m.y.a. from the lobe fins of Devonian fishes resembling crossopterygians.\ \ *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"} I. \"I am in the moment, living the experience, when I am walking.\" \--Joy Evans (Washington Post, November 25, 1995) Media II. The scariest movie monsters walk upright like human beings. Their resemblance to people renders them even more terrible than ordinary land (i.e., quadrupedal), air, and sea monsters. Bipedal dynosaurs (e.g., Velociraptor* and Tyrannosaurus in the 1993 movie Jurassic Park), insectoids (Aliens, 1996), and primates (King Kong, 1933) resonate with horrific images of the upright human form. Pediatrics. Babies begin advancing one limb at a time on all fours between the 6th and 9th months of life, to crawl for the sheer pleasure of movement (Chase and Rubin 1979). Infants are born with two walking reflexes. The plantar reflex causes an infant\'s lower limbs to contract the extensor muscles when their feet touch a horizontal surface. Held under the arms, a baby can support its own weight and take several steps forward. The plantar reflex lasts for two months, and is not present in all infants. When a baby\'s leg touches the side of a flat surface, it will automatically lift its leg and place its foot on the horizontal plane. This, the tactile placing reflex, is also present in many other terrestrial vertebrates. Philosophy I. Followers of Aristotle (384-322 BC), who founded the Lyceum in 335 BC, were known as peripatetics because they walked and underwent \"restless practices\" (Flew 1979:265) as they thought and shared ideas, rather than merely [sitting](sit1.htm){tppabs="http://members.aol.com/doder1/sit1.htm" target="_top"} in place. Philosophy II. The two-point rhythm of walking\'s stride clears the mind for thinking. (*N.B.: Perhaps, after telling the spinal circuits to \"take a walk,\" the forebrain shifts to automatic pilot, so to speak, freeing the neocortex to ponder important issues of the day.) Many philosophers were lifetime walkers, who found that bipedal rhythms* facilitated creative contemplation and thought. In his short life, e.g., Henry David Thoreau walked an estimated 250,000 miles\--ten times the circumference of earth.\ \ U.S. politics. \"The black-footed species \[of Pacific albatross, nicknamed \"gooney bird\"\] . . . has a more distinctive walk\--head down and clavicles hunched like shoulders. \'After \[Richard Milhous\] [Nixon](http://www.nixonfoundation.org/TheNixons/rnixon.html) visited here \[Midway Island\] during Vietnam, the black-footed species\' distinctive method of walking suddenly looked familiar,\' says \[U.S. Fish and Wildlife manager Rob\] Shallenberger. \'Since then, it\'s been referred to as the Nixon walk\'\" (Friend 2000:54).\ \ ------------------------------------------------------------------------ *E-Commentary: \"I was hoping you might be able to help me. I am a New York based author writing a book called The Encyclopedia of Aggravations and Annoyances. I am trying to find information on a particular occurrence, when you\'re walking down the street and you try to pass someone but you both dodge to the right then to the left. I have read articles on this in the past, but I have been unable to find them again. As the director of the Center for Nonverbal Studies, I was hoping you might be able to point me in the right direction?\" Laura Lee (4/5/01 8:56:24 PM Pacific Daylight Time)\ ------------------------------------------------------------------------ RESEARCH REPORTS: 1.* \"The legs of an amphibian served the same function as the inertial force of water for a swimming animal, providing a fulcrum that enabled early [amphibians](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"} to be little more than fish that swam on land\" (Jerison, 1976:11). 2. Basal ganglia initiate movement and \". . . are responsible for the automatic movements we make without thinking\" (Restak, 1995:16). Neuro-notes I. 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).\ \ Neuro-notes II. Something deep in our vertebrate soul finds walking for its own sake an evolutionary necessity. Impulses to go on walkabout are coordinated by oscillatory circuits of the spinal cord, by excitatory centers of the *[aquatic midbrain](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}, and by the [basal ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}* of the *[reptilian forebrain](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm" target="_top"}. (N.B.: Neurologically, our nonverbal nature lies in movement.) See also [ARM-SWING](swing.htm){tppabs="http://members.aol.com/nonverbal3/swing.htm" target="_top"}, [GOLF](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm" target="_top"}, [RAPPORT](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm" target="_top"}, [SWAGGER-WALK](swagger1.htm){tppabs="http://members.aol.com/doder1/swagger1.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 George Rodger (copyright Magnum) \ \ \ \ \ \ \ \
WOMEN'S SHOES	https://ns1.omnitech.net/data/Nonverbal/womens.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>womens</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="WOMEN'S SHOES">WOMEN'S SHOES</A></STRONG></FONT></P> <P><EM><FONT SIZE="-1">That I am part of the earth my feet know perfectly . . .</FONT></EM><FONT SIZE="-1"> --D.H. Lawrence</FONT></P> <P><EM><B><IMG BORDER="0" ALT="Shoes of a Woman" SRC="B27981.jpg" tppabs="http://members.aol.com/nonverbal3/objects/B27981.jpg" HEIGHT="35%" WIDTH="25%"><BR> <BR> </B></EM><FONT SIZE="-1"><I>I do not buy shoes. I covet them</I>. --Elizabeth Kastor (1994:28)<BR> <BR> <I><FONT SIZE="-1">Besides, one look at the shoes, he [George Masters, "Stylist to the Stars"] said, told him all he needed to know about a woman</FONT></I><FONT SIZE="-1">. --Robert McG. Thomas, Jr. (1998:A</FONT>6)</FONT><FONT SIZE="-1"></FONT><BR> <BR> <I>Clothing cue</I>. A feminine 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="mens.htm" tppabs="http://members.aol.com/nonverbal3/mens.htm" TARGET="_top">men's shoes</A></STRONG> (see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal3/highheel.htm" TARGET="_top">HIGH HEEL</A></STRONG>).</P> <P><EM>Usage</EM>: In expressive style, women's shoes <STRONG>a.</STRONG><EM> reveal</EM>, <STRONG>b.</STRONG><EM> conceal</EM>, or <STRONG>c.</STRONG><EM> mask</EM> the feminine <STRONG><A HREF="feet.htm" tppabs="http://members.aol.com/nonverbal3/feet.htm" TARGET="_top">foot</A></STRONG>.</P> <P><EM>Bare</EM>. Women's revealing shoes bare the toes, heel, ankle, and (or) top of the foot (i.e., the <EM>instep</EM>). Revealing shoes call attention to a woman's thinner bones, smaller joints, and delicate achilles tendons. Examples include <STRONG>a.</STRONG> 1920s low-cut <EM>pumps</EM>, with straps buttoned or buckled across the instep; <STRONG>b.</STRONG> 1930s <EM>high heels</EM> with ankle straps and peep-toes; and <STRONG>c.</STRONG> pointed, <EM>stiletto heels</EM> of the 1950s and 60s (which may reveal <I>toe cleavage</I>, i.e., the hollow between the big toe and 2nd digit).</P> <P><EM>Bind</EM>. Concealing shoes cover, yet do not hide, the feet. Rather, they enhance the foot's feminine silhouette, contour, and shape. A concealing shoe's laces and close, binding fit transmit a suggestive, erotic message of tight containment. Types of concealing shoes include <STRONG>a.</STRONG> ankle-high buttoned boots of the 1900s; <STRONG>b.</STRONG> 1970s mid-calf boots, cut close to the leg; and <STRONG>c.</STRONG> tight, patent-leather, ankle-high shoes worn by pop singers of the 1980s (e.g., Madonna).</P> <P><EM>Mask</EM>. Revealing and concealing shoes proclaim femininity, individuality, and sexual allure. The lady's masking shoe, in contrast, covers the foot but suggests little about sexuality, individuality, or mood. Indeed, because they are visually quiet, masking shoes downplay personality by discouraging its notice. Often worn with socks, "sensible" shoes tend to be boxy, sturdy, and squared-off (i.e., masculine).<BR> <BR> <B><I><A HREF="http://members.aol.com/nonverbal3/media.htm" TARGET="_top">Media</A></I></B>. <B>1.</B> In the <I>Washington Post Magazine</I>, Elizabeth Kastor poetically describes the expressive force of women's shoes: "Ahhhhh, shoes. Such potent symbols of sexuality and fertility. Think of Cinderella. Think of the old woman who lived in a shoe and her numerous children. Think of the dancer in the movie 'The Red Shoes' whose feet--and conflicted desires--danced her to death. Think of tying shoes to the back of the wedding car. Think of shoes as a narrow space in which something is inserted . . ." (Kastor 1994:29). <B>2.</B> "[Sonja] Bata [founder of the Bata Shoe Museum in Toronto] says [Edward] Maeder [museum director] is absolutely right [about his statement, 'Skinny shoes survived <I>because</I> people couldn't wear them'], adding that women always have saved shoes of their childhood and youth and marriage, when their feet were at their daintiest" (Trueheart 1995:C10). </P> <P><EM>Observations</EM>. <STRONG>1.</STRONG> 2,600 years ago, Greek women favored white and red, snug-fitting leather shoes, and owned as many as 20 pairs at a time. <STRONG>2.</STRONG> Forty to 60 new styles of women's shoes appear each year in U.S. shopping malls (Fleishman 1994). <B>3.</B> "In the marriage rituals of the Middle Ages, the father passed the bride's shoe to the groom . . ." (Kastor 1994:30). <STRONG>4.</STRONG> Today, American women buy an average five pairs of shoes a year (American men average two).<BR> <BR> <I>Personality</I>. Women's shoes display more "personality" than do men's. Many styles, e.g., are given personal names, such as the Nordstrom line's "Angelique," "Gretta," and "Bree." "So, how does it work? 'Well, say there's a tailored-type boot, and it looks like the kind of shoe a woman might wear to a concert,' he [Richard Leeker, a vice president and "senior line builder" at Brown Group] says, 'Well, we call it "Concert"'" (Fleishman 1994:F4).</P> <P><EM>Evolution I</EM>. The slimness of women's footwear evolved from a narrow shoe known as the <EM>poulaine</EM> (originally from Poland), popular with men in the 12th and 15th centuries. So long was the tip of its tapering toe--and so suggestive when wagged back and forth--that in 1468, the Pope condemned the poulaine as "a scoffing against God." Near the end of the 15th century, the masculine version of the poulaine was driven to extinction by a wider, broad-toed shoe, shaped like the bill of a duck, which completely replaced it.</P> <P><EM>Evolution II</EM>. While the poulaine died out, its <STRONG><A HREF="http://members.aol.com/nonverbal2/message.htm" TARGET="_top">message</A></STRONG> lived on, and the <STRONG><A HREF="http://members.aol.com/nonverbal2/submit.htm" TARGET="_top">submissive</A></STRONG> meaning of slim, pointed toes ("I am harmless--you may approach"; see, e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/barbie.htm" TARGET="_top">BARBIE DOLL</A></STRONG>) is still fashionable today. Narrow pumps and high heels, e.g., which incorporate the poulaine's timid taper, are among the most popular and attractive of women's shoes.</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal2/armwear.htm" TARGET="_top">ARM WEAR</A></STRONG>, <STRONG><A HREF="legwear1.htm" tppabs="http://members.aol.com/doder1/legwear1.htm" TARGET="_top">LEG WEAR</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></P> </BODY> </HTML>	[WOMEN\'S SHOES]{#WOMEN'S SHOES} That I am part of the earth my feet know perfectly . . . \--D.H. Lawrence *![Shoes of a Woman](B27981.jpg){border="0" tppabs="http://members.aol.com/nonverbal3/objects/B27981.jpg" height="35%" width="25%"}\ \ I do not buy shoes. I covet them. \--Elizabeth Kastor (1994:28)\ \ Besides, one look at the shoes, he \[George Masters, \"Stylist to the Stars\"\] said, told him all he needed to know about a woman. \--Robert McG. Thomas, Jr. (1998:A6)\ \ Clothing cue. A feminine 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 [men\'s shoes](mens.htm){tppabs="http://members.aol.com/nonverbal3/mens.htm" target="_top"} (see, e.g., [HIGH HEEL](http://members.aol.com/nonverbal3/highheel.htm){target="_top"}). Usage: In expressive style, women\'s shoes a. reveal, b. conceal, or c. mask the feminine [foot](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm" target="_top"}. Bare. Women\'s revealing shoes bare the toes, heel, ankle, and (or) top of the foot (i.e., the instep). Revealing shoes call attention to a woman\'s thinner bones, smaller joints, and delicate achilles tendons. Examples include a. 1920s low-cut pumps, with straps buttoned or buckled across the instep; b. 1930s high heels with ankle straps and peep-toes; and c. pointed, stiletto heels of the 1950s and 60s (which may reveal toe cleavage, i.e., the hollow between the big toe and 2nd digit). Bind. Concealing shoes cover, yet do not hide, the feet. Rather, they enhance the foot\'s feminine silhouette, contour, and shape. A concealing shoe\'s laces and close, binding fit transmit a suggestive, erotic message of tight containment. Types of concealing shoes include a. ankle-high buttoned boots of the 1900s; b. 1970s mid-calf boots, cut close to the leg; and c. tight, patent-leather, ankle-high shoes worn by pop singers of the 1980s (e.g., Madonna). Mask. Revealing and concealing shoes proclaim femininity, individuality, and sexual allure. The lady\'s masking shoe, in contrast, covers the foot but suggests little about sexuality, individuality, or mood. Indeed, because they are visually quiet, masking shoes downplay personality by discouraging its notice. Often worn with socks, \"sensible\" shoes tend to be boxy, sturdy, and squared-off (i.e., masculine).\ \ *[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}. 1.* In the Washington Post Magazine, Elizabeth Kastor poetically describes the expressive force of women\'s shoes: \"Ahhhhh, shoes. Such potent symbols of sexuality and fertility. Think of Cinderella. Think of the old woman who lived in a shoe and her numerous children. Think of the dancer in the movie \'The Red Shoes\' whose feet\--and conflicted desires\--danced her to death. Think of tying shoes to the back of the wedding car. Think of shoes as a narrow space in which something is inserted . . .\" (Kastor 1994:29). 2. \"\[Sonja\] Bata \[founder of the Bata Shoe Museum in Toronto\] says \[Edward\] Maeder \[museum director\] is absolutely right \[about his statement, \'Skinny shoes survived because people couldn\'t wear them\'\], adding that women always have saved shoes of their childhood and youth and marriage, when their feet were at their daintiest\" (Trueheart 1995:C10). Observations. 1. 2,600 years ago, Greek women favored white and red, snug-fitting leather shoes, and owned as many as 20 pairs at a time. 2. Forty to 60 new styles of women\'s shoes appear each year in U.S. shopping malls (Fleishman 1994). 3. \"In the marriage rituals of the Middle Ages, the father passed the bride\'s shoe to the groom . . .\" (Kastor 1994:30). 4. Today, American women buy an average five pairs of shoes a year (American men average two).\ \ Personality. Women\'s shoes display more \"personality\" than do men\'s. Many styles, e.g., are given personal names, such as the Nordstrom line\'s \"Angelique,\" \"Gretta,\" and \"Bree.\" \"So, how does it work? \'Well, say there\'s a tailored-type boot, and it looks like the kind of shoe a woman might wear to a concert,\' he \[Richard Leeker, a vice president and \"senior line builder\" at Brown Group\] says, \'Well, we call it \"Concert\"\'\" (Fleishman 1994:F4). Evolution I. The slimness of women\'s footwear evolved from a narrow shoe known as the poulaine (originally from Poland), popular with men in the 12th and 15th centuries. So long was the tip of its tapering toe\--and so suggestive when wagged back and forth\--that in 1468, the Pope condemned the poulaine as \"a scoffing against God.\" Near the end of the 15th century, the masculine version of the poulaine was driven to extinction by a wider, broad-toed shoe, shaped like the bill of a duck, which completely replaced it. Evolution II. While the poulaine died out, its [message](http://members.aol.com/nonverbal2/message.htm){target="_top"} lived on, and the [submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"} meaning of slim, pointed toes (\"I am harmless\--you may approach\"; see, e.g., [BARBIE DOLL](http://members.aol.com/nonverbal2/barbie.htm){target="_top"}) is still fashionable today. Narrow pumps and high heels, e.g., which incorporate the poulaine\'s timid taper, are among the most popular and attractive of women\'s shoes. See also [ARM WEAR](http://members.aol.com/nonverbal2/armwear.htm){target="_top"}, [LEG WEAR](legwear1.htm){tppabs="http://members.aol.com/doder1/legwear1.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"})
WORD	https://ns1.omnitech.net/data/Nonverbal/word1.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>word</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><STRONG><FONT SIZE="+1">WORD</FONT><FONT SIZE="+1"></FONT></STRONG></P> <P><IMG BORDER="0" ALT="Verbal Dictionary" SRC="word.jpg" tppabs="http://members.aol.com/doder1/objects/word.jpg" HEIGHT="35%" WIDTH="30%"><BR WP="BR1"> <BR WP="BR2"> <FONT SIZE="-1"><I>"I will say it to you in one word," Don Quixote answered, "and that word is the following: 'Set free at once that lovely lady whose tears and mournful countenance show plainly that you are carrying her away against her will and that you have done her some shameful wrong</I>.<I>'"</I> --Miguel de Cervantes (1605:455-56)<BR> <BR> <I><FONT SIZE="-1">We should have a great many fewer disputes in the world if words were taken for what they are, the signs of our ideas only, and not for things themselves</FONT></I><FONT SIZE="-1">. --Lo</FONT>cke, </FONT><I><FONT SIZE="-1">Essay on Human Understanding</FONT></I></P> <P><I><FONT SIZE="-1">There are no words</FONT></I><FONT SIZE="-1">. --Zinedine Zidane, French soccer player (after France beat Brazil to win the 1998 World Cup; Wilner 1998:C1)<BR> </FONT><FONT SIZE="-1"></FONT><BR> <BR> <EM>Verbal <STRONG><A HREF="http://members.aol.com/nonverbal2/signal.htm" TARGET="_top">signal</A></STRONG></EM><STRONG></STRONG>. <STRONG>1.</STRONG> In <STRONG><EM><A HREF="speech1.htm" tppabs="http://members.aol.com/doder1/speech1.htm" TARGET="_top">speech</A></EM></STRONG>, an articulated sound or sounds uttered <STRONG>a.</STRONG> to convey <STRONG><A HREF="http://members.aol.com/nonverbal2/info.htm" TARGET="_top">information</A></STRONG>, <STRONG>b.</STRONG> to express <STRONG><A HREF="http://members.aol.com/nonverbal2/emotion.htm" TARGET="_top">emotion</A></STRONG>, <STRONG>c.</STRONG> to suggest ideas or opinions, or <STRONG>d.</STRONG> to greet a person, place, or thing. <STRONG>2.</STRONG> In manual <I>sign language</I>, an articulated body movement or movements used to communicate as in <EM>speech</EM> (above). <STRONG>3.</STRONG> In <I>writing</I>, an alphabetical, ideographic, pictographic, or symbolic version of a verbal sound or body motion which may be stored, e.g., through inscriptions carved in <EM>stone</EM>, characters printed on <EM>paper</EM>, or images saved on <EM>computers</EM>.</P> <P><EM>Usage I</EM>: Words have diverse uses as labels for objects (e.g., "walnut"), directions ("west"), and activities ("walk"). Some words (e.g., "the") have linguistic uses rather than referential or conceptional meanings. Words are spoken, signed, or written in the sequential order governed by cultural rules, <EM>syntax</EM>, and <I>grammar</I>.</P> <P><EM>Usage II</EM>: A great deal of our verbiage is about <STRONG><A HREF="http://members.aol.com/nonverbal2/artifact.htm" TARGET="_top">artifacts</A></STRONG> (e.g., <STRONG><A HREF="http://members.aol.com/nonverbal2/bigmac.htm" TARGET="_top">Big Macs</A>®</STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/bluejean.htm" TARGET="_top">blue jeans</A></STRONG>, and <STRONG><A HREF="http://members.aol.com/nonverbal2/footwear.htm" TARGET="_top">shoes</A></STRONG>), i.e., about items in the ever-growing stockpile of material goods we possess or dream of owning. The partnership between <STRONG><A HREF="consprod.htm" tppabs="http://members.aol.com/nonverbal2/consprod.htm" TARGET="_top">consumer products</A></STRONG> and words may be as ancient as Oldowan stone tools and the likely labels our ancestors used to articulate knowledge of their design. (<STRONG><I>N.B.</I></STRONG>: Echoing prehistory, artifacts and brand names form a natural partnership in the mind--and in the media--today.)<BR> <BR> <I>Usage III</I>. Words themselves may become consumer products: "Protecting English against the erosion of time has been a recurring theme in attempts to save the language from decay. The time capsule entombed by Westinghouse at the 1939-40 New York World's Fair was an attempt to preserve Anglo-American civilization for a time when the language would be as dead as Sumerian" (Bailey 1991:223).</P> <P><I>Anthropology</I>. "To know the 'true name' of a thing was thought to be a source of power over it in many traditions" (Deacon 1997:321). </P> <P><I>Animal behavior</I>. Studies of apes, dogs, parrots, and sea lions have "demonstrated that other animals can acquire and use words" (Lieberman 1991:113). Studies of chimpanzees have shown that humans are "not, after all, the <I>only</I> tool-making animals" (Goodall 1990:5).<BR> <BR> <I>Astronomy I</I>. "At its 17th general assembly in 1979, the IAU [International Astronomical Union] decided that, except for one high mountain already named for Scottish physicist James Clerk Maxwell, only feminine names will identify Venusian surface features" (Lupfer 1993:3).<BR> <BR> <I>Astronomy II</I>. "In general, neither the names of politicians, philosophers or military figures of the last two centuries, nor the names of people associated with any still-practiced religion, are accepted [as names for newly discovered comets]" (Lupfer 1993:3).<BR> <BR> <I>Author's note</I>: When asked about the irony of using words to study <A HREF="nvcom.htm" tppabs="http://members.aol.com/nonverbal2/nvcom.htm" TARGET="_top"><B>nonverbal communication</B></A>, I answer that words help raise nonverbal issues to a more conscious awareness. (<B><I>N.B.</I></B>: As Joseph Conrad prefaced in <I>The Nigger of the "Narcissus"</I>: it is "by the power of the written word, to make you hear, to make you feel--it is, before all, to make you <I>see</I>.")<BR> <BR> <EM>Evolution</EM>. The earliest words may have been nouns. A <EM>noun</EM> (Middle English <EM>name</EM>, from Indo-European <STRONG><EM>no-men-</EM></STRONG><EM></EM>, "name") is used to label persons, places, animals, plants, qualities, actions, and things.<BR> <BR> <I><B><A HREF="http://members.aol.com/nonverbal2/gesture.htm" TARGET="_top">Gesture</A></B> origin</I>. "We take the view that language is based in gesture--that is, bodily movement to which human beings attach meaning" (Armstrong et al.1995:3). [Author's note: Words themselves are produced by articulated body movements of the vocal tract.] </P> <P><EM>Infancy</EM>. At ca. 18 months, toddlers display a keen interest in naming things, and their vocabulary of nouns rapidly grows.<BR> <BR> <I>Literary criticism</I>. "The very act of naming something is an attempt both to define it and possess it" (Cohen 1993:3). </P> <P><I>Literature</I>. ". . . words clothed in reason's garb . . . ." --John Milton (<I>Paradise Lost, Book II</I>; 1667) </P> <P><STRONG><EM><A HREF="http://members.aol.com/nonverbal2/media.htm" TARGET="_top">Media</A></EM></STRONG>. In the beginning was the <EM>Pause</EM>, which became the <EM>Real Thing</EM>. <STRONG>1929</STRONG>: "The Pause that Refreshes." <STRONG>1961</STRONG>: "Things go Better with Coke." <STRONG>1969</STRONG>: "It's the Real Thing." <STRONG>1982</STRONG>: "Coke is it!" <STRONG>1993</STRONG>: "Always the Real Thing." <STRONG>1995</STRONG>: According to a Gallup Organization poll, over 60% of the Chinese population say they have heard the brand name, <STRONG><EM><A HREF="http://members.aol.com/nonverbal2/cocacola.htm" TARGET="_top">Coca-Cola</A></EM>®</STRONG>.<BR> <BR> <I>Odd object words</I>. <B>1.</B> The word "chad," of unknown origin, is the name for a small, circular piece of paper or cardboard produced by a paper punch (source: <I>The American Heritage Dictionary</I>). <B>2.</B> The word "gry," for a measurement which is the equivalent of 0.008 inches, comes from the Greek word for a speck of dirt beneath a fingernail (source: <I>The Dent Dictionary of Measurement</I>). <B>3.</B> "Jun," the name of a single star located in the constellation Cepheus, belongs to movie star Johnny Depp, according to the International Star Registry in Ingleside, Illinois (Cohen 1993:3). <B>4.</B> Some 1,474 other names for "crayfish," including, Danish <I>signalkrebs</I>, Mayan <I>bab</I>, and two Aboriginal Australian manual signs for the <A HREF="shellfis.htm" tppabs="http://members.aol.com/nonverbal3/shellfis.htm" TARGET="_top"><B>arthropod</B></A>, have been compiled by C. W. Hart, Jr., in his 1994 <I>Dictionary of Non-Scientific Names of Freshwater Crayfishes</I> (Washington, D.C., Smithsonian Institution).<BR> <BR> <I>PET imaging</I>. <B>1.</B> "In this positron emission tomography study we examined the pattern of neural activation associated with performance on number-letter sequencing [NLS], a purported measure of working memory included in the new Wechsler scales for memory and intelligence. After controlling for basic audition, verbalization, and attention, areas of activation were observed in the orbital frontal lobe, dorsolateral prefrontal cortex, and posterior parietal cortex. This is highly consistent with reports from the literature on activation patterns associated with working memory. <I>More activation peaks were observed in the right hemisphere, suggesting the participants utilized visualization of the verbal information</I>" (Haut et al. 2000; italics added by D. Givens to emphasize the neural link between verbal and nonverbal). <B>2.</B> Activation was demonstrated in the right posterior temporal lobe, right orbital frontal region, right posterior parietal cortex, right dorsolateral prefrontal cortex, right posterior premotor cortex, right posterior parietal cortex, and the precuneus midline; regarding the precuneus midline, slightly greater on the left) (Haut et al. 2000). <B>3.</B> "In conclusion, this study provides support for NLS as a task with a working memory component. Beyond basic verbal attention span, participants used areas of the brain associated with temporary storage, active maintenance, and organization of information. <I>Despite the verbal nature of the task, there was a large degree of right hemisphere activation</I>, which may have been a result of utilization of visuospatial components of working memory. At this point, clinicians should be cautious with interpretations regarding laterality of deficits when observing deficient performance on NLS, despite its apparent verbal nature" (Haut et al. 2000; italics added).<BR> <BR> <B><I> <HR> <FONT SIZE="-1">E-Commentary</FONT></I></B><FONT SIZE="-1">: "Prior to becoming an attorney, I was a police detective for a number of years. I am continually amazed how attorneys at depositions are typically so focused on their outlines [i.e., on </FONT><I><FONT SIZE="-1">words</FONT></I><FONT SIZE="-1">] than they completely ignore nonverbal, and even verbal, indicators that practically give-away the case. My presentation focuses on spotting and using these observations to determine where to probe for the truth and what to do with it when you get it." H.L., USA (8/9/99 4:21:15 AM Pacific Daylight Time)</FONT><FONT SIZE="-1"></FONT><BR> <HR> <BR> <EM>Neuro-notes I</EM>. At the level of neurons, saying, signing, or writing a word is not unlike striking flakes from a pebble core to make a stone tool. In right-handed people, all four activities involve premotor and motor areas on the left side of the forebrain (which controls the right side of the body). Older regions of forebrain--including the <STRONG><A HREF="http://members.aol.com/nonverbal2/basal.htm" TARGET="_top">basal ganglia</A></STRONG> and the thalamus of the <STRONG><A HREF="reptile.htm" tppabs="http://members.aol.com/nonverbal3/reptile.htm" TARGET="_top">reptilian brain</A></STRONG>--underlie tool making and the ability to speak. Through general coordination of motor control, the substantia nigra of the midbrain is part of the speech process, as well. The hindbrain's neocerebellum, too, plays a role in coordinating the voluntary movements of our very verbal digits and very vocal tongue. Thus, neural templates for tools and words are shared on many levels of the brain.</P> <P><EM>Neuro-notes II</EM>. At the highest level, word order is overseen by circuits of the prefrontal cortex, which guides the sequential processing needed to build an artifact or utter a phrase. Regulating speech sounds is the inferior frontal gyrus (Brodmann's areas 44/45). Controlled by the frontal lobes, our fingers and speech organs follow the correct sequences required to produce oral statements and material tools.<BR> <BR> <I>Neuro-notes III</I>. The supplementary motor area of the neocortex is involved in sequential processing, as well, both for verbal and some nonverbal (e.g., mime-cue) articulations. "We have found a group of cells in the cerebral cortex of monkeys whose activity is exclusively related to a sequence of multiple movements performed in a particular order. Such cellular activity exists in the supplementary motor area . . . . We propose that these cells contribute a signal about the order of forthcoming multiple movements, and are useful for planning and coding of several movements ahead" (Tanji and Shima 1994:413). </P> <P><EM>Neuro-notes IV</EM>. <B>1.</B> "Object-naming is unique to man because the anatomical basis of the ability [the <EM>angular gyrus</EM>] is also unique to man" (Lancaster 1968:454). <B>2.</B> As reported in the November 17, 1994 issue of <I>Nature</I>, word recognition resides in the anterior fusiform gyrus of the inferior temporal lobe, according to Gregory McCarthy and colleagues at Oxford University. <B>3.</B> "In both studies, generation of color words selectively activated a region in the ventral temporal lobe just anterior to the area involved in the perception of color, whereas generation of action words activated a region in the middle temporal gyrus just anterior to the area involved in the perception of motion" (Martin et al. 1995:102 [<I>Science</I>]).</P> <P><I>Neuro-notes V</I>. "Scientists at the National Institute of Mental Health in Bethesda, Md., have found that knowledge about the names of animals and tools--two broad categories of objects--gets handled by largely separate networks of brain regions" (Bower 1996:103).<BR> <BR> <I>Neuro-notes VI</I>. Concrete words are processed more efficiently than abstract words (Kiehl et al. 1999). According to fMRI data, word processing involves the bilateral fusiform gyrus, the anterior cingulate gyrus, the left middle temporal gyrus, the right posterior superior temporal gyrus, and the left and right inferior frontal gyrus (Kiehl et al. 1999). Abstract and concrete word processing both involve the right anterior temporal cortex (Kiehl et al. 1999). "The results are consistent with recent positron emission tomography [PET] work showing right hemisphere activation during processing of abstract representations of language. The results are interpreted as support for a right hemisphere neural pathway in the processing of abstract word representations" (Kiehl et al. 1999).<BR> <BR> See also <STRONG><A HREF="http://members.aol.com/nonverbal3/human.htm" TARGET="_top">HUMAN BRAIN</A></STRONG>, <STRONG><A HREF="http://members.aol.com/nonverbal2/nvworld.htm" TARGET="_top">NONVERBAL WORLD</A></STRONG>, <A HREF="verbal1.htm" tppabs="http://members.aol.com/doder1/verbal1.htm" TARGET="_top"><B>VERBAL CENTER</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><BR> <I><FONT SIZE="-1">American Heritage Dictionary</FONT></I><FONT SIZE="-1"> (Third Edition) entry for "word" (copyright 1992 by Houghton Mifflin Co.)</FONT><FONT SIZE="-1"></FONT></P> </BODY> </HTML>	WORD ![Verbal Dictionary](word.jpg){border="0" tppabs="http://members.aol.com/doder1/objects/word.jpg" height="35%" width="30%"}\ \ \"I will say it to you in one word,\" Don Quixote answered, \"and that word is the following: \'Set free at once that lovely lady whose tears and mournful countenance show plainly that you are carrying her away against her will and that you have done her some shameful wrong.\'\" \--Miguel de Cervantes (1605:455-56)\ \ We should have a great many fewer disputes in the world if words were taken for what they are, the signs of our ideas only, and not for things themselves. \--Locke, Essay on Human Understanding There are no words. \--Zinedine Zidane, French soccer player (after France beat Brazil to win the 1998 World Cup; Wilner 1998:C1)\ \ \ Verbal [signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}. 1. In [speech](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm" target="_top"}, an articulated sound or sounds uttered a. to convey [information](http://members.aol.com/nonverbal2/info.htm){target="_top"}, b. to express [emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}, c. to suggest ideas or opinions, or d. to greet a person, place, or thing. 2.** In manual sign language, an articulated body movement or movements used to communicate as in speech (above). 3. In writing, an alphabetical, ideographic, pictographic, or symbolic version of a verbal sound or body motion which may be stored, e.g., through inscriptions carved in stone, characters printed on paper, or images saved on computers. Usage I: Words have diverse uses as labels for objects (e.g., \"walnut\"), directions (\"west\"), and activities (\"walk\"). Some words (e.g., \"the\") have linguistic uses rather than referential or conceptional meanings. Words are spoken, signed, or written in the sequential order governed by cultural rules, syntax, and grammar. Usage II: A great deal of our verbiage is about [artifacts](http://members.aol.com/nonverbal2/artifact.htm){target="_top"} (e.g., [Big Macs](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}®, [blue jeans](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"}, and [shoes](http://members.aol.com/nonverbal2/footwear.htm){target="_top"}), i.e., about items in the ever-growing stockpile of material goods we possess or dream of owning. The partnership between [consumer products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm" target="_top"} and words may be as ancient as Oldowan stone tools and the likely labels our ancestors used to articulate knowledge of their design. (*N.B.: Echoing prehistory, artifacts and brand names form a natural partnership in the mind\--and in the media\--today.)\ \ Usage III. Words themselves may become consumer products: \"Protecting English against the erosion of time has been a recurring theme in attempts to save the language from decay. The time capsule entombed by Westinghouse at the 1939-40 New York World\'s Fair was an attempt to preserve Anglo-American civilization for a time when the language would be as dead as Sumerian\" (Bailey 1991:223). Anthropology. \"To know the \'true name\' of a thing was thought to be a source of power over it in many traditions\" (Deacon 1997:321). Animal behavior. Studies of apes, dogs, parrots, and sea lions have \"demonstrated that other animals can acquire and use words\" (Lieberman 1991:113). Studies of chimpanzees have shown that humans are \"not, after all, the only* tool-making animals\" (Goodall 1990:5).\ \ Astronomy I. \"At its 17th general assembly in 1979, the IAU \[International Astronomical Union\] decided that, except for one high mountain already named for Scottish physicist James Clerk Maxwell, only feminine names will identify Venusian surface features\" (Lupfer 1993:3).\ \ Astronomy II. \"In general, neither the names of politicians, philosophers or military figures of the last two centuries, nor the names of people associated with any still-practiced religion, are accepted \[as names for newly discovered comets\]\" (Lupfer 1993:3).\ \ Author\'s note: When asked about the irony of using words to study [nonverbal communication](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm" target="_top"}, I answer that words help raise nonverbal issues to a more conscious awareness. (*N.B.: As Joseph Conrad prefaced in The Nigger of the \"Narcissus\": it is \"by the power of the written word, to make you hear, to make you feel\--it is, before all, to make you see.\")\ \ Evolution. The earliest words may have been nouns. A noun* (Middle English name, from Indo-European *no-men-, \"name\") is used to label persons, places, animals, plants, qualities, actions, and things.\ \ [Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"} origin. \"We take the view that language is based in gesture\--that is, bodily movement to which human beings attach meaning\" (Armstrong et al.1995:3). \[Author\'s note: Words themselves are produced by articulated body movements of the vocal tract.\] Infancy. At ca. 18 months, toddlers display a keen interest in naming things, and their vocabulary of nouns rapidly grows.\ \ Literary criticism. \"The very act of naming something is an attempt both to define it and possess it\" (Cohen 1993:3). Literature. \". . . words clothed in reason\'s garb . . . .\" \--John Milton (Paradise Lost, Book II; 1667) [Media](http://members.aol.com/nonverbal2/media.htm){target="_top"}. In the beginning was the Pause, which became the Real Thing. 1929: \"The Pause that Refreshes.\" 1961: \"Things go Better with Coke.\" 1969: \"It\'s the Real Thing.\" 1982: \"Coke is it!\" 1993: \"Always the Real Thing.\" 1995: According to a Gallup Organization poll, over 60% of the Chinese population say they have heard the brand name, *[Coca-Cola](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}®*.\ \ Odd object words. 1.* The word \"chad,\" of unknown origin, is the name for a small, circular piece of paper or cardboard produced by a paper punch (source: The American Heritage Dictionary). 2. The word \"gry,\" for a measurement which is the equivalent of 0.008 inches, comes from the Greek word for a speck of dirt beneath a fingernail (source: The Dent Dictionary of Measurement). 3. \"Jun,\" the name of a single star located in the constellation Cepheus, belongs to movie star Johnny Depp, according to the International Star Registry in Ingleside, Illinois (Cohen 1993:3). 4. Some 1,474 other names for \"crayfish,\" including, Danish signalkrebs, Mayan bab, and two Aboriginal Australian manual signs for the [arthropod](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm" target="_top"}, have been compiled by C. W. Hart, Jr., in his 1994 Dictionary of Non-Scientific Names of Freshwater Crayfishes (Washington, D.C., Smithsonian Institution).\ \ PET imaging. 1. \"In this positron emission tomography study we examined the pattern of neural activation associated with performance on number-letter sequencing \[NLS\], a purported measure of working memory included in the new Wechsler scales for memory and intelligence. After controlling for basic audition, verbalization, and attention, areas of activation were observed in the orbital frontal lobe, dorsolateral prefrontal cortex, and posterior parietal cortex. This is highly consistent with reports from the literature on activation patterns associated with working memory. More activation peaks were observed in the right hemisphere, suggesting the participants utilized visualization of the verbal information\" (Haut et al. 2000; italics added by D. Givens to emphasize the neural link between verbal and nonverbal). 2. Activation was demonstrated in the right posterior temporal lobe, right orbital frontal region, right posterior parietal cortex, right dorsolateral prefrontal cortex, right posterior premotor cortex, right posterior parietal cortex, and the precuneus midline; regarding the precuneus midline, slightly greater on the left) (Haut et al. 2000). 3. \"In conclusion, this study provides support for NLS as a task with a working memory component. Beyond basic verbal attention span, participants used areas of the brain associated with temporary storage, active maintenance, and organization of information. Despite the verbal nature of the task, there was a large degree of right hemisphere activation, which may have been a result of utilization of visuospatial components of working memory. At this point, clinicians should be cautious with interpretations regarding laterality of deficits when observing deficient performance on NLS, despite its apparent verbal nature\" (Haut et al. 2000; italics added).\ \ **** ------------------------------------------------------------------------ E-Commentary: \"Prior to becoming an attorney, I was a police detective for a number of years. I am continually amazed how attorneys at depositions are typically so focused on their outlines \[i.e., on words\] than they completely ignore nonverbal, and even verbal, indicators that practically give-away the case. My presentation focuses on spotting and using these observations to determine where to probe for the truth and what to do with it when you get it.\" H.L., USA (8/9/99 4:21:15 AM Pacific Daylight Time)\ ------------------------------------------------------------------------ \ Neuro-notes I. At the level of neurons, saying, signing, or writing a word is not unlike striking flakes from a pebble core to make a stone tool. In right-handed people, all four activities involve premotor and motor areas on the left side of the forebrain (which controls the right side of the body). Older regions of forebrain\--including the [basal ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"} and the thalamus of the [reptilian brain](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm" target="_top"}\--underlie tool making and the ability to speak. Through general coordination of motor control, the substantia nigra of the midbrain is part of the speech process, as well. The hindbrain\'s neocerebellum, too, plays a role in coordinating the voluntary movements of our very verbal digits and very vocal tongue. Thus, neural templates for tools and words are shared on many levels of the brain. Neuro-notes II. At the highest level, word order is overseen by circuits of the prefrontal cortex, which guides the sequential processing needed to build an artifact or utter a phrase. Regulating speech sounds is the inferior frontal gyrus (Brodmann\'s areas 44/45). Controlled by the frontal lobes, our fingers and speech organs follow the correct sequences required to produce oral statements and material tools.\ \ Neuro-notes III. The supplementary motor area of the neocortex is involved in sequential processing, as well, both for verbal and some nonverbal (e.g., mime-cue) articulations. \"We have found a group of cells in the cerebral cortex of monkeys whose activity is exclusively related to a sequence of multiple movements performed in a particular order. Such cellular activity exists in the supplementary motor area . . . . We propose that these cells contribute a signal about the order of forthcoming multiple movements, and are useful for planning and coding of several movements ahead\" (Tanji and Shima 1994:413). Neuro-notes IV. 1. \"Object-naming is unique to man because the anatomical basis of the ability \[the angular gyrus\] is also unique to man\" (Lancaster 1968:454). 2. As reported in the November 17, 1994 issue of Nature, word recognition resides in the anterior fusiform gyrus of the inferior temporal lobe, according to Gregory McCarthy and colleagues at Oxford University. 3. \"In both studies, generation of color words selectively activated a region in the ventral temporal lobe just anterior to the area involved in the perception of color, whereas generation of action words activated a region in the middle temporal gyrus just anterior to the area involved in the perception of motion\" (Martin et al. 1995:102 \[Science\]). Neuro-notes V. \"Scientists at the National Institute of Mental Health in Bethesda, Md., have found that knowledge about the names of animals and tools\--two broad categories of objects\--gets handled by largely separate networks of brain regions\" (Bower 1996:103).\ \ Neuro-notes VI. Concrete words are processed more efficiently than abstract words (Kiehl et al. 1999). According to fMRI data, word processing involves the bilateral fusiform gyrus, the anterior cingulate gyrus, the left middle temporal gyrus, the right posterior superior temporal gyrus, and the left and right inferior frontal gyrus (Kiehl et al. 1999). Abstract and concrete word processing both involve the right anterior temporal cortex (Kiehl et al. 1999). \"The results are consistent with recent positron emission tomography \[PET\] work showing right hemisphere activation during processing of abstract representations of language. The results are interpreted as support for a right hemisphere neural pathway in the processing of abstract word representations\" (Kiehl et al. 1999).\ \ See also [HUMAN BRAIN](http://members.aol.com/nonverbal3/human.htm){target="_top"}, [NONVERBAL WORLD](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}, [VERBAL CENTER](verbal1.htm){tppabs="http://members.aol.com/doder1/verbal1.htm" target="_top"}. Copyright © 1998 - 2001 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})\ American Heritage Dictionary (Third Edition) entry for \"word\" (copyright 1992 by Houghton Mifflin Co.)
YAWN	https://ns1.omnitech.net/data/Nonverbal/yawn.htm	<HTML> <HEAD> <META NAME="Generator" CONTENT="Corel WordPerfect 8"> <TITLE>yawn</TITLE> </HEAD> <BODY TEXT="#000000" LINK="#0000ff" VLINK="#551a8b" ALINK="#ff0000" BGCOLOR="#c0c0c0"> <P><FONT SIZE="+1"><STRONG><A NAME="YAWN">YAWN</A><BR> <BR> <IMG BORDER="0" ALT="Deep Breath" SRC="yawn.jpg" tppabs="http://members.aol.com/nonverbal2/objects/yawn.jpg" HEIGHT="35%" WIDTH="25%"></STRONG></FONT></P> <P><EM><B><A HREF="http://members.aol.com/nonverbal2/sign.htm" TARGET="_top">Sign</A></B></EM>. <STRONG>1.</STRONG> A sudden, deep <EM>inhalation of air</EM> accompanied by an open mouth, tightened cheek muscles, eye closure, and tearing. <STRONG>2.</STRONG> An involuntary <EM>deep breath</EM> due to sleepiness, fatigue, boredom, or emotional conflict. <STRONG>3.</STRONG> A socially contagious <EM>gaping</EM> behavior, often difficult to suppress.</P> <P><EM>Usage</EM>: Usually a sign of drowsiness, yawning also occurs, e.g., in tense business meetings as a sign of <EM>mild anxiety</EM>, <EM>disagreement</EM>, or <STRONG><A HREF="http://members.aol.com/nonverbal2/uncert.htm" TARGET="_top">uncertainty</A></STRONG>. When alert listeners yawn in response to controversial suggestions or ideas, the yawn signals a <STRONG><A HREF="http://members.aol.com/nonverbal2/probe.htm" TARGET="_top">probing point</A></STRONG>, i.e., an opportunity to explore unverbalized objections or clarify unvoiced concerns.</P> <P><STRONG><EM>RESEARCH REPORTS</EM></STRONG>: <STRONG>1.</STRONG> "I have also noticed that under slight fear there is a strong tendency to yawn" (Darwin 1872:291). <STRONG>2.</STRONG> Yawning is a <I>displacement</I> sign of <EM>mild conflict</EM> (Tinbergen 1951). <STRONG>3.</STRONG> In primates, yawning appears in <EM>stress or conflict</EM> situations (Altmann 1967). <STRONG>4.</STRONG> Yawning is seen in <EM>uneasy</EM> or <EM>aggressive</EM> chimpanzees, gorillas, gibbons, baboons, rhesus monkeys, patas monkeys, and (rarely) vervet monkeys (Lawick-Goodall 1968). <STRONG>5.</STRONG> Yawning is a sign of <EM>stress or apathy</EM> in bonnet macaques (Rahaman and Parthasarathy 1968). <STRONG>6.</STRONG> In humans, the yawn includes "closing of the eyes and lowering of the brows" (Brannigan and Humphries 1972:58). <STRONG>7.</STRONG> In a tense setting, <EM>adrenaline</EM> lowers the blood's oxygen level and yawning speeds reoxygenation (Hill 1977).</P> <P><EM>Neuro-notes</EM>. Yawning is a reflexive, highly contagious act. Babies born without a brain above the midbrain (i.e., <EM>anencephalic</EM> infants) can still yawn (and <I>stretch</I>). Stimuli associated, e.g., with tiredness, the sight of others yawning, or social stress pass <STRONG>a.</STRONG> from higher brain centers, <STRONG>b.</STRONG> to respiratory centers in the brain-stem's medulla, and then <STRONG>c.</STRONG> to somatic motor nuclei of the <EM>trigeminal</EM> (cranial V) and <EM>facial</EM> (cranial VII) nerves. Excitement of motor fibers in the facial nerve and in the trigeminal's mandibular branch opens the mouth widely and stimulates activity in the <EM>phrenic</EM> (cervical 3, 4, and 5) nerves to the diaphragm, and <EM>intercostal</EM> (thoracic 1-12) nerves to the external intercostal muscles, causing a deep inspiration followed by deep exhalation.</P> <P>See also <STRONG><A HREF="http://members.aol.com/nonverbal3/cry.htm" TARGET="_top">CRY</A></STRONG>, <STRONG><A TARGET="_top" HREF="http://members.aol.com/nonverbal2/fear.htm">FEAR</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>	[YAWN]{#YAWN}\ \ ![Deep Breath](yawn.jpg){border="0" tppabs="http://members.aol.com/nonverbal2/objects/yawn.jpg" height="35%" width="25%"} *[Sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}. 1.* A sudden, deep inhalation of air accompanied by an open mouth, tightened cheek muscles, eye closure, and tearing. 2. An involuntary deep breath due to sleepiness, fatigue, boredom, or emotional conflict. 3. A socially contagious gaping behavior, often difficult to suppress. Usage: Usually a sign of drowsiness, yawning also occurs, e.g., in tense business meetings as a sign of mild anxiety, disagreement, or [uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}. When alert listeners yawn in response to controversial suggestions or ideas, the yawn signals a [probing point](http://members.aol.com/nonverbal2/probe.htm){target="_top"}, i.e., an opportunity to explore unverbalized objections or clarify unvoiced concerns. *RESEARCH REPORTS: 1.* \"I have also noticed that under slight fear there is a strong tendency to yawn\" (Darwin 1872:291). 2. Yawning is a displacement sign of mild conflict (Tinbergen 1951). 3. In primates, yawning appears in stress or conflict situations (Altmann 1967). 4. Yawning is seen in uneasy or aggressive chimpanzees, gorillas, gibbons, baboons, rhesus monkeys, patas monkeys, and (rarely) vervet monkeys (Lawick-Goodall 1968). 5. Yawning is a sign of stress or apathy in bonnet macaques (Rahaman and Parthasarathy 1968). 6. In humans, the yawn includes \"closing of the eyes and lowering of the brows\" (Brannigan and Humphries 1972:58). 7. In a tense setting, adrenaline lowers the blood\'s oxygen level and yawning speeds reoxygenation (Hill 1977). Neuro-notes. Yawning is a reflexive, highly contagious act. Babies born without a brain above the midbrain (i.e., anencephalic infants) can still yawn (and stretch). Stimuli associated, e.g., with tiredness, the sight of others yawning, or social stress pass a. from higher brain centers, b. to respiratory centers in the brain-stem\'s medulla, and then c. to somatic motor nuclei of the trigeminal (cranial V) and facial (cranial VII) nerves. Excitement of motor fibers in the facial nerve and in the trigeminal\'s mandibular branch opens the mouth widely and stimulates activity in the phrenic (cervical 3, 4, and 5) nerves to the diaphragm, and intercostal (thoracic 1-12) nerves to the external intercostal muscles, causing a deep inspiration followed by deep exhalation. See also [CRY](http://members.aol.com/nonverbal3/cry.htm){target="_top"}, [FEAR](http://members.aol.com/nonverbal2/fear.htm){target="_top"}. Copyright 1998, 1999, 2000 (David B. Givens/[Center for Nonverbal Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"})