FACIAL RECOGNITION

**[FACIAL RECOGNITION]{#FACIAL RECOGNITION}\
\
![A Familiar Face](facerec.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/facerec.jpg"
height="50%" width="25%"}**

*I should never have known him by his appearance, but in his voice was
plain to me that which his countenance had suppressed in itself: this
spark rekindled in me all my knowledge of the changed features, and I
recognized the face of Forese*. \--Dante Alighieri (*Purgatorio, Canto
XXIII*)\
\
\
*Ability*. **1.** The act of identifying a
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
that has been seen before. **2.** The awareness of having seen, met,
known (or known of) other people by recalling distinctive features of
their faces.

*Usage*: Our facial I.D. shows personality and defines \"who we are.\"
The ability to recognize and recall thousands of faces easily and at a
glance is a unique talent possessed by human beings alone. Facial
recognition is an active process, leading us to see \"faces\" in clouds,
in rock formations, on screen doors, in shrouds, and on the surface of
the Moon. Much of the ability to recognize faces lies in our brain\'s
*inferior temporal cortex* (see below).\
\
*Art*. In a most unusual art form for depicting the human face, Bill
Gardner of Calgary, Canada attaches a portrait stencil to the lint
screen of his dryer to create lint-laden likenesses of such celebrities
as O.J. Simpson and Wayne Gretzky (\"Fluff Pieces,\" *Life* Magazine,
June, 1999, p. 44).

*Evolution*. Our higher-primate (or *anthropoid*) ancestors (ca. 35-40
m.y.a.) had an enlarged *visual cortex* at the back of the head, on the
*occipital lobe*, with which to process color vision and depth. Today,
the anthropoid\'s is the most complex visual cortex on earth, with
anatomically separate areas for **a.** analyzing form, **b.**
coordinating hand-and-eye movements, and **c.** recognizing faces.
(***N.B.***: A few nerve cells in the lower temporal lobe are so
narrowly specialized that they respond only to
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**
and faces.)\
\
*Medicine*. Patients with *prosopagnosia* have damage to the visual
system outlined below (see *Neuroanatomy I & II*). Though able to name
individual features and identify **[emotion
cues](http://members.aol.com/nonverbal2/emotionq.htm){target="_top"}**,
they cannot recognize a once familiar face. (***N.B.***: Sometimes even
their own image appears as a stranger in the mirror.)\
\
****

------------------------------------------------------------------------

E-Commentary: \"Kindly note my thesis, that: \'Many people, between us,
acting or reacting with violence, are in some measure prosopagnostics,
i.e., they have some degree of faceblindness. Therefore, they can\'t
receive, they don\'t have the ability to feel at all, the very emotions
expressed through the face of the victim.\'\" \--Panos Axiomakaros,
Olympian University, Athens, Greece (3/27/00 12:36:07 PM Pacific
Standard Time)\

------------------------------------------------------------------------

\
*Neuroanatomy I*. Light reflected from facial features (see, e.g.,
**[EYES](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**
and **[LIPS](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}**) casts tiny images on the eye\'s nerve-sensitive
retina. From here, electrochemical impulses cable through the optic
nerve to a visual area at the back of the neocortex called *V1*. V1
neurons respond **a.** to linear details, and **b.** to wavelengths of
color.

*Neuroanatomy II*. A second visual area, *V2* (in front of V1), enhances
our image of linear and color aspects of the face. Additional processing
also takes place in *V3* (recognition of form and movement), *V4*
(additional color recognition), and *V5* (movement; Restak 1994:27-8).
Apart from our awareness, these modular areas of neocortex unify and
give meaning to our vision of the face and its diverse expressions.

*Viewpoints*. Studies show that as our eyes scan faces, they make
repeated rest stops at the *lips* and *eyes*. Viewed from the side, our
eyes hover about the *profiled nose*, *eye*, *ear*, and *lips*. As early
as 12 weeks of age an unborn baby\'s face is recognizable in the womb
(parents may claim to see a family resemblance). Our face changes size
and shape throughout the life cycle, but is nearly always recognizable
to friends and family.

*Neuro-notes I*. The inferior temporal cortex receives information fed
forward through a series of sensory and association areas, beginning
with the retina\'s relay in the occipital lobe at the back of our skull.
Regarding the temporal cortex itself, it has become a remarkably
specialized part of the **[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**.
Some of its cells respond, e.g., only to frontal or profile views of the
face, while others fire only when **[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**
appear (Kandel et al. 1991:459). Familiarity registers in the *superior
temporal polysensory area* (Young and Yamane 1992:1327).\
\
*Neuro-notes II*. **1.** PET data suggest that facial recognition
activates the right lingual and fusiform gyrus, the right
parahippocampal gyrus, and the right and left anterior temporal cortex
(Sergent et al. 1992). **2.** Subsequent PET data suggest that activated
regions for face recognition are lateralized to large aggregations of
the right hemisphere, specifically in the right lingual and fusiform
gyri (Kim et al. 1999).\
\
*Neuro-notes III*. Mappings of the macaque monkey prefrontal cortex show
that prefrontal neurons **a.** process information related to the
identity of faces, and **b.** are functionally compartmentalized in \"a
remarkably restricted area\" (Scalaidhe et al. 1997:1135).\
\
*Neuro-notes IV*. **1.** \"Greater
[**amygdala**](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}
activation occurs when individuals view faces of a racial group
different from their own (outgroup), compared with activation while
viewing faces from their own racial group (ingroup) . . .\" (Anonymous
2000B). **2.** \"Dr. Allen J. Hart, from Massachusetts General Hospital
and Harvard Medical School, in Boston, and colleagues used functional
magnetic resonance imaging to measure blood-oxygen-level-dependent
(BOLD) signals in the amygdala as black and white subjects viewed
photographs of black and white individuals\' faces. A second scan was
done after a 2-minute rest period\" (Anonymous 2000B). **3.** \"During
the first fMRI scan, there were no significant differences in amygdala
activation when subjects viewed outgroup versus ingroup faces, the
report indicates. In contrast, during the second scan, there was a
significant increase in the BOLD signal in the amygdala during viewings
of outgroup faces\" (Anonymous 2000B).

See also **[FACIAL
I.D.](facialid.htm){tppabs="http://members.aol.com/nonverbal3/facialid.htm"
target="_top"}**

Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photo by Linda McCartney, copyright 1992 (MPL Communications
Limited)


FEET

**[FEET]{#FEET}**

![High-heel Foot](feet.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/feet.jpg" height="60%"
width="25%"}\
\
*Why do we even bother to read palms? Feet are so much more revealing*.
\--Elizabeth Kastor (1994:30)\
\
*Most women think they have ugly feet*. \--Sharilyn Abbajay, general
manager, Elizabeth Arden salon (Chevy Chase, Maryland; Roberts 1995:D1)

*Smart parts*. **1.** The terminal end organs below the legs, used for
*standing*, *walking*,
[***dance***](dance1.htm){tppabs="http://members.aol.com/doder1/dance1.htm"
target="_top"}, and *display* (see
**[FOOTWEAR](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**).
**2.** Those body parts which **a.** make direct contact with the earth
and ground, **b.** reveal dominance and submission by *toeing out* or
*toeing in*, respectively (see [**SHOULDER-SHRUG
DISPLAY**](shrugdis.htm){tppabs="http://members.aol.com/nonverbal3/shrugdis.htm"
target="_top"}, *Constituents*); **c.** link to sexual modules of the
brain\'s sensory parietal lobe (as expressed, e.g., in foot fetishism);
**d.** inadvertently point toward or [**angle
away**](http://members.aol.com/nonverbal2/angular.htm){target="_top"}
from liked or disliked individuals, respectively; and **e.**, through
**[men\'s](mens.htm){tppabs="http://members.aol.com/nonverbal3/mens.htm"
target="_top"}** and **[women\'s
shoes](womens.htm){tppabs="http://members.aol.com/nonverbal3/womens.htm"
target="_top"}**, mark gender, identity, and status.

*Usage*: Like our
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
our feet are neurologically gifted. As *smart parts* and *sensory
feelers*, e.g., they are well connected to diverse areas of the brain.
Feet are sexually sensitive, as well, through links to sensory nerves of
the genitalia. For these reasons, feet are highly expressive organs
which play a major role in **[nonverbal
communication](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** throughout the world.

*Anatomy*. The oldest human footprints have the same platform-and-lever
design as modern feet. Between the sturdy heel bone and little toe is a
stout *5th metatarsal* bone which evolved as a platform. Today, it
carries the weight while the body is standing. The early *1st
metatarsal*, on the foot\'s inner side (between the heel and big toe)
also thickened\--for walking. Today, the 1st metatarsal enables us to
push off as we step, and forms part of the foot\'s cushioning arch,
which is accented in **[high heel
shoes](http://members.aol.com/nonverbal3/highheel.htm){target="_top"}**
and comforted in
**[sneakers](sneaker.htm){tppabs="http://members.aol.com/nonverbal3/sneaker.htm"
target="_top"}**. (***N.B.***: 25% of all bones of the human body are in
the feet.)\
\
*Anthropology*. Abruptly in Africa (i.e., ca. four m.y.a.), after
descending from trees to the savannah grasslands, human beings began
walking upright. Hands were no longer needed for travel, and fingers
were liberated to continue their (primate) evolution as super-sensitive
tactile antennae. At the same time\--despite their own tactile savvy and
prehensile IQ\--feet were sentenced to bipedal \"foot duty.\"
(***N.B.***: While our hands advanced, our feet were grounded.)\
\
*Anthropometry*. Mean foot breadth averages 3.5\" in women, and 3.9\" in
men; length averages 9.5\" and 10.7\", respectively (Kantowitz and
Sorkin 1983:494-95).

*Archaeology*. Evidence for human feet dates back ca. 3.5 m.y.a. to the
tracks of three upright ancestors (probably *australopithecines*) who
strolled across a bed of volcanic ash on the east-African savannah, in
what is now Laetoli, Tanzania. The footprints are nearly identical to
those of modern humans.

*Embryology*. In the womb, human feet resemble the *grasping* feet of
monkeys and apes. (***N.B.***: Though earthbound, our feet never outgrow
their innate ability to reach out and touch.) Lagging behind hands,
lower-limb buds form by the end of the 4th week of life. By week seven,
*digital rays* appear on the buds (which resemble fleshy paddles). By
week eight toes separate through a process of programmed cell death.
Between the 5th and 12th weeks, muscles enter from outside the growing
limbs as bones and tendons form inside them. Like creeping vines, nerves
grow into the lower extremities and cable the feet to multiple sites in
the brain, and at three months, a human fetus can wiggle its toes.\
\
***[Media](http://members.aol.com/nonverbal3/index.htm){target="_top"}***.
The following movies cast feet in sexually expressive cameo roles:
**1.** *Bull Durham* (Kevin Costner, nude, paints Susan Sarandon\'s
toenails); **2.** *Goodbye, Columbus* (sitting on her bed, Ali MacGraw
polishes her toes and talks dirty to Richard Benjamin); **3.** *Lolita*
(James Mason gives Sue Lyon a pedicure in a seedy motel); and **4.**
*Overboard* (Goldie Hawn receives a pedicure on her yacht from her
butler, Roddy McDowall; Roberts 1995 \[see below, *Neuro-notes*\]).\
\
*Paleontology*. Originating as *pelvic fins* for water travel, feet
evolved into the five-digit extremities which enabled the earliest
**[amphibians](http://members.aol.com/nonverbal2/amphibia.htm){target="_top"}**
and
**[reptiles](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}** to
**[walk](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}** and run, and to paddle through ancient seas. By ca. 70
m.y.a., as the first primates took to the trees, feet became
touch-sensitive and skilled for climbing and grasping, and, later, even
for handling objects, such as insects and fruit (though the hands
remained superior in dexterity and manipulative skill). (***N.B.***:
Because they were more agile and neurologically better connected, early
primate feet were \"smarter\" than the feet of their mammalian
ancestors.)\
\
*Space*. A left foot was the first body part on the Moon. On Sunday,
July 20, 1969, Neil Armstrong planted his left boot on the fine, powdery
lunar surface, at 10:39 PM (EDT). \"Still holding on \[to the LM\], he
stretched out his toe and dragged it backward several times, furrowing
the soft ground \[i.e., he palpated the plain\]\" (Chaikin 1994:209).\
\
****

------------------------------------------------------------------------

E-Commentary: \"Feet position and action often correlate with how we
feel, i.e., happy feet when we are excited; dangling high heel shoes
when we are in a seductive or playful mood; unmoving when we want to be
left alone. For example, I have noticed that when two people are
talking, their feet
[**mimic**](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}
each other; when a third person arrives, if they don\'t wish this person
to partake, they will turn at the waist and greet, but their feet remain
fixed. If the third person is liked, the original two usually will move
their feet and create a comfortable openness, so that they can form a
triangle. I have also noticed that jurors often move their feet and
point them to the door when they don\'t like an attorney as he is
presenting.\" \--J.N., FBI (4/20/00 7:22:29 PM Pacific Daylight Time)\
\
***E-Commentary***: \"I work for a radio magazine programme called
\"Outlook\" at the BBC World Service. I am producing a special programme
about feet\--their physiology, role, history, and other interesting
aspects and stories about people\'s feet. Your organisation sounds very
interesting. I\'d be very grateful if you could help out with any
interview/feature suggestions or get in touch with me about this as soon
as possible.\" --Producer, Outlook, BBC World Service (9/21/00 5:12:18
AM Pacific Daylight Time)\

------------------------------------------------------------------------

\
*Neuro-notes*. Fewer human beings are strongly right-footed (46%) than
strongly right-handed (72%). The foot bottom has the thickest skin of
any body part (an eighth of an inch). Yet despite their natural padding
and cushioning layer of fat, feet are extremely sensitive. They have
more tactile nerves than the back, legs, arms, or shoulders, and take up
more room on the sensory, parietal neocortex than the entire torso (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**;
feet and genitalia are neural neighbors on the parietal sensory strip).
That feet are so well connected to the brain explains why they \"think\"
and \"speak\" like (and crave the attention of) hands.

See also
**[BOOT](boot1.htm){tppabs="http://members.aol.com/nonverbal3/boot1.htm"
target="_top"}**,
**[GOOSE-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}**.

Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})

\
\
\
\


FIGHT-OR-FLIGHT

**[FIGHT-OR-FLIGHT]{#FIGHT-OR-FLIGHT}\
\
**![Fight and Flight](fight.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/fight.jpg"
height="35%" width="30%"}

*Ready response*. An emergency reaction in which the body prepares for
combat or escape from potentially dangerous situations, animals, or
people.

*Usage*: Many **[nonverbal
signs](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** (e.g., dilated pupils, **[sweaty
palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}**, bristling hair \[i.e., piloerection\], and a faster
breathing rate\--along with **[squaring the
torso](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}**
for battle or **[angling
away](http://members.aol.com/nonverbal2/angular.htm){target="_top"}** to
prepare for flight) are visible in stepped-up visceral feelings and body
movements of the fight-or-flight response.\
\
*Evolution*. Fight-or-flight is an ancient *sympathetic* response
pattern which, in the **[aquatic
brain](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**,
accelerated heartbeat rate, raised blood-sugar level, and released
hormones from the adrenal gland, preparing an alarmed fish to
chase-and-bite, or to turn-tail-and-flee.\
\
*Facial color*. Also called the \"fight, fright or flight\" response,
the sympathetic nervous system may telegraph its state of mind in the
*whiteness* (i.e., pallor) or *redness* (i.e., flushing) of the face.
Pallor, associated with extreme
[**fear**](http://members.aol.com/nonverbal2/fear.htm){target="_top"} or
[**anger**](http://members.aol.com/nonverbal2/anger.htm){target="_top"}
(i.e., rage), is caused by *vasoconstriction* of the facial blood
vessels, brought on by the release of large amounts of adrenaline and
noradrenaline. Associated with embarrassment or slight-to-moderate
anger, a flushed face (which may begin with a faint blush at the top of
the ears) is caused by *vasodilation* of the facial blood vessels, due
to adrenaline. (***N.B.***: Currently, the physiological differences
between fear and anger are not well understood.)\
\
*Observation*. Fight-or-flight cues (see, e.g.,
**[CUT-OFF](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**,
**[EYE-BLINK](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**[EYEBROW-RAISE](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}**, **[FACIAL
FLUSHING](blush.htm){tppabs="http://members.aol.com/nonverbal3/blush.htm"
target="_top"}**, **[FLASHBULB
EYES](http://members.aol.com/nonverbal2/flashbul.htm){target="_top"}**,
and
**[HAND-BEHIND-HEAD](http://members.aol.com/nonverbal2/handbehi.htm){target="_top"}**)
are visible not only in warfare and physical combat, but also in
corporate meetings around a **[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**.\
\
*Waiting*. Human beings are easily angered when they are kept waiting,
e.g., in airline terminals, hospital emergency rooms, and heavy traffic.
As adrenaline and noradrenaline levels rise, flyers, patients, and
commuters may be more prone to aggression and violence than they are
when permitted to move freely about. (***N.B.***: In England, more
nurses are attacked in emergency departments than in psychiatric
wards.)\
\

------------------------------------------------------------------------

***E-Commentary***: \"I\'m really interested on getting information
about nonverbal language in aggressive people, fighting aggressors,
flight-or-fight behavior, etc. I teach adrenaline conditioning training
here in Mexico, and I really want to learn more to give more
professional classes to my students. If I understand more about the body
language of aggressors, attackers, and street people, it will help me a
lot.\" --J. M., Mexico (9/21/00 1:02:09 PM Pacific Daylight Time)

------------------------------------------------------------------------

*Neuro-notes*. **1.** In the 1920s, physiologist Walter B. Cannon
identified the sympathetic nervous system\'s *emergency reaction*, which
prepared the body to exert high levels of physical energy (Cannon 1929).
**2.** In the 1930s, while stimulating regions of the
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}** of the cat, physiologist W. R. Hess identified the
*defense reaction*, which included tendencies to fight or flee. **3.**
The fight-or-flight response is coordinated by central command neurons
in the hypothalamus and brain stem which \"regulate the sympathetic
outflow of both the stellate ganglion and the adrenal gland\" (Jansen et
al. 1995:644). **4.** \". . . the threshold for release of noradrenaline
\[the \'anger hormone\'\] to psychological stimuli is generally higher
than that of adrenaline \[the \'fear hormone\'\]\" (Mayes 1979:37).\
\
Antonym:
[**REST-AND-DIGEST**](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}. See also [**FREEZE
REACTION**](freeze1.htm){tppabs="http://members.aol.com/doder1/freeze1.htm"
target="_top"}.\
\
Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


FIST

**FIST**

![Triumphant Raised Fist](fist.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/fist.jpg" height="35%"
width="15%"}\
\
***[Hand](http://members.aol.com/nonverbal2/hands.htm){target="_top"}***
***[signal](http://members.aol.com/nonverbal2/signal.htm){target="_top"}***.
A
**[gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**
made with the hand closed, the fingers flexed, and the tactile pads held
firmly against the palm.

*Usage*: Clenched fists signal an aroused emotional state, as in
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
excitement (e.g., to cheer on a team), or
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**.
In a business meeting, unconscious fisting is a visible sign of anxiety
(see
**[SELF-TOUCH](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**)
or unvoiced disagreement (see [**PROBING
POINT**](http://members.aol.com/nonverbal2/probe.htm){target="_top"}).\
\
*Culture*. In Pakistan, displaying a clenched fist toward another is a
nonverbal sign used to display an \"obscene insult\" (Morris 1994:71).

*World politics*. In 1968 the raised fist (see [**HIGH-STAND
DISPLAY**](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}) was broadcast to a worldwide TV audience, as it was
presented by U.S. Olympic medalists as a power salute demonstrating
defiance from the victory stand (Blum 1988). Politicians who have used
the aggressive fist gesture to hammer home rhetorical statements include
Adolph Hitler, Nikita Kruschev, and Manuel Noriega (Blum 1988).

***RESEARCH REPORTS***: **1.** \"Rage, anger, and indignation are
exhibited in nearly the same manner throughout the world. . . . There
is, however, an exception with respect to clenching the fists, which
seems confined chiefly to the men who fight with their fists\" (Darwin
1872:242). **2.** In nursery school children, the *beating movement* \".
. . is an overarm blow with the palm side of the lightly clenched fist.
The arm is sharply bent at the elbow and raised to a vertical position
then brought down with great force on the opponent, hitting any part of
him that gets in the way\" (Blurton Jones 1967:355). **3.**
Blind-and-deaf-born children clench their fists in anger
(Eibl-Eibesfeldt 1971:12). **4.** In the infant\'s transition to sleep,
\"Fists closed for more than several seconds indicate increasing fatigue
or distress . . .\" (Papousek and Papousek 1977:70). **5.** The closed
fist is a widespread gesture of *power* and *triumph*, and a worldwide
sign to show *forceful emphasis* and *threat* (Morris 1994:70, 72-73).

Antonym:
**[PALM-UP](http://members.aol.com/nonverbal2/palmup.htp){target="_top"}**.
See also **[GOOSE
-STEP](http://members.aol.com/nonverbal2/goose.htm){target="_top"}**.

Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)


FLEXION WITHDRAWAL

**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)


FREEZE REACTION

**FREEZE REACTION**

***[Posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. A sudden involuntary cessation of **[body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**, usually in response to a novel stimulus or to
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**.

*Usage*: The freeze reaction is a protective reflex. The body may
automatically tense up as the nervous system mobilizes for action (see
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**) as in, e.g., **a.** when we hear a rattlesnake, or
**b.** when we hear the boss call out our name.

***RESEARCH REPORTS***: **1.** *Immobility* is an avoidance cue in
nursery-school children (McGrew 1972:138). **2.** *Foot activity*
\"decreased to a near zero level\" in conditions of severe crowding
(Baxter and Rozelle 1975:50). **3.** *Muscle tension* is \"a vestige of
freezing\" (LeDoux 1996:201).

*Neuro-notes*. The
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
contains a \"fear center\" which **a.** activates the body\'s freeze
reaction, and **b.** may stretch our
**[lips](lips.htm){tppabs="http://members.aol.com/doder1/lips.htm"
target="_top"}** into a *fear grin*.

See also [**ORIENTING
REFLEX**](orient1.htm){tppabs="http://members.aol.com/doder1/orient1.htm"
target="_top"}, **[STARTLE
REFLEX](startle1.htm){tppabs="http://members.aol.com/doder1/startle1.htm"
target="_top"}**.

Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


FROWN

**EYEBROW-LOWER**

![Tough-Guy Lowered Brows & Brim](browlow.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/browlow.jpg" height="35%"
width="25%"}\
\
***[Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
**1.** To frown or scowl, as in
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
concentration, displeasure, or thought. **2.** To depress, knit, pucker,
or wrinkle the brow by contracting the *corrugator*, *procerus*, and
*orbicularis oculi* muscles.

*Usage*: Lowering the eyebrows is a sensitive indicator of disagreement,
doubt, or
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**.

*Observation*. Slightly lowered eyebrows may telegraph unvoiced
disagreement among colleagues, as comments are presented at a
**[conference
table](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**.

***RESEARCH REPORTS***: **1.** \". . .many kinds of monkeys, especially
baboons, when angered or in any way excited, rapidly and incessantly
move their eyebrows up and down. . .\" (Darwin 1872:138). **2.** In
nursery school children, attacks \"are often preceded and accompanied by
fixating the opponent and by what looks like a frown with lowering of
the eyebrows and rather little vertical furrowing of the brow (\'low
frown\') and no conspicuous modification of the mouth expression\"
(Blurton Jones 1967:355). **3.** Blind-and-deaf-born children frown in
anger (Eibl-Eibesfeldt 1971:12). **4.** Lowered brows show anger (Ekman
and Friesen 1976). **5.** \"Puzzlement was displayed by curving the
mouth downward, lowering the eyebrows and eyelids,
[**dropping**](http://members.aol.com/nonverbal3/droop.htm){target="_top"}
the jaw, and constricting the forehead muscles\" (Burgoon et al.
1989:352). **6.** \"A series of recent studies finds that men and women
in a group situation are more likely to respond to female leaders with
scowls and frowns, while smiling and nodding at male leaders who say the
same thing\" \[*Manpower Comments*, May 1990:19\].

**Neuro-notes**. A gestural fossil, the lowered-brows cue is innervated
by **[special visceral
nerves](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}**, originally designed for feeding. The expression is
emotionally responsive today as it reflects visceral sensations (i.e.,
\"gut feelings\") aroused, e.g., by aggression or anger. In effect, we
lower our eyebrows to protect our eye openings, a form of \"nonverbal
lock-down.\" Emotional stimuli pass from higher brain centers to
brain-stem nuclei below, where the *facial nerve* (cranial VII) arises
in a special visceral motor column of the pons.

See also
**[CRY](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**,
**[EYEBROW-RAISE](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}**,
**[HAT](http://members.aol.com/nonverbal2/hat.htm){target="_top"}**.

Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo detail of Humphrey Bogart, from Warner Bros. movie, *The Roaring
Twenties* (copyright Kobal Collection, London)


FRUIT SUBSTITUTE

**FRUIT SUBSTITUTE**

![No Peel Appeal](fruit.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/fruit.jpg" height="38%"
width="25%"}\
\
*The scent which comes from the fruit, and from the spray that is
diffused over the green leaves, kindles within us a craving to eat and
to drink* . . . . \--Dante Alighieri (*Purgatorio, Canto XXIII*)\
\
***[Consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. A food product (e.g., a candy bar, cookie, or donut)
sweetened with sugar to resemble the taste of the ripened ovaries of
apple, banana, and other seed-bearing plants.

*Usage*: So successful have fruit substitutes become as \"edible
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**\"
(i.e., as foods suggesting the presence of ripe fruits and berries),
that they are as common in the modern diet as real fruit itself. A fruit
substitute\'s sweetness usually comes from table sugar (i.e.,
*sucrose*), a crystalline carbohydrate which suggests the fruity
sweetness of *fructose* (for which\--as a nonverbal sign\--it stands).
Today\'s fruit substitutes reconnect us to our fruit-eating, primate
past

*Juicy fruit*. When primates took to the trees ca. 50 m.y.a. in the
Eocene, they supplemented a basically **[insect
diet](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}** with ripened fruit. The evolution of our \"sweet
tooth\" is reflected in our ancestors\' teeth. Insect-eaters had spiked
cusps on their molar teeth, while fruit-eaters had flatter, rounder
molars for grinding. Eocene-primate molars show a flattened adaptation
for pulping\" fruit flesh (the better to taste its fructose). Our
tricuspid teeth enable us to pulp grapes, bananas, and Juicy Fruit®
chewing gum.

*Tasty fruit*. Fourteen m.y.a., as Miocene primates descended from trees
to the terrestrial plain, a powerful appetite for fructose descended
with them. Today, combining sweetness with ca. 300 varieties of flavor
molecule, *strawberries* are among the tastiest of real fruits. With ca.
200 flavors, *raspberries* also delight the tongue. *Bananas* are less
flavorful, yet their 17% sugar content\--which ties them for
\"sweetest\" with the Chinese *litchi*\--has helped make bananas the
world\'s best-selling fruit (Hockstader 1992).

*Tastykakes®*. And yet, bananas are still not sweet enough, because it
is a peculiarity of our species that we indulge our primate sweet tooth
with fruit substitutes rather than with actual fruit. Half of the U.S.
population, e.g., does not eat a single piece of fresh fruit a day
(Sugarman 1992). In a lifetime, Americans eat more candy (1,500 lbs.)
than apples (1,400 lbs.; Heyman 1992). Apples, oranges, and raspberries
have **[bowed](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}** to sweeter-tasting candies and pastry products, such as
Tastykakes®, which encode more chemical information, and have more to
\"say.\"

*Flavor*. Decoded in the *chemical channels* for
**[taste](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**
and
**[smell](http://members.aol.com/nonverbal2/aromacue.htm){target="_top"}**,
a piece of fruit is usually no match for a baked good. As culinary
signals, cookies and donuts are designed to send far more complex sets
of messages **a.** to tongue receptors, through sweet\--as well as
*salty*\--tastes, and **b.** to nasal receptors, through rich
*caramelized aromas* of baked sucrose and deep-fried fat. A banana\'s
natural flavor molecules (called *esters*) are pleasant, but are no
match for the salty-sweet, buttery taste, and resonant aroma, e.g., of
*strudel*.

*Prehistory*. Giving sweets (e.g., sugar cane, butter creams, and
chocolate-covered ants) is a \"friendly\" gesture in all societies. The
earliest prehistoric candy may have been bee honey, which is still a
popular commodity among living hunter-gatherers, such as the !Kung
Bushmen, today. In written history, honey is mentioned in ancient
hieroglyphic texts, as in, \"Honey for the funeral procession of the
\[Egyptian god\] Osiris\" (Martin 1991:182).

*Today*. Earth\'s best-selling fruit substitute is *Life Savers*®. Over
35 billion rolls have been sold since 1913 (McFarlan 1990). Had they
grown on trees, the colorful candies might have appealed to
Miocene-primate tongues as well. Indeed, in the U.S.A. today, a candy
bar is more appealing\--and psychologically more \"real\" as food than
an orange or a tangerine. (***N.B.***: There are no seeds, and a candy
bar\'s \"peeling substitute\" is easier to remove.)

*Neuro-notes*. Sweetness stimulates taste buds of the tongue tip, which
convey signals through the facial nerve, via the hindbrain, to the
forebrain. There, the message splits, as part travels **a.** to
*unconscious areas* of the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**
(**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
and lateral
**[hypothalamus](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}**), and **b.** to the conscious cerebral cortex (via
thalamic relays to the postcentral gyrus and insula). (***N.B.***: That
we crave sugar instinctively is suggested by babies born without a
cerebral cortex, who respond to sweet but reject bitter tastes.)

See also **[JUICE
SUBSTITUTE](juice1.htm){tppabs="http://members.aol.com/doder1/juice1.htm"
target="_top"}**, **[NUT
SUBSTITUTE](nut1.htm){tppabs="http://members.aol.com/doder1/nut1.htm"
target="_top"}**.

Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Jell-O® pudding box (copyright 1999 by Jell-O®)\


GLUTAMATE

**[GLUTAMATE\
\
![Broth of Carnivores](B21690.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/B21690.jpg"
height="35%" width="25%"}]{#GLUTAMATE}**

**[*Taste
cue*](http://members.aol.com/nonverbal3/taste.htm){target="_top"}**.
**1.** An amino acid used to enhance flavors and add a pleasant **[meaty
taste](meaty.htm){tppabs="http://members.aol.com/nonverbal3/meaty.htm"
target="_top"}** to food products. **2.** The fifth basic
taste\--MSG\--called *umami* by the Japanese. **3.** A flavor additive
which prompts food items to \"speak\" to the tongue as \"meats.\"

*Usage*: With a rich \"meaty\" flavor, glutamate is a frequent additive
to edible **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** such as crackers, chips, seasonings, soup bases,
sauces, and \"natural flavorings.\" Rich in free glutamate, parmesan
cheese and tomatoes, e.g., appeal to the tongues of carnivores.\
\
*Evolution*. \". . . many animals most likely seek out glutamate as a
marker for high-protein foods\" (Mirsky 2000:34 \[*Scientific
American*\]).

*History*. MSG dates back to Oriental antiquity, to *sea tangle*, a
seaweed used to make stock. Unknown in Europe until the 16th century,
the New World\'s tomato, combined with onions and olive oil by Spanish
chefs, has become a main ingredient of soups, sauces, pastes, and
juices. (***N.B.***: Malay *kaychup* evolved as catsup in England, and
was mass-marketed as a consumer product in the U.S. by the H.J. Heinz
Co. in 1876.)

*Chemistry*. High levels of free glutamate (a building block of protein)
are found in mushrooms, tomatoes, and peas. Hydrolyzed vegetable protein
breaks into glutamic acid, which turns into the white crystalline flavor
enhancer, monosodium glutamate (MSG): COOH(CH~2~)~2~CH(NH~2~)COONa.

*Neuro-note*. A study of the *gustofacial reflex* of newborns (as young
as 24 hours in age) found **a.** that unseasoned soup stock produced an
*aversion response*, but that **b.** soup seasoned with MSG produced an
*acceptance response* (National Food Safety 1987).

See also **[SHELLFISH
TASTE](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}**, [***WWW.Soups.com***](http://www.soups.com/).

Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


GOLF

**[GOLF]{#GOLF}**

*At the 1981 Benson and Hedges golf tournament in Fulford, York,
Bernhard Langer hit his ball onto the 17th green from atop the limb of a
tree*.

*![Neo-Savannah Grassland](golf.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/golf.jpg" height="35%"
width="35%"}\
\
*\"\[Pursuant to Rule 13-2:\] The area of his intended stance or swing\"
*means that prior to a stroke, a player may not break any limbs growing
on a tree that interferes with his swing* . . . \--Tom Meeks (*Golf
Journal*, October 2000, p.56)\
\
\
*Hunting and gathering*. **1.** An evolutionary correct game with which
to rekindle the *savannah experience* our nomadic ancestors knew in
Africa. **2.** A game enjoyed by small, face-to-face bands of players,
wandering through artificial grasslands in pursuit of spherical prey,
striking white balls with high-tech **[branch
substitutes](http://members.aol.com/nonverbal2/branch.htm){target="_top"}**
called *clubs*.

*Usage I*: Nonverbally, golf reconnects players **a.** to *arboreal*,
**b.** to *savannah-grassland*, and **c.** to *hunter-gatherer* roots.
Golfers focus incredible attention on gripping the club, e.g., which in
shape and thickness resembles a tree branch. Blending
**[power](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm"
target="_top"}** and **[precision
grips](http://members.aol.com/nonverbal2/precise.htm){target="_top"}**,
they strike
**[vinyl](http://members.aol.com/nonverbal2/vinyl.htm){target="_top"}**
balls as if swatting small prey animals.

*Usage II*: In the career realm, important deals are nurtured on the
golf course. Stalking through artificial grasslands in close-knit groups
(see
**[ISOPRAXISM](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**),
sticks in hand\--hunting for game balls and walloping them\--business
people enjoy the same concentration, competition, and camaraderie their
ancestors felt two m.y.a. in Africa. (***N.B.***: No gas stations,
subways, or billboards disturb the \"natural\" view.)\
\
[***Adornment***](adorn.htm){tppabs="http://members.aol.com/doder1/adorn.htm"
target="_top"}****. \"After winning preliminary rounds \[to qualify for
the National Long Drive Championships\] the Golfing Gorilla \[a Tacoma,
Washington human primate dressed in a gorilla costume\] has been told by
officials his suit is unsuitable \[because, under PGA rules, all players
must \'be properly groomed\'\]\" (Kelly 1983).\
\
*Culture and the
[**color**](http://members.aol.com/nonverbal3/color.htm){target="_top"}
green*. \"With this camaraderie, we were cut off from our ethnic roots,
bias and prejudice. We were merely men against the course. We had
transcended our race, color and ethnicity. The only color we saw was the
color green\" (Tharwat 2000:52; see below, *The color yellow*).

*History*. Originally known as *colf*, golf was played in Holland from
the year 1297 A.D. (at least), with balls made of fine-grained hardwoods
(e.g., elm, box, and beech). In 1848 a superior ball was made from tree
sap known as *gutta percha*, boiled and shaped in iron molds.

*Prehistory I*. Twenty m.y.a. in the Miocene, parts of East Africa
changed from dense rain forest to open woodlands, as the arboreal
ancestors of humans began living a part of their lives on the ground.
(***N.B.***: The first ground-dwelling humanoid may have resembled
*Ramapithecus*, a fossil ape who lived ca. 15-to-7 m.y.a. in Europe and
Asia.)

*Prehistory II*. Two m.y.a. in the Pleistocene, the first humans (genus
*Homo*) lived in eastern Africa as hunter-gatherers, on tropical,
shrubby grasslands\--in hot, flat, open countryside with scattered trees
and little shade known as *savannahs* (from Taino *zabana*, \"flat
grassland\").

*Prehistory III*. *Homo habilis* would feel at home strolling the 8th
hole at Pebble Beach, e.g., with its cliffs, surf, boulders, and
tree-lined hills spanning the horizon. Its fairway resembles a game
trail, its sand traps could be dried salt ponds, and neither office
buildings nor power poles disturb the \"natural view.\"\
\
*The color yellow*. \"Stonewolf Golf Club in Fairview Heights, Ill., a
private course designed by Jack Nicklaus, is suing three fertilizer
companies for allegedly supplying faulty products. The course claims
slow-release fertilizer released too quickly last summer, saturating 17
of 18 fairways with urea, a derivative of mammal urine, which killed the
grass and turned the areas yellow\" (Anonymous 2000E:7).\
\
*Trees and animals*. Names of golf courses suggest we perceive them as
natural habitats. The best-rated U.S. public course, *Brown Deer Park*
(Milwaukee, Wisconsin), e.g., is named after the most-hunted U.S. game
animal, the deer. The best-rated private course, the *Cypress Point*
Club at Pebble Beach in California, is named after a tree. Hell\'s Half
Acre, reputedly the world\'s largest sand trap, is located in New Jersey
on the 7th hole of a course named *Pine Valley*.

*Neuro-notes I*. Because the savannah experience took place during a
critical time in human evolution\--as *Homo\'s* brain was expanding
faster than any brain in the history of vertebrates\--grassland habitats
left an indelible mark on the species. Today, e.g., we remodel earth to
our liking by flattening and smoothing its surface, idealizing the
original plains upon which our ancestors hunted, gathered, and camped.
We still find psychic comfort in semi-open spaces; indeed, *Neo-Savannah
Grassland*, with its scattered bushes and reassuring clumps of trees, is
the landscaping theme of golf courses, college campuses, city parks, and
cemeteries.\
\
*Neuro-notes II: \"yips\"*. \"Physical and psychological factors may
contribute to a phenomenon in golf known as the \'yips\' \[a form of
dystonia, which \'. . . affects musicians, stenographers, dentists and
others who frequently are forced to repeatedly assume a prolonged,
abnormal posture\'\]\--an acquired problem of sudden tremors, jerking,
or freezing while putting\--according to a summary of current Mayo
Clinic research published this week \[January 8, 2001\] in *Sports
Medicine*. Aynsley Smith, PhD, director of sport psychology and sports
medicine research at the Mayo Clinic in Rochester, Minnesota, says
preliminary research indicates that more than 25% of avid golfers
develop the yips, which adds an estimated 4.7 strokes to the average
18-hole score of an affected player.\
\
\"Fast, downhill, and left-to-right breaking putts of 2-5 feet were most
likely to produce symptoms, although long putts caused problems for some
golfers. Playing in or leading a tournament, tricky putts, and playing
against specific competitors were also associated with yips episodes.

\"\'While pressure situations make the problem worse, it is difficult to
imagine why good golfers would suddenly begin having the yips after
years of successful performance if it was only a matter of anxiety or
\'choking,\' \' says Dr. Smith. \'Although performance anxiety may cause
the yips in many golfers, muscle and nervous system deterioration caused
by prolonged overuse may be at the root of the problem for other
players. This may explain why some get relief and play successfully by
changing their grip or by switching to a longer putter.\' In the second
phase of the Mayo Clinic research, investigators measured the heart
rate, arm muscle activity, and grip force while putting of 4
yips-affected golfers and 3 nonaffected counterparts. Those with the
yips had higher average heart rates and demonstrated increased muscle
activity, particularly in the wrists. In addition, while nonaffected
golfers were able to make an average of 9 out of 10 consecutive 5-foot
putts, the yips-affected golfers only made half of theirs\" (Anonymous
2001).

*Neuro-notes III*. \"It takes nearly a millisecond for the impact shock
to travel up the club shaft and milliseconds more for nerve pathways to
carry the sensation to the brain. So by the time a player can feel the
hit, the ball has already flown as much as a foot off the tee and is no
longer in contact with the club head\" (Suplee 1997:A3).\
\
![The End of Evolution](golf1.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/golf1.jpg"
height="35%" width="35%"}

See also [**LAWN
DISPLAY**](lawn1.htm){tppabs="http://members.aol.com/doder1/lawn1.htm"
target="_top"}, **[NONVERBAL
LEARNING](nvlearn1.htm){tppabs="http://members.aol.com/doder1/nvlearn1.htm"
target="_top"}**, **[NONVERBAL
WORLD](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.

Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**[](http://members.aol.com/nonverbal2/index.htm){target="_top"})


HANDSHAKE

**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.)


HEAD-NOD

**[HEAD-NOD]{#HEAD-NOD}**

***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
**1.** A vertical, up-and-down movement of the head used to show
agreement or comprehension while listening. **2.** A flexed-forward,
lowering motion of the skull, used to emphasize an idea, an assertion,
or a key speaking point.

*Usage*: Rhythmically raised and lowered, the head-nod is an
*affirmative* cue, widely used throughout the world to show
understanding, approval, and agreement. Emphatic head-nods while
speaking or listening may indicate powerful feelings of conviction,
excitement, or superiority, and sometimes even
**[rage](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**.

*Anatomy*. **1.** In the affirmative head-nod, *longus capitis*, *rectus
capitis anterior*, and *longus colli* flex our neck and head forward,
while *splenius* (a deep muscle of the back) and *trapezius* bend the
head and neck backward. **2.** In the emphatic head-nod, *forced
expiration* while stressing an important word contracts muscles of the
abdominal wall (i.e., the *oblique* and *transverse* muscles, and
*latissimus dorsi*), which depress our lower ribs and bend our backbone
and head forward (Salmons 1995:818-19).

*Evolution*.
**[Paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
for the reptilian *head-bobbing* display (used aggressively by lizards,
e.g., to affirm their presence in **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**)
may underlie the nods we ourselves use to reinforce our words. The
reptilian principle of
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**
may explain why speakers and listeners often nod in synchrony.\
\
***RESEARCH REPORTS***: **1.** Though other types of affirmative head
movements have been observed cross-culturally (LaBarre 1947), the
affirmative head-nod is well-documented as a nearly universal indication
of accord, agreement, and understanding (Darwin 1872; Eibl-Eibesfeldt
1970, 1971; Morris 1994). **2.** \"Others see it \[the head-nod\] as an
abbreviated form of submissive body-lowering - in other words, as a
miniature
[**bow**](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}\" (Morris 1994:142).

*Neuro-notes*. That we head-nod in agreement may be due, in part, to
trapezius\'s origin as a \"gut reactive\" branchiomeric muscle for
*respiration* and *feeding* (see [**SPECIAL VISCERAL
NERVE**](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}). **1.** Today, e.g., it assists movements of a baby\'s
head in accepting the breast\--a behavior some have used to explain the
universality of the head-nod cue (e.g., Morris 1994:142). **2.**
Moreover, the *accessory nerve* (cranial XI, which innervates
trapezius), has a relationship with the *vagus nerve* (cranial X, which
innervates the larynx in producing \"hmm,\" \"uh huh,\" and other
\"digestive\" vocalizations). Thus, the affirmative head-nod may reflect
an agreeable response to food. **3.** Regarding the emphatic head-nod,
the strong physical emphasis during its downward phase suggests a
separate origin from the \"yes\" nod, which begins with an upward
motion.

See also
**[HEAD-SHAKE](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}**.

Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


HEAD-SHAKE

**[HEAD-SHAKE]{#HEAD-SHAKE}**

***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
**1.** Rotating the head horizontally from side-to-side **a.** to
disagree, or **b.** to show misunderstanding of a speaker\'s words.
**2.** In an emotional conversation, a rhythmic, side-to-side rotation
of the head to express disbelief, sympathy, or grief.

*Usage*: The head-shake is used to demonstrate **a.** cognitive
dissonance, or **b.** emotional empathy.\
\
*Anatomy*. *Longus colli* and *splenius* rotate the head from
side-to-side, in tandem with *sternocleidomastoid*. The latter\'s
prehistory as a branchiomeric muscle (originally used for *respiration*
and *feeding*) makes it responsive as a \"gut-reactive\" sign of refusal
(see below; see also [**SPECIAL VISCERAL
NERVE**](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}).

***RESEARCH REPORTS***: **1.** The head-shake is a universal sign of
disapproval, disbelief, and negation (Darwin 1872; according to Morris
\[1994:144\] it is \"widespread\"). **2.** The first nonverbal
nay-saying may occur when babies head-shake to *refuse* food and drink.
Rhesus monkeys, baboons, bonnet macaques, and gorillas similarly *turn
their faces sideward* in aversion (Altmann 1967). **3.** Children born
deaf and blind head-shake to refuse objects and to disapprove when being
touched by an adult (Eibl-Eibesfeldt 1973). **4.** Evasive action shows
in *sideward* head movements of young children to avoid the gaze of
adults (Stern and Bender 1974). **5.** A *single sharp turn* to one side
(e.g., the Ethiopian *head side-turn*) can express negation as well
(Morris 1994).

See also
**[CUT-OFF](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**,
**[HEAD-NOD](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}**.

Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


HEAD-TILT-BACK

**HEAD-TILT-BACK**

![Who\'s the Boss?](headback.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/headback.jpg" height="39%"
width="25%"}\
\
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
Lifting the chin and leaning the head backward (dorsally, i.e., toward
the shoulder blades or scapula bones).

*Usage*: Lifting the chin and looking down the nose are used throughout
the world as nonverbal signs of superiority, arrogance, and disdain
(Eibl-Eibesfeldt 1970, Hass 1970).

*Anatomy*. The prime mover of head-tilt-back (i.e., of extending the
spine) is the *erector spinae* muscle group, components of which reach
to the skull\'s occipital bone to produce extension movements of the
head as well. These deep muscles of the back and neck are basic
[**postural**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"} muscles which are innervated by the spinal nerves
directly, without relay through the cervical plexus or brachial plexus.
Thus, we have less voluntary control of our haughty head-and-trunk
postures than we have, e.g., of our hand-and-arm gestures. (***N.B.***:
Gross postural shifts which involve *back-extension* and *head-raising*
may express unconscious attitudes of power and
**[dominance](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**.)\
\
*Culture*. **1.** In Greece and Saudi Arabia, a sudden head-tilt-back
movement means \"No,\" and may originate from the infantile
head-tilt-back used to refuse food (Morris 1994:145; see also
[**HEAD-SHAKE**](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}). **2.** In Ethiopia, the same gesture means \"Yes,\" and
may originate from the backward head movment used as a greeting (Morris
1994:146).\
\
*Origin*. In its \"superior\" sense, head-tilt-back is a constituent of
the primeval **[high-stand
display](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**.\
\
*Politics*. Political leaders who used the head-tilt-back gesture in
public speeches include Al Gore, Benito Mussolini, Franklin D.
Roosevelt, and George Corley Wallace.\
\
***RESEARCH REPORT***: Head-tilt-back may be accompanied by
\"contempt-scorn\" cues: one eyebrow lifts higher than the other, the
eye openings narrow, the mouth corners depress, the lower lip raises and
slightly protrudes, and one side of the upper lip may curl up in a sneer
(Izard 1971:245).\
\

------------------------------------------------------------------------

***E-Commentary***: \"I was reading through the online *Nonverbal
Dictionary* and I believe they\'ve left out an entry on \'chin
thrusts.\' I don\'t know how you all get the entries for the Dictionary
but I figured I would comment on that one. I am finding the *Dictionary*
to be very informative and one of the best web resources on kinesics so
far in my searches.\" \--J.P., USA (4/16/00 12:12:54 AM Pacific Daylight
Time)\

------------------------------------------------------------------------

*Chin jut*. A derivative gesture of head-tilt-back is the \"chin jut,\"
described by Desmond Morris (1994:30 \[\"The chin is thrust towards the
companion\"\]) as an \"\'intention movement\' of forward attack,\" which
has become a worldwide sign of threat. The world\'s most exaggerated
chin jut was that of the Italian dictator, Benito Mussolini\
\
****

------------------------------------------------------------------------

E-Commentary: \"Have you come across any research regarding a rapid
multiple [**eye
blink**](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}
that looks almost as if the person is rolling their eyes back in their
head? It often is accompanied by a *head tilt back*. I have a client who
does this, and have encountered others who do this, and am not sure the
source of such a gesture, or what it might suggest nonverbally. My gut
tells me it makes the guy look arrogant and a bit supercilious. Am I
totally off base in thinking this may be a problem. Any suggestions?
I\'d be glad to send you a copy of videotape showing what I\'m talking
about.\" \--L.G., Senior Communications Consultant, USA (9/30/99
12:24:16 PM Pacific Daylight Time)\

------------------------------------------------------------------------

\
See also
[**EYEBROW-RAISE**](browrai1.htm){tppabs="http://members.aol.com/doder1/browrai1.htm"
target="_top"}.

Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo sequence by Ruth Orkin (copyright Ruth Orkin)

\
\
\
\
\
\


HIGH-STAND DISPLAY

**[HIGH-STAND DISPLAY]{#HIGH-STAND DISPLAY}**

*![Looming Horse](B7209.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/B7209.jpg"
height="35%" width="25%"}\
\
Looking as tall as possible and expanding the chest is universally
employed by human beings as a means of intimidating an adversary, as
witness the behavior of small boys*. \--Hans Hass (*The Human Animal*,
p. 146)\
\
*[**Posture**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}*. **1.** A vertically
**[looming](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}** stance in which the body \"enlarges\" through extension
of the limbs. **2.** A primeval \"pushup\" intended to lift the
quadrupedal body higher off the ground.

*Usage*: The high-stand is an
**[antigravity](http://members.aol.com/nonverbal2/antigrav.htm){target="_top"}**
display used to show a superior, confident, haughty attitude or mood. It
is a forerunner of the aggressive *pushup* used by some lizards, and of
our own assertive
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
cue as well.\
\
*Culture*. \"Whereas high status communicators are generally relaxed in
North America, in Japan they assume stiff, erect postures with feet
firmly planted on the floor . . .\" (Burgoon et al. 1989:194).

*Sea origin*. It is likely that
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
for \"standing tall\" developed in sea creatures before animals set foot
on land. Fossil evidence is lacking, but in living fishes, such as
gobies, status and rank vary in proportion to physical *body size*. The
very big dominate the merely large, who in turn dominate the small.
Gobies and other piscines, however, may appear \"bigger\" through an
array of nonverbal illusions. To loom larger, a goby *stiffens* and
*raises* its fins, *lifts* its head, *puffs* out its throat, and
*flares* its gill covers. Cichlid fish, e.g., erect vertical fins and
turn to display a \"bigger\" *broadside* (see **[BROADSIDE
DISPLAY](http://members.aol.com/nonverbal2/broadsid.htm){target="_top"}**).
Puffer fish balloon in size, cod fish bulge their heads and jut out
their pelvic fins to threaten, and mudskippers raise their bodies on
vertical fins in aggressive displays.

*On terra firma*. In land animals, forelimb extension lifts the body\'s
front end to more vertically imposing heights. Doing a pushup makes
living iguanas and lizards, e.g., look \"bigger\" than they appear with
their bellies lowered to the ground. The Australian frilled lizard rears
and erects its *frill*, while the cobra rears and spreads its *hood*.

*Mammals*. Mammals push up in aggressive *stiff-walk* postures. Bulls,
e.g., take several *stiff-steps* to loom \"large\" before galloping
ahead at full charge. Bears, coyotes, and wolves *strut* with a
stiff-legged gait to carry their bodies higher off the ground. A
dominant wolf *stands over* its submissive foe. Primates show dominance
by *straightening their legs* and *widening their arms*. A gorilla,
e.g., displays with a stiff-legged *bluff charge*. An aggressive
chimpanzee rises to a bipedal stance, *widens* its bristling arms, and
**[swaggers](swagger1.htm){tppabs="http://members.aol.com/doder1/swagger1.htm"
target="_top"}** from side to side to seem \"big.\" Rearing on the
hindlegs is a posture directed by adult or young adult baboons at other
baboons in the wild; it can prelude attack or escape (Hall and DeVore
1972).

*Humans*. To embody the vertebrate\'s natural weapon, sheer size, we
assume a *John-Wayne stance*, i.e., we stand tall, bristle, square our
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**,
broaden our bodies with the
**[hands-on-hips](http://members.aol.com/nonverbal2/handhips.htm){target="_top"}**
gesture, talk in deep tones, and toe-out to military oblique.
(***N.B.***: That the vertebrate eye responds to changes in size makes
it possible for different species to understand each other\'s cues. Park
rangers advise, e.g., that we *stand up* and *wave our arms* to threaten
mountain lions encountered in the wild \[see below, Warning signs\]. As
a human-to-human cue: \"Wave your arms if you need a lifeguard\--this is
an international distress signal, whether you are in the water or on the
beach\" \[source: San Diego Lifesaving Association, *San Diego
Union-Tribune*, July 4, 1998, E-1\].)\
\
*U.S. politics*. Borrowing Winston Churchill\'s 1941 \"V for Victory\"
hand gesture, Richard Milhous Nixon extended both arms fully outward and
upward, and gave the American people two V for Victory hand gestures in
his triumphant 1968 tickertape parade. This manic version of the
high-stand display later became one of Mr. Nixon\'s trademark nonverbal
cues (see also [**ANGULAR
DISTANCE**](http://members.aol.com/nonverbal2/angular.htm){target="_top"}).
\"Amid the din of a cheering crowd, the \[i.e., Mr. Nixon\'s\] fingers
up for victory also signals acceptance of tribute to a powerful and
confident leader\" (Blum 1988:3-12).\
\
*Warning signs*. In 1996, the University of California at Berkeley put
up a dozen 12\" by 18\" aluminum signs to warn students of the dangers
of nearby mountain lions. The signs recommend \". . . that people raise
their arms to make themselves appear larger to the lion, and, if
attacked, to fight back and remain standing\" (*Chronicle of Higher
Education*, Sept. 27, 1996).

*Neuro-notes*. Paleocircuits mediating the high-stand display consist of
small networks of spinal-cord *interneurons* in charge of the *muscle
stretch reflex*. These mini-networks mediate *antigravity responses*,
i.e., the muscular contractions which automatically extend our limbs to
keep us standing upright (without our consciously deciding to do so).

See also **[BASAL
GANGLIA](http://members.aol.com/nonverbal2/basal.htm){target="_top"}**,
**[REPTILIAN
BRAIN](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}**.

Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


HYPOTHALAMUS

**[HYPOTHALAMUS]{#HYPOTHALAMUS}\
\
![Nuclei of the Hypothalamus](hypo.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/hypo.jpg" height="35%"
width="25%"}**

***[Brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}***.
**1.** A subcortical group of nuclei in the *forebrain* which serves
**a.** the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**, **b.** the autonomic nervous system (see
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**), and **c.** the endocrine system. **2.** A
thumbnail-sized neuro structure which organizes basic nonverbal
responses such as, e.g., *aggression*,
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
*sexuality*, and
**[fear](http://members.aol.com/nonverbal2/fear.htm){target="_top"}**.

*Usage*: Giving input to\--and receiving output from\--the limbic
system, the hypothalamus mediates diverse **[nonverbal
signs](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** associated with
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**.

*Evolution I*. The hypothalamus has deep evolutionary roots in the
chemical sense of smell (see **[AROMA
CUE](http://members.aol.com/nonverbal2/aroma.htm){target="_top"}**).

*Evolution II*. As the forebrain\'s main chemical-control area,
hypothalamus regulates the piscine\'s *adrenal medullae*,
chemical-releasing glands which, in living fish, consist of two lines of
cells near the kidneys. The adrenal medullae pump *adrenaline* into the
bloodstream, where it effects every cell in the fish\'s body.
(***N.B.***: In humans, adrenaline *speeds up* body movements,
*strengthens* muscle contractions, and *energizes* the activity of
spinal-cord
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**.)

***RESEARCH REPORTS***: **1.** Pathways involved in oral and genital
functions \"converge in that part of the hypothalamus in which
electrical stimulation results in *angry* and *defensive* behaviour\"
(MacLean 1973:44). **2.** In higher vertebrates, the olfactory system
and the hypophysis \[i.e., the pituitary gland (which is linked to the
hypothalamus)\] \"are derived from a single patch of embryonic
\[neuro\]ectoderm\" (Stoddart 1990:13). **3.** The hypothalamus mediates
many nonvebal behaviors through reticular nuclei in the brain stem
(Guyton 1996).\
\
*Neuro-notes*. Regarding hypothalamic nuclei and nonverbal signs, **a.**
the dorsomedial nucleus stimulates *savage* behavior; **b.** the
posterior nucleus stimulates the sympathetic nervous system; **c.** the
preoptic area houses the sexual dimorphic nucleus; and **d.** the
anterior nucleus stimulates the parasympathetic nervous system (see
**[REST-AND-DIGEST](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}**; Fix 1995).\
\
Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**[](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of illustration from *Mapping the Mind* (copyright Weidenfeld &
Nicolson 1998)


INTENTION CUE

**INTENTION CUE**

![Intending to Hug](intent.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/intent.jpg" height="40%"
width="25%"}\
\
***[Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. A
[**gesture**](http://members.aol.com/nonverbal2/gesture.htm){target="_top"},
motion, or
[**posture**](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"} of the fingers, hands, arms, feet, legs, face, head,
neck, shoulders, or torso which is preparatory to a nonverbal action,
such as leaving a room, rising from a table, or attacking an enemy.

*Usage*: An intention cue\--such as angling the
[**feet**](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm"
target="_top"} away from someone we dislike\--is an unconscious signal
of how we truly feel about another person. Intention cues may also
reflect inner attitudes, unvoiced opinions, and emotions as aroused,
e.g., in
**[deception](deceive.htm){tppabs="http://members.aol.com/nonverbal3/deceive.htm"
target="_top"}**.\
\
*Animal behavior*. **1.** \"These are the incomplete or preparatory
movements which often appear at the beginning of an activity\" (Hinde
1970:668). **2.** \"Intention movements of biting or striking are a
common source of the components of threat movements: the upright threat
posture of the herring gull provides several examples. In other cases
intention movements of preening, nesting, self-protection, copulation,
and many other types of behaviour have given rise to display movements\"
(Hinde 1970:668).\
\
*Animal ethology*. Two animals may fight over a food item, but usually
they bluff each other with aggressive displays to force a bloodless
retreat (see below, *Snarl*). In ethology, early researchers such as N.
Tinbergen and K. Lorenz suggested that bluffing and threat displays were
*intention movements* which evolved through a process of
\"ritualization.\" As incoming or [**afferent
cues**](http://members.aol.com/nonverbal2/afferent.htm){target="_top"},
intention movements are reliable signs with which to predict subsequent
behaviors.\
\
*Arm-reach*. Sitting across a table from an attractive stranger, we may
unwittingly extend our arms toward that person in preparation to touch
(see [**LOVE SIGNALS
IV**](http://members.aol.com/nonverbal2/lovesig4.htm){target="_top"}).
As with many intention cues, the preparatory action is not completed
(i.e., we stop short of making physical contact).\
\
*Feet-pointing*. Jurors may unwittingly point their feet away from
attorneys with whom they disagree, in an unconscious preparation to walk
away.\
\
*Knees clasp*. In the seated position, leaning forward and clasping
\"both knees with the hands\" means, \"I am about to leave\" (Morris
1994:149).\
\
*Ritualization*. \"Since the behavior patterns of social care of skin
and fur already expresses contact willingness, it is understandable that
they sometimes become ritualized into expressive movements. The lemur
(*Lemur mongoz*) greets others with a movement that is used to comb the
fur, a behavior that is common to this group. This combing movement with
the lower mandible is made into space, accompanied by rhythmic calls and
even licking the air at high intensity\" (Eibl-Eibesfeldt 1970:95).\
\
*Snarl*. \"When your dog lifts his lips and shows you his teeth because
you reached for the bone between his paws, you\'ve witnessed an
intention display. Rather than bite you there on the spot, your dog
shows the beginning phase of the biting sequence to bluff you away\"
(Givens 1983:43).

See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**.

Copyright 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo by Eric Schwab (copyright *UN*)


INTERIOR DESIGN

**INTERIOR DESIGN**

![Outside In](interior.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/interior.jpg" height="45%"
width="25%"}\
\
*Here, then, was a wide and reasonably lofty hall, extending through the
whole depth of the house and forming a medium of general communication,
more or less directly, with all the other apartments*. \--Nathaniel
Hawthorne (*The Scarlet Letter*)\
\
*\[Hollywood, California\'s Linoleum City manager Susan\] Mannes said
sales of all of the store\'s natural products (linoleum \[invented in
1863 from linseed oil, rosin, limestone, and wood or cork ingredients,
with jute backing\], cork, sissal) have increased since the early
1990s*. \--Candace Wedlan (2000:D1)\
*\
Humane Habitat*. **1.** The practice of decorating an indoor space with
lights,
[**colors**](http://members.aol.com/nonverbal3/color.htm){target="_top"},
landscapes, textures,
[**animals**](animal1.htm){tppabs="http://members.aol.com/doder1/animal1.htm"
target="_top"},
**[plants](tree1.htm){tppabs="http://members.aol.com/doder1/tree1.htm"
target="_top"}**, and other natural objects found in the great outdoors.
**2.** The unconscious or deliberate act of bringing in the outside cues
of **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.

*Usage*: Nothing in our evolutionary past prepared us for a life lived
almost entirely indoors, so we bring the outdoors in. Through
ingeniously designed **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**, we make home and office spaces look and feel more like
the outside world our forebears knew. (***N.B.***: Adding the nonverbal
signs of nature to the workplace makes it a more humane environment, and
a more efficient habitat as well.)

*Color I*. \"An East Coast factory gave its cafeteria a face-lift by
painting its previously peach-colored walls a light blue. Patrons
responded with complaints of being cold . . . . When the room was
painted peach again, complaints stopped\" (Vargas 1986:151).\
\
*Color II*. \"Think about the colors used by the fast-food chains in
your area. There\'s not a cool color to be seen. In the Midwest,
Wendy\'s, Colonel Sanders, McDonald\'s, Hardee\'s, A & W, Burger
King\--all keep people moving with reds, oranges, and rich browns\"
(Vargas 1986:151).\
\
*Cover*. Our preference for having something behind our back when eating
or resting (e.g., a partition or a wall) may be innate (Thorndike 1940).

*Nonverbal reminders*. People are happy when their work and play spaces
duplicate features of the ancestral African plain. The best offices,
e.g., provide obvious replicas as well as more subtle reminders of the
original *savannah habitat*, including its *warmth*, *lighting*,
*colors*, *vistas*, *textures*, and *plants*. Flowers, cacti, palms, ivy
vines, leafy shrubs, and fig trees are cultivated indoors today\--for
the outdoor look of yesterday.

*Sky & sun signs*. We keep our homes heated (or cooled) to 72 F.\--the
savannah average\--and decorated with travel posters of oceans,
mountains, and trees. We paint our ceilings in light colors to suggest
the sky, leaving them unadorned to seem \"bigger,\" \"higher,\" and less
enclosing.

*Sunshine I*. We crave the natural brightness of sunlight. From
isolation experiments NASA found that we miss sunshine nearly as much as
we miss the company of human beings. In offices without direct sunlight,
pictures and drawings of the sun may be added as reminders of its heat,
glow, and brilliance.

*Sunshine II*. The sun\'s power has been acknowledged in prehistoric
pictographs and rock art throughout the world (Mallery 1972). Drawings
of *Ra*, the Egyptian god of the sun and skies, still decorate the dark
walls of ancient tombs. Set on a pair of wings, or upon the head of Ra
himself, the round *solar disk* emblem works on the principle of a
cubicle poster\'s tropical sun: to warm the traveler and cheer the dead.

*Windows I*. After sunlight itself comes the wish for a window, to see
outside. Without reference to landscapes or the far horizon, workers in
windowless offices may feel disoriented and disheartened. Industry
studies suggest that staff members without scenic vistas are more apt to
display *art prints* (depicting natural *earth scenes*) and to feel
lower in status than colleagues with vistas and views.

*Windows II*. Hospital studies show that patients get well sooner, have
shorter stays, require less painkiller, and receive fewer complaints
from nurses when their rooms have pleasant landscape views (Bell et al.
1990).

*Touch cue I*. Too much *smoothness* may create a peculiar feeling of
unreality. Foreign visitors to the U.S., e.g., have been advised to
carry unfinished stones or pieces of natural wood to satisfy their
primate cravings for *texture*, which urban America often seems to lack
(Baldwin and Levine 1992). (***N.B.***: With so many man-made, smooth
artifacts\--from desktops to copy machines\--an office environment may
be the most unreal place of all.)

*Touch cue II*. Because large areas of our brain receive signals from
nerves in the fingertips (see
**[HOMUNCULUS](http://members.aol.com/nonverbal2/homuncul.htm){target="_top"}**),
office spaces may stave off boredom and restore sensory awareness by
adding an assortment of tactile signs, signals, and cues. Linen-embossed
wallpaper, terra-cotta pots, natural stone facings, and walls of
weathered brick, e.g., can add refreshing contrast to otherwise flat,
featureless corporate surfaces. (***N.B.***: In 1973-74, Skylab 4
astronaut Gerald Carr spent 84 days in space. So boring was his drab
workplace that Carr advised designers of the NASA space station,
Freedom, to make future cabins as \"natural\" as possible with
interesting colors, textures, and lighting.)

*Touch cue III*. Because they replicate the softness of *mammalian fur*,
carpets seem \"friendlier\" than bare floors. A carpet\'s fuzzy nap
stimulates sensations of \"light\" or *protopathic* touch. Protopathic
cues travel in spinal-cord pathways that evolved earlier than the
pathways for heat and pain. Thus, walking on carpets is more inviting to
primate souls and feet than concrete, hardwood, or linoleum floors.

See also **[LAWN
DISPLAY](lawn1.htm){tppabs="http://members.aol.com/doder1/lawn1.htm"
target="_top"}**

Copyright 1999, 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo copyright 1999 by *Better Homes and Gardens*


INVISIBILITY

**INVISIBILITY**

![Transparent Claw](invisibl.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/invisibl.jpg" height="35%"
width="25%"}\
\
*Come, my son, let us go look for a place where I may hide* . . . .
\--Cervantes (*Don Quixote*, 1605:565)\
\
*Keeping reflections to a minimum is necessary but not sufficient for
invisibility. Light must also pass unimpeded through the body* . . . .
\--Sönke Johnsen (2000:88)

*Not seen*. Nonverbally, the condition of being difficult or impossible
to see, as in the use of camouflage, concealment, flatness, thinness,
hiding, or transparency.

*Usage*: Animals from jellyfish to humans have devised ingenious ways to
be stealthy and to avoid detection.

*Jellyfish*. In the featureless ocean depths which make up ca. 99
percent of Earth\'s living space, jellyfish have no place to hide, and
thus rely upon transparency to become \"invisible.\" Their clear,
gelatinous bodies (the interior as well as the exterior surfaces) allow
from 20 to 90 percent of light to pass through, thus enabling these
simple creatures to sneak up on prey while avoiding detection by sighted
enemies (Johnsen 2000:88).

*Human beings*. **1.** In the corporate world, humans may become
functionally invisible by keeping a low profile (e.g., by remaining
**[silent](silence1.htm){tppabs="http://members.aol.com/doder1/silence1.htm"
target="_top"}**), and by covering their bodily exteriors with the
uniform of the day (see, e.g., [**BUSINESS
SUIT**](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"},
**[ISOPRAXISM](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**).
**2.** In private life, human beings spend a great deal of time in
seclusion behind closed doors (e.g., in bathrooms and bedrooms) and
other partitions designed to shield their bodies from prying eyes.
Scientists have determined that too much visual monitoring can be
harmful to human health.\
\
*Hunter\'s camouflage*. According to Konrad Spindler (1994:147), the
5,000-year-old grass cloak of the Copper Age Iceman would have provided
\"excellent camouflage\" for a hunter.

*Sighting distance*. \"At some distance, depending on the animal\'s
original contrast and how the water affects the light, the contrast
drops below what the observer can see. This distance is known as the
sighting distance, and beyond it the animal is invisible (and safe)\"
(Johnsen 2000:87).\
\
*Underground*. \"Throughout history, tunnels hidden below the earth were
far from public gaze and thought\" (Langrall 1994:4).

Copyright 2000 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Detail of photo (copyright by Harbor Branch Oceanographic Institution)


ISOTYPE

**ISOTYPE**

![Easy Reader](isotype.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/isotype.jpg" height="35%"
width="20%"}\
\
*Pictorial
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}***.
**1.** Isotype (International System of Typographic Picture Education)
was introduced in 1936 by Otto Neurath. **2.** Isotype is a set of
pictographic characters used \"to create narrative visual material,
avoiding details which do not improve the narrative character\" (Neurath
1936:240). **3.** Isotype was designed to be an alternative to written
script (\"adapted to the child\'s mind\"), as a pictorial means for
communicating
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**
about **a.** directions, events, and objects, and **b.** complex
relationships in space and time.

*Usage*: Though isotype ultimately failed as a means of communication
(in part because educators favored written
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}** over pictures), Neurath\'s \"international picture
language\" laid the foundation for *international graphic symbols*,
i.e., for the pictographic signals of airport, train-station, and
highway signs. Today, the use of graphics at the human-computer
interface further demonstrates the power of pictographic communication.
(***N.B.***: Words are unlikely ever to replace images in **[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**.)

***RESEARCH REPORTS***: **1.** \"The first step in Isotype is the
development of easily understood and easily remembered symbols. The next
step is to combine these symbolic elements\" (Neurath 1936:224-25).
**2.** \". . . simple \[pictographic\] elements can be made to show the
most complicated facts and relationships. The visual method, fully
developed, becomes the basis for a common cultural life and a common
cultural relationship\" (Neurath 1936:226).

*Prehistory*. \"With Spanish Levantine rock art (dating to 11,500 B.P.
\[\"before present\"\]), ancient sign artifacts begin to show a quantum
leap both in complexity and information content in scenes representing
hunters, singly and in groups, associated weapons, clothing, gender
signals, social behaviors, and complicated juxtapositionings of human
beings with one another and with prey animals. Thus begins pictographic
*narration*\--story telling, dramatization\--showing consequences of
actions, portraying life-and-death encounters\" (Givens 1982:162).

*Future*. Semiotic principles of isotype are included in a U.S.
Department of Energy warning system, designed to send a cautionary
message to human beings 10,000 years in the future about the dangers of
nuclear waste (see **[WIPP
MARKER](http://www.wipp.carlsbad.nm.us/library/pioneering/Future.pdf)**).

*Neuro-notes*. \"Pictographic traditions\--both protowritings and true
pictographic scripts\--rest on semiotic principles which seem to have
deep roots in human perception and cognition\" (Givens 1982:162-63).

See also **[NONVERBAL
LEARNING](nvlearn1.htm){tppabs="http://members.aol.com/doder1/nvlearn1.htm"
target="_top"}**.

Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)

\
\


JUICE SUBSTITUTE

**JUICE SUBSTITUTE**

![Sucrose Signal](juice.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/juice.jpg" height="35%"
width="44%"}\
\
*It\'s the Real Thing*. \--Coca-Cola Bottling Co. (1969)\

***[Consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. A usually
**[colorful](http://members.aol.com/nonverbal3/color.htm){target="_top"}**\--but
sometimes clear\--frozen or liquid food product (e.g., a cherry
popsicle, orange soda, or strawberry milkshake) sweetened with sugar to
resemble the taste of natural *fruit juice*.

*Usage*: Historically, squeezed fruit juice has been one of humankind\'s
favorite refreshments. Iced-fruit juices and French *sorbets*, e.g.,
date back some 300 years. In the late 1990s, *Tropicana® [**orange
juice**](orange1.htm){tppabs="http://members.aol.com/nonverbal3/orange1.htm"
target="_top"}* was among the top-ten most popular grocery-store items
sold in the U.S. (***N.B.***: Orange juice contains glucose, fructose,
and sucrose; flavor compounds known as *terpenes*; and the minerals
potassium and phosphorus.)

*Evolution*. The sweetness of a juice substitute is usually increased by
adding table sugar (*sucrose*), a crystalline carbohydrate which
suggests the fruity sweetness of *fructose*, for which it stands (i.e.,
as a nonverbal
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**).
Today, an incredible vocabulary of sucrose signals reconnects our
species to its fruit-eating, primate past (see **[FRUIT
SUBSTITUTE](fruit1.htm){tppabs="http://members.aol.com/doder1/fruit1.htm"
target="_top"}**).

*Soda signs*. In the modern diet, fresh-fruit drinks have been largely
replaced by sweeter beverages which suggest their presence and stand in
their stead. In the U.S., e.g., soft drinks outsell fruit juices
three-to-one. Carbonated sodas contain high levels of sucrose, as well
as of artificial colorings and flavorings. Today, the most recognized
brand name on earth belongs to a dark, bubbly juice substitute known as
***[Coca-Cola](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}*®**.

*Cola cues*. Coke**®** is a complex harmony of cola seeds, vanilla, and
spices; and oils of orange, lemon, and lime\--blended with
evolutionary-unprecedented quantities of caffeine and sucrose. In the
1990s, Coke Classic® and Pepsi® were, respectively, the 2nd and 3rd most
popular grocery-store items in annual sales (behind Marlboro®
**[cigarettes](nicotin1.htm){tppabs="http://members.aol.com/doder1/nicotin1.htm"
target="_top"}**).

See also **[NUT
SUBSTITUTE](nut1.htm){tppabs="http://members.aol.com/doder1/nut1.htm"
target="_top"}**.

Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of photo by John Hedgecoe (copyright 1983 by John Hedgecoe)