CINGULATE GYRUS

**[CINGULATE GYRUS]{#CINGULATE GYRUS}\
\
![Anterior Cingulate Cortex (Yellow)](cingulat.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/cingulat.jpg"
height="35%" width="25%"}**

***[Brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}***.
**1.** The evolutionary new wing of the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**, in charge of grooming, *nuzzling*, and *cuddle* cues.
**2.** The newest part of the **[limbic
system](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}**, responsible for *maternal caring*, *play*, and
*audiovocal* signals (Hooper 1986:48).

*Usage*: As the brain\'s maternal and childcare center, the cingulate
gyrus mediates many of the **[nonverbal
cues](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** we give **a.** to babies, **b.** to small children, and
**c.** to adults for whom we truly care (see **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**)
and care for.\
\
*Anatomy*. Located on the medial surface of the cerebral cortex (in the
frontal and parietal lobes, above the corpus callosum), the cingulate
gyrus receives **a.** subcortical signals from the thalamus (anterior
nucleus) and **b.** cortical signals from modules of the cerebral cortex
as well. It sends signals to the parahippocampal gyrus through a
broad-band fiberlink called the *cingulum*.

***RESEARCH REPORTS***: **1.** \"The posterior superior part of the
cingulate gyrus is related to sexual behavior\" and is also linked to
OCD (obsessive-compulsive disorder; Diamond, Scheibel, and Elson 1985:5,
30). **2.** \"It is of interest that stimulation and ablation of the
cingulate gyrus result in a diverse range of emotional experiences
corresponding to those described . . . for the
**[amygdala](http://members.aol.com/nonverbal2/amygdala.htm){target="_top"}**
and septum. It can be assumed that the cingulate gyrus acts as an
intermediary to the prefrontal cortex and orbital cortices . . .\"
(Eccles 1989:106). **3.** \"Emotion-related movement \[see, e.g.,
**[SMILE](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}**\],
then, is controlled from the anterior cingulate region, from other
limbic cortices (in the medial temporal lobe), and from the **[basal
ganglia](http://members.aol.com/nonverbal2/basal.htm){target="_top"}** .
. .\" (Damasio 1994:140-41). **4.** \"We cannot mimic easily what the
anterior cingulate can achieve effortlessly . . .\" (Damasio
1994:141-42). **5.** \"Its location makes the cingulate cortex an
excellent candidate for the brain\'s emotional control centre, which is
what it seems to be\" (Carter 1998:101).

*Neuro-notes*. **1.** The cingulate gyrus is less tied to smell than is
any other part of the limbic system, according to Paul MacLean, and has
no counterpart in the **[reptilian
brain](reptile.htm){tppabs="http://members.aol.com/nonverbal3/reptile.htm"
target="_top"}**. **2.** The *anterior* cingulate gyrus communicates
between the *prefrontal cortex* and subcortical areas of the limbic
system; bilateral destruction \". . . releases the rage centers of the
septum and hypothalamus from any prefrontal inhibitory influence\"
(Guyton 1996:759). **3.** \"We suggest that cells in the rostral
cingulate motor area, one of the higher order motor areas in the cortex,
play a part in processing the reward information for motor selection\"
(\"Role for Cingulate Motor Area Cells in Voluntary Movement Selection
Based on Reward,\" Keisetsu Shima and Jun Tanji, *Science*, Nov. 13,
1998, vol. 282, p. 1335). **4.** \"Anatomical studies have revealed
prominent afferent input to the CMAs \[cingulate motor areas\] from the
limbic structures and the prefrontal cortex, which can send information
about motivation and the internal state of subjects, as well as
cognitive evaluation of the environment\" (Shima and Tanji1998:1335).
**5.** \"When a person with a hand-washing compulsion is told to imagine
themselves \[sic\] in some filthy place their caudate nucleus and
orbital frontal cortex fire away like mad. An area in the middle of the
brain\--the cingulate cortex\--also responds strongly. This is the part
of the brain that registers conscious emotion, and its involvement
demonstrates the emotional discomfort generated by OCD\" (Carter
1998:61).

See also
[**CRY**](http://members.aol.com/nonverbal3/cry.htm){target="_top"},
**[HYPOTHALAMUS](hypo.htm){tppabs="http://members.aol.com/nonverbal3/hypo.htm"
target="_top"}**.

Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of illustration (copyright 1998 by Weidenfeld & Nicolson)


CLEM

**CLEM**

![Eyes Right](clem.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/clem.jpg" height="35%"
width="35%"}\
\
*\
Gaze direction*. **1.** An acronym for \"*conjugate lateral*
**[eye](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**
movement.\" **2.** A nonverbal response, often to a verbal question, in
which the eyes move sideward (to the right or left) in tandem.\
\
*Usage*: CLEMs\--involuntary eye movements to the right or left\--signal
information processing, reflection, and thought. Because they reflect
unvoiced
**[doubt](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**,
as well, CLEMs may used as **[probing
points](http://members.aol.com/nonverbal2/probe.htm){target="_top"}**.\
\
*Saccades*. In a classic study by Harnad (1972) of the lateral eye
movements of mathematicians during mental reflection, it was noted that
rightward movement associated with symbolic thinking, while leftward
movement associated with visual thinking. Left-movers were thought to be
more creative.\
\
***RESEARCH REPORTS***: **1.** Conjugate lateral eye movements are an
index of brain-hemispheric activation (Gur 1975). **2** \"People can be
categorized as either \'right lookers\' or \'left lookers\' because
approximately 75 percent of an individual\'s conjugatelateral eye
movements are in one direction\" (Richmond et al. 1991:89). **2.**
\"CLEM is usually quite prominent when someone is working on a task that
requires them \[sic\] to think or reflect\" (Richmond et al. 1991:89).

See also
**[GAZE-DOWN](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"}**,
**[MIME
CUE](http://members.aol.com/nonverbal2/mimecue.htm){target="_top"}**,
**[STEEPLE](http://members.aol.com/nonverbal2/steeple.htm){target="_top"}**.

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


CLEVER HANS PHENOMENON

**EXPECTANCY THEORY**

*Conceptual model*. The hypothesis\--also known as *expectancy
communication* or *interpersonal expectancy effects*\--that a person\'s
nonverbal communication unwittingly scripts a recipient\'s behavior,
deportment, or performance in the manner of a *self-fulfilling
prophecy*.

*Usage I*: Displayed nonverbally, a teacher\'s positive expectancies for
certain chosen students encourages them to work harder and get better
grades.

*Usage II*: A judge\'s **[body
language](bodylan1.htm){tppabs="http://members.aol.com/doder1/bodylan1.htm"
target="_top"}** can transmit negative signals (e.g., *gaze*
***[cut-off](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}***,
***[tense-mouth](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"}***,
and
***[tongue-show](http://members.aol.com/nonverbal2/tonguesh.htm){target="_top"}***),
which may inadvertently influence jurors to decide against a defense
attorney\'s case.

*Salesmanship*. \"As in most areas concerning the sales confrontation,
the salesperson will be viewed and treated largely according to *how he
expects to be treated*\" (Delmar 1984:31).\
\
*Clever Hans*. As
**[primates](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**
we are highly responsive to nonverbal cues, and thus susceptible to the
\"Clever Hans\" phenomenon (Pfungst 1911):

> Once upon a 19^th^-century time, there lived a world-famous horse
> named Clever Hans, who displayed amazing mathematical ability. If
> somebody asked him to add, say, five plus seven, Hans would faithfully
> stomp 12 times, astounding all present. For years, puzzled scientists
> were baffled by how the animal could add and subtract. One Oskar
> Pfungst solved the riddle at last. According to Pfungst, Clever Hans
> looked closely at his human audience for subtle body cues \[e.g., of
> the eyes and head\] telling him when to stop tapping his hoof. Tiny
> **[kinesic](kinesic1.htm){tppabs="http://members.aol.com/doder1/kinesic1.htm"
> target="_top"}** signs alone sufficed (Givens 1981:56).

***RESEARCH REPORTS***: **1.** Research has shown that \"nonverbal cues
play an enormous role in signaling interpersonal expectations, often
within the first 30 seconds of an interaction\" (Burgoon et al.
1989:448). **2.** Relaxed postures, dominance displays, leg movements,
**[head-nodding](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}**, smiling, and \"interested\" facial expressions may
show positive expectations; while
**[head-shaking](headshak.htm){tppabs="http://members.aol.com/nonverbal3/headshak.htm"
target="_top"}**, eyebrow-raising, looking surprised or disappointed,
and tapping a pencil may show negative expectations (Burgoon et al.
1989).

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

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


CLOTHING CUE

**BODY ADORNMENT**

*A sweet disorder in the dress\
Kindles in clothes a wantonness*. \--Herrick, *Delight in Disorder*

![Leg Wrappings](adorn.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/adorn.jpg" height="35%"
width="25%"}\
\
After its invention some 9,000 years ago: *Cloth would soon become an
essential part of society, as clothing and as adornment expressing
self-awareness and communicating variations in social rank. For good
reason, poets and anthropologists alike have employed cloth as a
metaphor for society, something woven of many threads into a social
fabric that is ever in danger of unraveling or being torn*. \--John
Noble Wilford (1993:C1)\
\
*Clothing should always move with your body. Fashion is an extension of
body language. A new garment creates a new posture\--and a new
attitude\--in its wearer*. \--Véronique Vienne (1997:160)\
\
\
*Wearable
[**sign**](http://members.aol.com/nonverbal2/sign.htm){target="_top"}*.
**1.** The act of decorating the human frame to accent its grace,
strength, beauty, and presence, or to mask its less attractive features
and traits. **2.** Visually distinctive patterns of body piercing,
dress, scarification, and tattoos worn to express a personal or a social
(e.g., an ethnic, military, or national) identity.

*Usage*: **1.** What we place upon our bodies (e.g.,
**[clothing](http://members.aol.com/nonverbal2/armshow.htm){target="_top"}**,
**[footwear](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**,
**[hats](http://members.aol.com/nonverbal2/hat.htm){target="_top"}**,
makeup, and tatoos) adds color, contrast, shape, size, and texture to
our primate form. Each day, myriad
**[messages](http://members.aol.com/nonverbal2/message.htm){target="_top"}**
of adornment broadcast personal
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**\--in
a *continuous* way (i.e., as \"frozen\" gestures)\--about our ethnicity,
status, affiliation, and moods. **2.** We may use clothing cues as
**a.** uniforms (or \"clothing signs\"), **b.** fashion statements
(\"clothing symbols\"), **c.** membership badges (\"tie-signs\"), **d.**
social-affiliation signs (\"tie symbols\"), **e.** personality signs
(\"personal dress,\" e.g., the bow tie), and **f.**
socio-political-economic signs (\"contemporary fashion\"), according to
a typology developed by SUNY Fashion Institute of Technology professor,
Ruth P. Rubinstein (1994). **3.** \"Social rank . . . has probably
always been encoded through symbols in the material, design, color, and
embellishment of the clothing\" (Barber 1994:150).\
\
*Anatomy*. Before pants, skirts, and shoes, there was the unadorned
primate body itself: eyes, teeth, skin, hair, and nails, along with
shapes formed of muscle, fat, and bone. Before adornment, the
**[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**
expressed feelings and attitudes through **[body
movements](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**,
**[postures](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, and **[facial
cues](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**.
But with the advent of clothing and shoes the body\'s nonverbal
vocabulary grew, as shoulders \"widened,\" ankles \"thinned,\" and feet
stood up on tiptoes (see **[HIGH
HEEL](http://members.aol.com/nonverbal3/highheel.htm){target="_top"}**).
As \"optical illusions,\" stripes, colors, buttons, and bows accented or
concealed natural signs, and drew attention to favored\--while diverting
eyes from less favored\--body parts.\
\
*Bylaw*. \"We recognize the essential wholesomeness of the human body
and that life is enhanced by the naturalness of social nudity.\"
\--American Association of Nude Recreation bylaws\
\
*Law*. The nonverbal power of clothing may be revealed by its absence.
\"The United States Supreme Court holds that strip clubs whose exotic
dancers wear G-strings and pasties won\'t lure as many drunks and
criminals to the neighborhood as clubs that permit the last stitch of
clothing to be dropped\" (Auster 2000:16).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
**1.** According to the *New York Times*, the discovery by James
Adovasio (Mercyhurst College) and Olga Soffer (University of Illinois at
Urbana) of ancient weaving embedded in fired clay pushes the date of
humankind\'s earliest cloth back to 27,000 years ago (Fowler 1995).
**2.** *Forget that old hippie saying, you are what you eat. In the
modern world, you are what you wear*. \--Suzy Gershman
(*Spokesman-Review*, Webster 2000).\
\
*Prehistory*. Early evidence for personal ornamentation consists of a
European stone pendant with decorative grooves, and a tapered neck
around which to tie a thong (Scarre 1993:43).\
\
*Fur*. As primates, we are also mammals for whom a dense matte of fur is
an evolutionary birthright. Anthropologists do not know when or why
humans lost their body hair, but it is clear that clothing originated as
a *fur substitute* to cover the skin and genitalia. (***N.B.***: That we
see nude bodies in the workplace on but the rarest of occasions
testifies to the power of clothing today. Once fashion appeared in
**[Nonverbal
World](http://members.aol.com/nonverbal2/nvworld.htm){target="_top"}**,
it never went out of style.)\
\
*Beads*. If a bear-skin robe made the body
**[loom](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}** large, decorating the garment with beads attracted
greater notice still. The elaborate beadwork of a man\'s fur clothing
found at a 23,000 year old hunter\'s burial ground in Sungir, Russia,
remained long after the furs themselves had rotted away (Lambert 1987).
As fashion media, however, leather and beads could go just so far. Only
after fabric replaced fur did clothing became truly expressive.

*Leather*. Full body dress originated in Africa or Eurasia to protect
the body and keep it warm. The first clothes were made of prepared
*animal hides*. Stone scraping tools from Neanderthal sites in Europe
provide indirect evidence for hide preparation, suggesting that
cold-weather clothing could be at least 200,000 years old (Lambert
1987).

*Flounce & weave*. The earliest domesticated sheep, from Zawi Chemi
Shanidar, Iraq, suggest that *wool clothing* originated 10,500 years ago
(Wenke 1990). Unwoven skirts and shawls made of flounces of tufted wool
or flax were worn by the ancient Sumerians 5,000 years ago
(Rowland-Warne 1992), although one of the earliest known *textiles*\--a
linen-knit bag from Israel (found in Nahal Hemar cave)\--is thought to
be 8,500 years old (Barber 1994).\
\
*Fiber & fabric*. More recently, the invention of the flying shuttle
(1733), the spinning jenny (1764), and the 19th century power-loom made
cotton fabrics available in ever greater quantities, as **[consumer
products](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**. Mass produced clothing first appeared in 1851 with the
invention of the sewing machine, and increased in production with the
use of *synthetic fibers* (e.g., Orlon in 1952). As the adornment medium
became subject to greater control, the diversity and number of clothing
cues burgeoned (see **[MESSAGING
FEATURE](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**).
(***N.B.***: In 1993 a Lands\' End® Mesh Knit shirt contained *4.3
miles* of 18 singles cotton yarn \[Anonymous 1993\].)\
\
*Tattoo signals*. \"\[U.S.\] Teenagers with tattoos are more likely than
their peers to drink too much, have sex too early, get into fights and
engage in other risky behavior, a University of Rochester study shows\"
(Anonymous 2001E).\
\
*The color purple*. With fabrics came dyes, and the ability to signal
social status with ***[color
cues](http://members.aol.com/nonverbal3/color.htm){target="_top"}***. In
ancient Rome, e.g., only the emperor was allowed to wear a robe dyed
*royal purple* (Barber 1994:150).\
\

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

***E-Commentary***: \"I\'ve called you before on other feature stories
and you\'ve been very helpful. Currently, I\'m doing a story on teen
fashion. I\'m looking at what\'s going to be the prevailing trend for
spring/summer (it\'s lots of loud color). I have a question: What, in
general, are teens trying to accomplish with the fashion and sense of
style they cultivate?\" \--J.W., *Sun Chronicle*, Attleboro, MA (3/17/00
11:57:54 AM Pacific Standard Time)\

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

*Neuro-note*. To the very visual **[primate
brain](http://members.aol.com/nonverbal3/primate.htm){target="_top"}**,
fashion statements are \"real\" because, neurologically, \"seeing is
believing.\"

See also
[**ARM-SHOW**](http://members.aol.com/nonverbal2/armshow.htm){target="_top"},
[**BLUE
JEANS**](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"},
[**BUSINESS
SUIT**](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"},
**[HAIR
CUE](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**,
[**NECKWEAR**](http://members.aol.com/nonverbal2/neckwear.htm){target="_top"},
[***WWW.Bananarepublic.com***](http://www.bananarepublic.com/).

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

\


CONFERENCE TABLE

**CONFERENCE TABLE\
\
![Level Playing Field](table.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/table.jpg" height="35%"
width="25%"}\
\
***If you are really looking for control, spread your notebooks, pens,
manuals, and anything else you brought along over as broad an area as
possible\--without bursting anyone else\'s \[territorial\] bubble. This
will give you further claim to the territory*. \--Susan Bixler (*The
Professional Image*, p. 236)\
\
***[Consumer
Product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}***. **1.** A flat, smooth piece of furniture designed as
a stage to dramatize face-to-face meetings. **2.** A corporate \"level
playing field\" upon which speakers may address colleagues on matters of
business. **3.** A horizontal flatland, or *territory*, in which to send
defensive and offensive
**[messages](http://members.aol.com/nonverbal2/message.htm){target="_top"}**
with the
**[eyes](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}**,
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**,
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
and
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**.

*Usage*: Nonverbally, conference tables showcase the upper body\'s
**[signs](http://members.aol.com/nonverbal2/sign.htm){target="_top"}**,
**[signals](http://members.aol.com/nonverbal2/signal.htm){target="_top"}**,
and
**[cues](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**.
The table\'s shape, size, and seating plan **a.** influence group
dynamics, and **b.** may also affect the emotional tone and outcome of
discussions. (***N.B.***: Because *torso height* varies less than
standing height, people seated around conference tables appear to be
roughly the same size; thus, conference tables neutralize physical
advantages of *stature* \[see
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**\].) Meanwhile, the lower body\'s features are securely
masked below the tabletop, and do not compete for notice with heads,
hands, or eyes. A conference table may symbolize corporate status and
power in business, politics, and military affairs.\
\

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

**E-Commentary**: \"I am a graduate student at the Univesity of
Arkansas. I am working on my Master of Accountancy. I have chosen to
take a graduate course called Communications and Conflict. I am required
to do a summary of nonverbal conflict research between 1989 and the
present. Can you point me in the right direction as to recent research
on the topic? I am an accountant and this sort of research is not an
everyday thing for me.\" \--J.A. (10/3/99 8:31:32 AM Pacific Daylight
Time)\

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

\
*Observation*. The conference table is a nonverbal battlefield. **1.**
To promote key points, speakers should *lean forward* over the table and
use
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
gestures. (***N.B.***: Leaning backward, away from the table and
**[palm-up](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**
gestures may suggest
**[submissiveness](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**,
i.e., lack of conviction.) **2.** *Cuffs*, *bracelets*, and
*wristwatches* add visibility to hand gestures. **3.** Nonverbal impacts
of **[angular
distance](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[arm
wear](http://members.aol.com/nonverbal2/armwear.htm){target="_top"}**,
**[business
suits](http://members.aol.com/nonverbal2/busisuit.htm){target="_top"}**,
**[cut-off](cutoff1.htm){tppabs="http://members.aol.com/doder1/cutoff1.htm"
target="_top"}**,
**[hairstyles](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**,
and
**[neckwear](http://members.aol.com/nonverbal2/neckwear.htm){target="_top"}**
are exaggerated by close-quarters interaction at the conference table.

***RESEARCH REPORTS***: **1.**
**[Dominant](http://members.aol.com/nonverbal2/dominate.htm){target="_top"}**
individuals choose central seats and do most of the talking (Hare and
Bales 1973). **2.** Leadership and \"central\" seating positions (i.e.,
\"opposite the most others\") \"go hand in hand\" (Burgoon et al.
1989:389). **3.** Competence across a boardroom table shows in a
well-moderated voice tone, rapid speech, few verbal disfluencies or
hesitations, fluid gestures, and eye contact. Listeners respond
negatively to dominance cues, on the other hand, such as a loud voice,
[**eyebrow-lowering**](browlow1.htm){tppabs="http://members.aol.com/doder1/browlow1.htm"
target="_top"}, staring, postures stiff with muscle tension, and
[**pointing**](http://members.aol.com/nonverbal2/point.htm){target="_top"}
(Driskell and Salas 1993).

See also **[STEINZOR
EFFECT](steinzor.htm){tppabs="http://members.aol.com/nonverbal3/steinzor.htm"
target="_top"}**.

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


CONSUMER PRODUCT

**[CONSUMER PRODUCT]{#CONSUMER PRODUCT}**

***[![Products \"Speak\"](B30375.jpg){border="0"
tppabs="http://members.aol.com/nonverbal2/objects/B30375.jpg"
height="35%" width="25%"}\
\
](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}**Thus
there exists a dictionary situation for everyone: designers design,
manufacturers manufacture, and diverse consumers consume diversity*.
\--Henry Petroski (*The Evolution of Useful Things*, 1992)\
\
*We look to nature for products because natural selection has had an
incredible amount of time to optimize substances for varied purposes*.
\--Scott Rapoport (2000:E-2)\
\
*Rubbermaid products evolve according to Darwinian laws*. \--Jay Mathews
(1995B:H4)\
\
*Like computing, genetic science is evolving into a consumer
technology*. \--John Rennie (2000:6 \[Author\'s Note: Our own bodies
have become consumer products.\])\
\
***[Artifact](http://members.aol.com/nonverbal3/artifact.htm){target="_top"}***.
**1.** A material object deliberately fabricated for mass consumption
and use. **2.** An edible, wearable, drinkable (i.e., *usable*)
commodity exhibiting a standardized design. **3.** An artifact bearing a
*brand name* (see, e.g., **[BIG
MAC](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}®**)
promoted in the
**[media](http://members.aol.com/nonverbal3/media.htm){target="_top"}**.

*Usage*: Like
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
consumer products are informative, provocative, and highly
*communicative*. *Shoes*, *hats*, and *wrist watches*, e.g., have a
great deal to \"say\" about gender, identity, and status. The make,
model, and color of a *new car* reflect a buyer\'s personal tastes,
moods, and individuality.\
\
*Clutter*. **1.** \"She \[Marilyn Vondra, an opera singer\] telephoned
her clutter-support person a week later \[after attending a \'Letting Go
of Clutter\' workshop\] to say that, for the first time in some years,
she had glimpsed the top of the coffee table. \'It\'s glass,\' she
said\" (Dullea 1992:C1). **2.** \". . . as experts will tell you,
attachments to objects are emotional, never logical\" (Dullea 1992:C6).

*Design*. Consumer goods \"speak\" via **[messaging
features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**\--expressive
emblems, insignia, and signs placed to stand out against more functional
elements of a product\'s design. The mouth-shape of a **[vehicular
grille](http://members.aol.com/nonverbal2/vegrille.htm){target="_top"}**,
e.g., which suggests an alert,
[**angry**](http://members.aol.com/nonverbal2/anger.htm){target="_top"},
or [**tense
face**](http://members.aol.com/nonverbal2/tensemou.htm){target="_top"},
has little bearing on automobile reliability, safety, or speed. The tiny
flag-shaped *tag* on the derrière of Levi\'s® **[blue
jeans](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"}**,
too, adds
**[information](http://members.aol.com/nonverbal2/info.htm){target="_top"}**
rather than durability to the product. (***N.B.***: Messaging features
resemble the aromatic *secondary products* of **[herbs &
spices](http://members.aol.com/nonverbal2/herb.htm){target="_top"}**,
which evolved to communicate apart from the practical needs of plant
metabolism, growth, and reproduction.)

*Evolution*. The earliest known products (dated to ca. 2.5 m.y.a.) are
intentionally flaked *Oldowan pebble tools* from Ethiopia, produced by
our oldest-known human ancestor, *Homo habilis*. By ca. 1.6 m.y.a., a
more eloquent, fist-sized *hand-axe*, bearing a standardized,
symmetrical, leaf-shaped design, was chipped in East Africa by *Homo
erectus*. Since the Stone Age, the number of products invented and used
by our species, *Homo sapiens*\--from *Silly Putty®* to *interstate
highways*\--has increased at a rate three times greater than biological
evolution (Basalla 1988). As the brain and body were shaped by *natural
selection*, consumer goods adapted to the mind through a parallel
process of *product selection*, which has rendered them ever more
fluent, expressive, and fascinating to our senses.\
\
*Materialism*. \"The Gallup Organization revealed today the firsst
scientific national poll of the world\'s most populous country,
revealing a billion Chinese ambitious to become rich and buy millions of
televisions, washing machines, refrigerators and videocassette
recorders\" (Mathews 1995:A13).

*Media*. Product selection in the modern age is shaped, intensified, and
sped by electronic media through an ancient, imitative principle know as
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**.
On January 31, 1993, e.g., broadcast images of contented human beings
gulping carbonated *soft drinks* reached an estimated 120 million
viewers of Super Bowl XXVII, many of whom later purchased products seen
on TV.\
\
*Packaging I*. \"A study by the DuPont Corporation showed that 78
percent of supermarket purchases were made as a result of package design
and eye appeal\" (Vargas 1986:143; note that packages are consumer
products, as well).\
\
*Packaging II*. A singularly effective package is the Betty Crocker*®*
cake mix box, introduced in 1954. \"A close-up photo of the prepared
cake, ideally colored, provides the background for an oval red spoon
containing the logo. Ovals are more pleasing to the subconscious mind
than shapes with sharp angles \[by 1956, sales of Betty Crocker cake
mixes had quadrupled\]\" (Vargas 1986:144).\
\
*Shopping*. \"In places like Poland and Hungary, the huge stores that
have replaced drab, poorly stocked shops of the communist days are the
busiest places in town on Sundays. Thousands of cars fill parking lots
and couples with children, many dressed in their Sunday best, push carts
filled with groceries, clothing, even appliances\" (Stylinski 1998:A8).\
\
*Speech I*. There is an evolutionary link between material artifacts and
spoken language: \"Evidence that \'archaic\' *Homo sapiens* did indeed
have cognitive control of hierarchically structured composite \[speech\]
units comes from their tool technology. For the first time, hafted tools
appear. These are composite tools, made from individual pieces put
together and functioning as a whole\" (Foley 1997:72; see
[**MEDIA**](http://members.aol.com/nonverbal3/media.htm){target="_top"},
*Images and words*; and
[**SPEECH**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}, *Evolution I & II*).\
\
*Speech II*. Just as our species combines words into sentences, human
beings also combine materials into products. The first known use of glue
(a heat-treated asphalt) to join stone tools to wooden handles, e.g.,
dates back ca. 30,000 years to a Syrian archaeological site between the
Palmyra and Euphrates rivers (Weiss 1996).

*Writing*. An evolutionary link between artifacts and writing exists as
well: \"Writing was invented \[around 3300 B.C. in Sumer, in ancient
Mesopotamia\] to keep track of the storage or disbursement of
commodities, and for several centuries it was used only for accounting
purposes\" (Anonymous 1992).\
\
***RESEARCH REPORT***: The number of everyday artifacts encountered in
our lives has been estimated at between 20,000 and 30,000 manufactured
objects (Petroski 1992).\
\

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

***E-Commentary***: \"In watching the impeachment hearings last week, I
was struck by the role of gifts in the Clinton-Lewinsky relationship.
There seems to have been a compulsion to give gifts\--she gave him 40,
he gave her 24\--even though they carried some risk. Indeed, the
disposition of those very gifts forms the basis of the obstruction of
justice impeachment charge. It all made me think: What is the deal with
gifts? Why do they loom so large in
[**courtship**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}?\" K.O\'B., *The Newark Star-Ledger* (99-01-21 10:19:41
EST)\

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

*Neuro notes I*. We eagerly covet, collect, and consume material goods,
which beckon to us as \"gestures\" from billboards, catalogues, and
discount store shelves. **[Juice
substitutes](juice1.htm){tppabs="http://members.aol.com/doder1/juice1.htm"
target="_top"}**, **[women\'s
shoes](womens.htm){tppabs="http://members.aol.com/nonverbal3/womens.htm"
target="_top"}**, and **[new car
smell](newcar.htm){tppabs="http://members.aol.com/doder1/newcar.htm"
target="_top"}**, e.g., engage diverse areas of our brain to which they
\"speak.\" PET studies show that we process *object knowledge* (i.e.,
the verbal labels for products) through many separate brain areas linked
by interconnected circuits called *distributed systems*.

*Neuro notes II*. Color words used to describe, e.g., a *super bouncy
ball* come from our brain\'s *ventral temporal lobe*, located in front
of the \"color area\" on the inferior temporal cortex. Motion words for
the ball\'s lively bounce, on the other hand, come from the *middle
temporal gyrus* in front of the brain\'s \"motion area,\" on the
posterior parietal cortex (Martin et al. 1995:102). MRI research
suggests that a large part of our neocortex is occupied by such
processing \"substations\" for vision (Sereno et al. 1995:889). Thus,
while super bouncy balls cannot actually speak, their messaging features
nonetheless engage multiple knowledge areas of our brain. Colorful balls
have more to \"say\" than natural objects such as twigs and fallen
leaves, because only the most expressive consumer products survive.

See also **[OBJECT
FANCY](http://members.aol.com/nonverbal2/object.htm){target="_top"}**,
[***WWW.Target.com***](http://www.target.com/){target="_top"}.\
\
Copyright 1998, 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


COURTSHIP

**COURTSHIP**

![A Public Courtship ](court.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/court.jpg" height="50%"
width="25%"}\
\
*Once I\'m done with kindergarten, I\'m going to find me a wife*. \--Tom
(age 5)\
\
*Vivian put the moves on Victor. He resisted her at first, then warmed
to her advances. By the time Kate resurfaced the next year on a fishing
boat, Victor and Viv were in love*. \--*Days of Our Lives* (*Soap Opera
Digest* synopsis, May 2, 2000, p. 48)\
\
*Nonverbal negotiation*. To send and receive
[**messages**](http://members.aol.com/nonverbal2/message.htm){target="_top"}
in an attempt to seek someone\'s favor or
**[love](http://members.aol.com/nonverbal2/love.htm){target="_top"}**.

*Usage*: In all cultures, human beings attain the closeness of sexual
intimacy through courtship, a slow negotiation, based on exchanges of
**[nonverbal
cues](nvcom.htm){tppabs="http://members.aol.com/nonverbal2/nvcom.htm"
target="_top"}** and
**[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**. All vertebrates from reptiles to primates reproduce
through mating\--via *internal fertilization* of the female\'s body.
Through its five *phases* (see **[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**),
courtship is the means by which two people close the physical gap and
emotional distance between them to become a loving pair.

*Prehistory*. The word *court* traces to the ancient, Indo-European
root, **gher-**, \"to grasp, enclose.\"

See also
**[RAPPORT](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm"
target="_top"}**.

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


CROUCH

**CROUCH**

*![Darwin\'s Dog](crouch.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/crouch.jpg" height="35%"
width="37%"}\
\
Primeval
**[posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}***. An originally protective body position, of great age,
in which the limbs bend and the spinal column flexes forward, to press
the arms, legs, and torso close to the ground (as in cowering).

*Usage*:
**[Paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
of the crouch posture underlie many
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**
used today (see, e.g.,
**[BOW](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"}**,
**[HEAD-TILT-SIDE](http://members.aol.com/nonverbal3/headside.htm){target="_top"}**,
and
**[SHOULDER-SHRUG](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}**) to express a servile,
**[submissive](http://members.aol.com/nonverbal2/submit.htm){target="_top"}**,
or timid attitude, feeling, or mood.

***RESEARCH REPORTS***: **1.** In the dog: \"Instead of walking upright,
the body sinks downwards or even crouches, and is thrown into flexuous
movements; his tail, instead of being held stiff and upright, is lowered
and wagged from side to side; his hair instantly becomes smooth; his
ears are depressed and drawn backwards, but not closely to the head; and
his lips hang loosely\" (Darwin 1872:56). **2.** Crouching has been
observed in subordinate bonnet macaques (Rahaman and Parthasarathy
1968). **3.** Motherless rhesus monkeys crouched and \"showed symptoms
similar to disturbed mental patients\" (Pugh 1977:200).

*Paleontology I.* The vertebrate crouch display is formed of ancient
bending motions designed to remove animals from danger. A reflexive act,
controlled by the spinal cord, bending the body moves it away from
hazards, reduces its exposed surface area, and makes it look
\"smaller.\" Nonverbally, *flexed* body movements used to crouch lower
to the ground predate *extension* movements used to rise above its
surface (see, e.g., **[HIGH-STAND
DISPLAY](highstan.htm){tppabs="http://members.aol.com/nonverbal3/highstan.htm"
target="_top"}**); thus, our remote ancestors crouched before they stood
tall.

*Paleontology II*. Crouching can be traced to an *avoider\'s response*
which is tactile in origin, rather than visual, as in the high-stand
display. So primitive is the crouch posture\'s *flexor reflex* that it
exists even in immature fish and amphibian larva. Stimulating the skin
of these simple creatures leads to side-to-side bending movements which,
in a watery world, remove them from dangers signaled by the touch.

*Neuro-notes*. The crouch is keyed to paleocircuits formed of primitive,
spinal-cord *interneurons* in charge of **[tactile
withdrawal](withdra1.htm){tppabs="http://members.aol.com/doder1/withdra1.htm"
target="_top"}**. Similar \"tap withdrawal\" movements have been
observed even in spineless animals, such as the nematode worm. Working
through pools of interneurons controlling the muscular *stretch reflex*,
its body, like ours, automatically bends away from danger.

*Antonym*: **[ANTIGRAVITY
SIGN](http://members.aol.com/nonverbal2/antigrav.htm){target="_top"}**.
See also
**[PALM-UP](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**.

Copyright 1999 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Drawing from Darwin 1872 (copyright 1998 by Oxford University Press)


CROWDING

**PROXEMICS**

![Bodies in Space](proxemic.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/proxemic.jpg" height="35%"
width="30%"}\
\
*I have learned to depend more on what people do than what they say in
response to a direct question, to pay close attention to that which
cannot be consciously manipulated, and to look for patterns rather than
content*. \--Edward T. Hall (1968:83)

. . . *Every cubic inch of space is a miracle*. \--Walt Whitman (*Leaves
of Grass*, \"Miracles\")\
\
*The desire for personal mobility seems to be unstoppable\--it is,
perhaps, the Irresistible Force*. \--Charles Lave (1992)\
\
\
*Spatial signs, signals and cues*. According to its founder, Edward T.
Hall, proxemics is the study of humankind\'s \"perception and use of
space\" (Hall 1968:83).

*Usage*: Like **[facial
expressions](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
**[gestures](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}**,
and
**[postures](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, space \"speaks.\" The prime directive of proxemic
space is that we may not come and go everywhere as we please. There are
cultural rules and biological boundaries\--explicit as well as implicit
and subtle limits to observe\--everywhere.

*Body space I*. Scientific research on how we communicate in private and
public spaces began with studies of animal behavior (ethology) and
territoriality in the 19th and early 20th centuries. In 1959, the
anthropologist Edward Hall popularized spatial research on human
beings\--calling it *proxemics*\--in his classic book, *The Silent
Language*.

*Body space II*. Hall identified four bodily distances\--*intimate* (0
to 18 inches), *personal-casual* (1.5 to 4 feet), *social-consultive* (4
to 10 feet), and *public* (10 feet and beyond)\--as key points in human
spacing behavior. Hall noted, too, that different cultures set
distinctive norms for closeness in, e.g.,
[**speaking**](speech1.htm){tppabs="http://members.aol.com/doder1/speech1.htm"
target="_top"}, business, and
[**courting**](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}, and that standing too close or too far away can lead to
misunderstandings and even to *culture shock*.\
\
*Body space III*. Summarizing diverse studies, Vrugt and Kerkstra
(1984:5) concluded that, \"In interaction between strangers the
interpersonal distance between women is smaller than between men and
women.\"\
\
*Crowded space I*. \"*A persistent and popular view holds that high
population density inevitably leads to violence. This myth, which is
based on rat research, applies neither to us nor to other primates*\"
(Waal et al. 2000:77).\
\
*Crowded space II*. \"This pathological togetherness \[resulting from a
rat population explosion which led to killing, sexual assaults, and
cannibalism\], as Calhoun \[1962\] described it, as well as the
attendant chaos and behavioral deviancy, led him to coin the phrase
\'behavioral sink\'\" (Waal et al. 2000:77).\
\
*Crowded space III*. \"*In some of the short-term crowding experiments
conducted by others and ourselves, monkeys were literally packed
together, without much room to avoid body contact, in a cramped space
for periods of up to a few hours. No dramatic aggression increases were
measured. In fact, in my last conversation with the late John Calhoun,
he mentioned having created layers of rats on top of each other and
having been surprised at how passively they reacted*\" (Waal 2000:10).\
\
*Culture*. In Japan, one may *hand prow* (i.e., face the palm-edge of
one hand vertically forward in front of the nose), and
[**bow**](bow1.htm){tppabs="http://members.aol.com/doder1/bow1.htm"
target="_top"} the head slightly, to aplogize for crossing between two
people, or intruding into another\'s space to move through a crowded
room. \"The hand acts like the prow of a ship cutting through water\"
(Morris 1994:115).\
\
*Elevator space*. **1.** \"In choosing to approach someone in order to
push the \[button on the control\] panel, men and women reacted to
different signals (Hughes and Goldman 1978); men preferred to approach
people who stood with eyes averted to people who looked at them and
smiled; women, however, preferred to approach someone who looked and
smiled\" (Vrugt and Kerkstra 1984:9). **2.** \"Chimpanzees take this
withdrawal tactic one step further: they are actually less aggressive
when briefly crowded. Again, this reflects greater \[primate\] emotional
restraint. Their reaction is reminiscent of people on an elevator, who
reduce frictions by minimizing large body movements, [**eye
contact**](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}
and loud vocalizations\" (Waal et al. 2000:81).\
\
*Escalator space*. \"Men reacted more to the person standing
\[immediately, i.e., just one step behind, with the hands reaching
forward on the rail so as to be visible to the person ahead\] behind
them than did women\" (Vrugt and Kerkstra 1984:9). \"Women seem to
prefer to act as if they do not notice anything, so that unwanted
contact can be avoided. Men make it clear in their reactions that they
do not appreciate such a rapprochement\" (Vrugt and Kerkstra 1984:10).\
\
*Library space*. Regardless of an \"invader\'s\" sex, men already seated
at an otherwise unoccupied table view opposites most negatively, while
already seated women view adjacents most negatively (Fisher and Byrne
1975).\
\
*Parking space*. \"A study of more than 400 drivers at an Atlanta-area
mall parking lot found that motorists defend their spots instinctively\"
(AP, May 13, 1997; from research published in the *Journal of Applied
Social Psychology*, May 1997). \"It\'s not your paranoid imagination
after all: People exiting parking spaces really do leave more slowly
when you\'re waiting for the spot . . . . It\'s called territorial
behavior . . .\" (AP, May 13, 1997).

*Office space I*. Office workers spend the day in an average 260
square-foot (down from 1986\'s 275 square-foot), usually rectangular
space. Corporate downsizing and belt-tightening mean that many staffers
now find themselves working in even smaller, modular, 80-square-foot
*cubicles*. (***N.B.***: For some prehistoric context, consider that our
hunter-gatherer ancestors spent their workdays on an estimated
440-square-*mile* expanse of open savannah.) Cubicles replaced the more
exposed, \"pool\" desks which had earlier lined the floors of cavernous
group-occupied workrooms. Though maligned in Dilbert cartoons, cubicles
at least provide more privacy than the 1950s open workrooms, and offer
needed respite from visual monitoring (which is known to be stressful to
human primates).\
\
*Office space II*. \"German business personnel visiting the United
States see our open doors in offices and businesses as indicative of an
unusually relaxed and unbusinesslike attitude. Americans get the feeling
that the German\'s \[sic\] closed doors conceal a secretive or
conspiratorial operation\" (Vargas 1986:98).\
\
*Restaurant space*. Corner and wall tables are occupied first
(Eibl-Eibesfeldt 1970).

*Home space I*. Americans spend an estimated 70 years indoors, mostly in
the secure habitat of an average-sized, 2,000-square-foot residences
called a *home* (from the Indo-European root, **tkei-**, \"settle\" or
\"site\"). (***N.B.***: Because there is no counterpart in primate
evolution for a life lived entirely indoors, we bring the outdoors in.
Thus, better homes and gardens include obvious replicas, as well as
subtle reminders, of the original savanna-grassland territory, including
its warmth, lighting, colors, vistas, textures, and plants.)\
\
*Home space II*. Upon re-entering our home (after several hours of
absence), we feel a peculiar need to wander about the home space to
\"check\" for intruders. In mammals, this behavior is known as
*reconnaisance*: \". . . in which the animal moves round its range in a
fully alerted manner so that all its sense organs are used as much as
possible, resulting in maximal exposure to stimuli from the environment.
It thus \'refreshes its memory\' and keeps a check on everything in its
area\" \[this is \"a regular activity in an already familiar
environment,\" which does \"not require the stimulus of a strange
object\"\] (Ewer 1968:66).

*Neighborhood space*. The prime directive of neighborhood space is,
\"Stay in your own yard.\" That we are terribly territorial is reflected
in fences by the barriers they define. According to the American Fencing
Association, 38,880 miles of chain link, 31,680 miles of wooden, and
1,440 miles of ornamental fencing are bought annually in the U.S.
(***N.B.***: Each year Americans buy enough residential fencing to
encircle the earth nearly three times.)

*City space I*. Biologists call the space in which primates live their
*home range*. The home range of human hunter-gatherers (e.g., of the
Kalahari Bushmen in southern Africa) spreads outward ca. 15-to-20 miles
in all directions from a central *home base*. The home range of today\'s
city dwelling humans includes a home base (an apartment or a house) as
well, along with favored foraging territories (e.g., a shopping mall and
supermarket), a juvenile nursery (i.e., a school), a sporting area
(e.g., a
**[golf](golf.htm){tppabs="http://members.aol.com/nonverbal3/golf.htm"
target="_top"}** course), a work space (an office building, e.g.)\--and
from two-to-five nocturnal drinking-and-dining spots. We spend most of
our lives **a.** occupying these favorite spaces, and **b.** orbiting
among them on habitually traveled pathways, sidewalks, and roads.

*City space II*. \"*Fixing Broken Windows*, a book by \[Rutgers
criminologist George\] Kelling and co-author Catherine Coles, became a
bible for New York City\'s \'zero-tolerance\' policy toward abandoned
cars, abandoned buildings and even graffiti. \[new paragraph\] \"Kelling
and Coles argue that even small signs of crime and decay in a
neighborhood, such as broken windows, encourage crime by signaling that
such behavior is tolerated\" (Bayles 2000: 3A).\
\
*National space*. We live in one of ca. 160 sovereign nations which
together claim 54% of earth\'s surface, including almost all of its land
and much of its oceans, waterways, and airspace. Over ninety percent of
all nations, including the U.S., have unresolved border disputes (see
[***WWW.Army.mil***](http://www.army.mil/)).

*Outer space*. *No national sovereignty rules in outer space. Those who
venture there go as envoys of the entire human race. Their quest,
therefore, must be for all mankind, and what they find should belong to
all mankind*. \--Lyndon Baines Johnson\
\
*U.S. politics*. \"Distance between two shakers who are still connected
at the hand signifies either distrust, aloofness, or reserve. Democratic
presidential candidate Michael Dukakis, often criticized in the media
for his lack of passion in his campaign style, tends to shake hands by
planting his feet and extending his right arm out to meet the oncoming
hand of the other shaker\" (Blum 1988:7-4).\
\
*Neuro-notes I*. **1.** In imaging studies of our brain, the neural
basis of spatial location and navigation shows activation of the right
hippocampus. Travel to a place activates the right caudate nucleus of
the [**basal
ganglia**](http://members.aol.com/nonverbal2/basal.htm){target="_top"}
(Maguire et al. 1998). **2.** \"The navigation system includes special
\'place cells\' and \'direction cells\' \[in the hippocampus\] that
flicker visibly in MRI images when a research subject tries to find his
or her way through a simulated urban environment\" (Boyd 2000). **3.**
\"A section of the \[London taxi\] cabbies\' brains, called the
hippocampus, became enlarged during the two years they spent learning
their way around the vast, complicated metropolis\" (Boyd 2000; see
[**PRIMATE
BRAIN**](http://members.aol.com/nonverbal3/primate.htm){target="_top"},
*Climbing cues*).\
\
*Neuro-notes II*. Damage to the right parietal lobe\'s angular gyrus and
supra-marginal gyrus may cause problems in our ability to use space
(such as, e.g., a difficulty in dressing, problems orienting in space,
trouble drawing figures in 3D, and neglect of the body\'s entire left
side). Lesions in the right hemisphere\'s parietal lobe may affect our
spatial comprehension.\
\
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[CONFERENCE
TABLE](table.htm){tppabs="http://members.aol.com/doder1/table.htm"
target="_top"}**,
**[LOOM](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}**, **[STEINZOR
EFFECT](steinzor.htm){tppabs="http://members.aol.com/nonverbal3/steinzor.htm"
target="_top"}**, **[TOUCH
CUE](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}**.

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


CUT-OFF

**CUT-OFF**

![Facing Away](cutoff.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/cutoff.jpg" height="40%"
width="25%"}\
\
\
***[Body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. A form of ***[gaze
avoidance](http://members.aol.com/nonverbal3/eyecon.htm){target="_top"}***
in which the head is turned fully away to one side.

*Usage*: In a conversation, a sudden cut-off gesture may indicate
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**
or disagreement with a speaker\'s remarks. Sustained cut-off may reveal
shyness or disliking.

*Salesmanship*. *One signal of a prospect\'s skepticism*: \"Looking
suddenly up and to the side\" (Delmar 1984:46).

***RESEARCH REPORTS***: **1.** *Facing away* is a reaction to spatial
invasion (Sommer 1969). **2.** \"After the host and the various guests
embraced, they backed off and one or both always looked away. \[Adam\]
Kendon calls this the cut-off and thinks it may be an
equilibrium-maintaining device \[to re-establish a proper level of
intimacy\]\" (Davis 1971:46). **3.** \". . . we have repeatedly seen in
normal 3- to 4-month-old infants extreme head aversion function to
terminate intrusive maternal behavior\" (Stern 1974:188-89). **4.** \"In
all cases \[in the presence of strange adults\] boys turn their heads
away to the side more than do girls\" (Stern and Bender 1974:241).
**5.** *Gaze aversion* \"increased dramatically\" in conditions of
crowding (Baxter and Rozelle 1975:46).\
\

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

***E-Commentary***: \"Do you know if there\'s been any research on
whether you can read anything on intent from the direction someone
glances when they look away during a conversation? I had a client who\'s
a reporter tell me she believes it\'s an indication of deceit for
someone to glance to their right (as if looking into the future and
searching for their words) as opposed to glancing to their left (as if
searching the past to make sure their words are accurate.) Is this a
bunch of crap, or is there something to that \[see
[**CLEM**](clem1.htm){tppabs="http://members.aol.com/doder1/clem1.htm"
target="_top"}\]. I promised her I\'d ask you.\" \--L.G., Senior
Communications Consultant, USA (11/19/99 2:14:15 PM Pacific Standard
Time)\

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

\
See also **[ANGULAR
DISTANCE](http://members.aol.com/nonverbal2/angular.htm){target="_top"}**,
**[HAND-BEHIND-HEAD](http://members.aol.com/nonverbal2/handbehi.htm){target="_top"}**.

Copyright **©** 1998 - 2001 (David B. Givens/**[Center for Nonverbal
Studies](http://members.aol.com/nonverbal2/index.htm){target="_top"}**)\
Photo detail copyright 1978 by Johnson & Johnson


DANCE

**DANCE**

![Sharing the Beat](dance.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/dance.jpg" height="35%"
width="35%"}\
\
*The body dances in time with the speech*. \--Condon and Ogston
(1967:225)

*The truest expression of a people is its dances and its music. Bodies
never lie*. \--Agnes de Mille\
\
***[Body
motion](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}***. A repetitive series of usually rhythmic movements of
the body and body parts (esp.
**[feet](feet.htm){tppabs="http://members.aol.com/nonverbal3/feet.htm"
target="_top"}**,
**[hands](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
and
**[shoulders](http://members.aol.com/nonverbal2/shoulder.htm){target="_top"}**)
to a musical beat, based on the alternating oscillations of
**[walking](walk1.htm){tppabs="http://members.aol.com/doder1/walk1.htm"
target="_top"}**.

*Usage*: An ancient and powerful medium of nonverbal communication,
dance is a nearly universal venue of human
**[courtship](court1.htm){tppabs="http://members.aol.com/doder1/court1.htm"
target="_top"}**. Dance not only synchronizes a couple\'s physical
movements (e.g., as they move to the beat of the same drummer), but
their moods and feelings as well. Some dance forms (e.g., break dancing,
military marching, and the tribal war dance) stimulate strong feelings
of togetherness and esprit de corps through the reptilian principle of
**[isopraxism](http://members.aol.com/nonverbal2/isoprax.htm){target="_top"}**.\
\
*Anthropology*. \"One field which still awaits exploration is the
squestion \[sic\] of how far a dominant kinesthetic awareness of certain
parts of the body is related to psychological factors. If posture and
movement of an individual are closely interdependent with his
psychological state, would not stylized posture and gesture in the dance
of a people be relevant to a general psychological trend in their
life?\" (Holt and Bateson 1944:52; the authors contrast, e.g.,
\"rhythmic, rotating movements of the pelvic region\" with \"rigid\"
postures of the torso and hips in dancing).

*Motions*. The human form is more noticeable when moved. Thus, dancers
not only **[attract
attention](http://members.aol.com/nonverbal2/lovesig1.htm){target="_top"}**
of partners but of onlookers as well. Through (usually)
**[palm-down](http://members.aol.com/nonverbal2/palmdown.htm){target="_top"}**
motions, the arms participate in dance as \"walking forelimbs.\"
Exaggerated reaching (i.e., extension) movements of the arms (e.g.,
while waving the hands high above the head) signal strong
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
through the principle of *nonverbal release* (see, e.g.,
**[ATNR](http://members.aol.com/nonverbal2/atnr.htm){target="_top"}**).
In dancing, **a.** we show our emotions and physical prowess (i.e.,
health), while **b.** giving our partners an opportunity to
**[touch](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}**.\
\
*Popular culture*. When Joey Dee and the Starlighters played loud music
with a beat at the Peppermint Lounge in New York in the 1960s, \"even
the waitresses were twisting\" (Sutton 1984:33).\
\
*Neuro-notes I*. The oscillating movements and rhythmic footsteps of
dance are keyed to a two-point *pedestrian beat*. The natural rhythm of
our upright, bipedal gait is coordinated by the same spinal
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
which programmed the oscillatory *swimming* motions of the early fishes
(Grillner 1996; see **[AQUATIC BRAIN & SPINAL
CORD](http://members.aol.com/nonverbal2/aquatic.htm){target="_top"}**).

*Neuro-notes II*. In right-handed dancers, music appeals to the more
emotional, intuitive, and nonverbal right-brain hemisphere. Thus,
dancing couples are on simlar *feeling* (rather than *thinking*)
wavelengths .

See also
[**MUSIC**](music11.htm){tppabs="http://members.aol.com/doder1/music11.htm"
target="_top"},
**[RAPPORT](rapport1.htm){tppabs="http://members.aol.com/nonverbal3/rapport1.htm"
target="_top"}**.

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


DECEPTION CUE

**DECEPTION CUE\
\
[![A Touch of Uncertainty](deceive.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/deceive.jpg"
height="50%" width="20%"}\
](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**\
*Carly returns to Sonny, who masks his relief over her return*.
\--*General Hospital* (*Soap Opera Digest*, May 2, 2000, p. 104)\
\
*As a child, I never could understand how my mother knew every time I
told her a lie*. \--Marjorie F. Vargas (1986:12)\
\
\
***[Gesture](http://members.aol.com/nonverbal2/gesture.htm){target="_top"}***.
A nonverbal
**[sign](http://members.aol.com/nonverbal2/sign.htm){target="_top"}** of
verbal deceit, untruth, or lying.

*Usage*: A long-standing goal of nonverbal research has been to find
reliable signs of deception. The quest is fueled by popular and
scientific observations that deceit often is accompanied by unconscious
signals revealing anxiety, stress, or shame while lying. Studies
indicate that certain signs used when speaking (e.g., **a.**
**[gaze-down](http://members.aol.com/nonverbal2/gazedown.htm){target="_top"}**
and **b.** the rate of head and hand movements) do accompany lies.
(***N.B.***: At the least, deception cues present **[probing
points](http://members.aol.com/nonverbal2/probe.htm){target="_top"}**
with which to guide inquiry regarding possible lies, much as *galvanic
skin resistance* \[see **[SWEATY
PALMS](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}**\] in tandem with physiological *breathing* and *heart
rates* are used to measure autonomic stress in a polygraph test.)\
\
*Caution*. Nonverbal cues may be used as reliable indicators of anxiety
and stress (see [**BASELINE
DEMEANOR**](http://members.aol.com/nonverbal2/baseline.htm){target="_top"}),
but the nervousness itself does not necessarily indicate deception or
lying (see below, *Media*).\
\
*Chimpanzee deception*. In the broadest sense of the term, \"deception\"
is rife in the animal kingdom. Nonpoisonous flies and snakes, e.g., may
adopt the warning marks and coloration of poisonous species to seem,
deceptively, more harmful than they are in fact (see also
[**LOOM**](loom1.htm){tppabs="http://members.aol.com/doder1/loom1.htm"
target="_top"}). The ability to deceive is highly evolved in primates
(see below, *Nonhuman primates*). Our close animal relative, the
chimpanzee (*Pan troglodytes*), e.g., is gifted in the art of deception:
**1.** A young male, Dandy, withheld nonverbal cues of excitement to
deceive other chimpanzees as to the location of hidden grapefruit, which
Dandy subsequently consumed all by himself (Waal 1982). **2.** A 9-year
old male, Figan, withheld nonverbal food calls to conceal a bunch of
bananas, which Figan subsequently consumed all by himself (Goodall
1986). **3.** An adult male, Luit, pressed his lips together with his
hand in an apparent attempt to hide the submissive fear grin he had
given his rival, Nikki (Waal 1982).\
\
*Evolution*. \"If we speculate about the evolution of communication, it
is evident that a very important stage in this evolution occurs when the
organism gradually ceases to respond quite \'automatically\' to the mood
signs of another and becomes able to recognize the sign as a
[**signal**](http://members.aol.com/nonverbal2/signal.htm){target="_top"}:
that is, to recognize that the other individual\'s and its own signals
are only signals, which can be trusted, distrusted, falsified, denied,
amplified, corrected, and so forth\" (Bateson 1955:40).\
\
*Literature*. \"If you had a hundred masks upon your
[**face**](http://members.aol.com/nonverbal2/face.htm){target="_top"},
your thoughts however slight would not be hidden from me.\" \--Dante
Alighieri (*Purgatorio, Canto XV*).\
\
***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
\"Another factor that makes it difficult to detect lies is that \'the
fear of being disbelieved looks the same as the fear of being caught
lying,\' he \[Dr. Paul Ekman\] said\" (Goleman, *New York Times*, C9,
Sept. 17, 1991).\
\
*Nonhuman primates*. In primates, \"tactical deception\" may include
concealment, distraction, creating an image, manipulation, and
deflection (Quiatt and Reynolds 1993:158-59).\
\
*Nonverbal changes*. According to Mark Knapp, Judee Burgoon, and G.
Miller, \". . . changes in nonverbal behavior during deception
consistently occur in six behavioral categories: (**a**) cues indicating
underlying
[**anxiety**](http://members.aol.com/nonverbal2/fear.htm){target="_top"}
or nervousness, (**b**) cues indicating underlying reticence or
withdrawal (including
non[**immediacy**](http://members.aol.com/nonverbal3/immediat.htm){target="_top"}),
(**c**) excessive behaviors that deviate from the liar\'s [**truthful
response
patterns**](http://members.aol.com/nonverbal2/baseline.htm){target="_top"},
(**d**) cues showing underlying negative affect, (**e**) cues showing
underlying vagueness or
[**uncertainty**](http://members.aol.com/nonverbal2/uncert.htm){target="_top"},
and (**f**) incongruous responses or mixed messages\" (Burgoon et al.
1989:270).\
\
*O. J. Simpson\'s murder trial*. **1.** Listening to testimony about the
location of his knit cap, Mr. Simpson visibly protested what he knew to
be false. **2.** Listening to testimony accusing him of the murder of
his wife, Mr. Simpson showed no visible protest and remained completely
motionless in his seat. **3.** Why the stark contrast in his nonverbal
demeanor? (***N.B.***: You be the judge.)\
\
**[*Palm-up*](http://members.aol.com/nonverbal2/palmup.htm){target="_top"}**.
\"Pilot studies had suggested that a particular emblem, the hand shrug
\[a palm-up cue\] which has the meaning of helplessness or inability . .
. would appear as a clue to the occurrence of deception. . . . . In this
instance, we expected that the hand-shrug emblem was occurring as a
nonverbal slip of the tongue, with little awareness on the part of the
subject, and that it was a deception cue\" (Ekman and Friesen
1972:367).\
\
**[*Self-touch*](http://members.aol.com/nonverbal2/selftouc.htm){target="_top"}**.
\"We think the \[hand-to-face\] eyecover \[of\] shame expresses her main
affective reaction to the two verbal themes, being hospitalized and
having aggressive impulses\" (Ekman and Friesen 1968:207; Author\'s
Note: In the figure used to illustrate the eyecover cue, the subject is
also gazing downward and touching her forehead with her hand).\
\
***RESEARCH REPORTS***: **1.** Deliberate control of body movement and
the mental energy required to fabricate a lie have been suggested to
explain the general research finding that *fewer body movements* occur
with deception (Vrij et al. 1966). **2.** Lower rates of **[head
nodding](headnod.htm){tppabs="http://members.aol.com/nonverbal3/headnod.htm"
target="_top"}** \"are associated with deceitful communication\"
(Mehrabian 1972:102). **3.** Three \". . . extensive reviews of the data
. . . showed that several nonverbal cues are, in fact, consistently
related to deception\" (Burgoon et al. 1989:270). \"Deceivers display
increased pupil dilation \[see
[**EYES**](http://members.aol.com/nonverbal2/eyes.htm){target="_top"}\],
blinking rates, and adaptors \[i.e., self-touching\], more segments of
body behavior, and fewer segments of facial behavior\" (Burgoon et al.
1989:271). **4.** Paul Ekman suggests that one should \". . . *never
reach a final conclusion about whether a suspect is lying or truthful
based solely on either the polygraph or behavioral clues to deceit*\"
(Ekman 1992:238; italics are the author\'s). **5.** People make \"fewer
hand movements during deception compared to truth-telling\" (Vrij et al.
1997:97).\
\
***STUDY ABSTRACT***: \"Research on the detection of deception, via
non-verbal cues, has shown that people\'s ability to successfully
discriminate between truth and deception is only slightly better than
chance level. One of the reasons for these disappointing findings
possibly lies in people\'s inappropriate beliefs regarding lying
behaviour. A 64-item questionnaire originally used in Germany, which
targets participants beliefs regarding truthful and deceptive behaviour,
was used. The present study differed from previous research in three
ways: (i) instead of a student population, police officers and lay
people were sampled, (ii) both people\'s beliefs regarding others
deceptive behaviour and their beliefs regarding their own deceptive
behaviour were examined, and (iii) both non-verbal cues to, and content
characteristics of, deceptive statements were examined. Results were
consistent with previous studies, which found significant differences
between people\'s beliefs regarding deceptive behaviour and experimental
observations of actual deceptive behaviour. Further, police officers
held as many false beliefs as did lay people and finally, participants
were more accurate in their beliefs regarding their own deceptive
behaviour than they were in their beliefs regarding others behaviour\"
(Akehurst et al. 1996:461; © 1996 John Wiley & Sons, Ltd.).

See also
**[EYE-BLINK](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**[FIGHT-OR-FLIGHT](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}**,
**[SHOULDER-SHRUG](shoshrug.htm){tppabs="http://members.aol.com/nonverbal2/shoshrug.htm"
target="_top"}**.

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

\


DECISION GRIP

**[DECISION GRIP\
\
![Proprietary Clasp](decision.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/decision.jpg"
height="35%" width="25%"}]{#DECISION GRIP}**

*Hand position*. **1.** A manner of grasping an object securely between
the inner surfaces of the fingers (i.e., the tactile pads) and the palm.
**2.** A \"proprietary\" clasp usually intermediate between the
**[precision
grip](http://members.aol.com/nonverbal2/precise.htm){target="_top"}**
and the **[power
grip](power1.htm){tppabs="http://members.aol.com/doder1/power1.htm"
target="_top"}**. **3.** A clear indication that a customer has decided
to purchase (i.e., to take ownership of) a hand-held **[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** such as a book, magazine, or greeting card.

*Usage I*: The decision grip is a nonverbal
[**sign**](http://members.aol.com/nonverbal2/sign.htm){target="_top"}
showing that one\'s mind has decided to take possession of an artifact
or object. After an exploratory waiting period (reflected by holding a
consumer product, e.g., in the tentative *precision grip*), we
unwittingly grasp the item in a decision grip\--which maximizes contact
between the item itself and the sensitive tactile pads\--as if it were
already a personal possession or a *belonging*.\
\
*Usage II*: When a larger consumer product, such as a computer scanner
or a table lamp, is placed in a shopping cart, the prospective owner may
grasp the cart\'s handrail in a decision (rather than in the usual
power) grip. Holding the cart in this manner reflects the emotional
power exerted by consumer products.\
\
*Neuro-notes*. Using our sensitive fingertips as *tactile antennae*, we
initially probe an objects with the precision grip, keeping it \"at a
distance\" (because, psychologically, it is not yet \"ours\"). But as
the mind takes ownership, we clutch the product between our fingers and
palm in a *proprietary clasp* before taking full acquisition at the
checkstand. Handling objects in the decision grip stimulates tactile
sensors (e.g., for pleasurable \"soft,\" or *protopathic*, touch) and
pleasure areas linked to grooming centers of the mammalian brain\'s
**[cingulate
gyrus](cingulat.htm){tppabs="http://members.aol.com/nonverbal3/cingulat.htm"
target="_top"}**.

See also
**[HANDS](http://members.aol.com/nonverbal2/hands.htm){target="_top"}**,
**[OBJECT
FANCY](http://members.aol.com/nonverbal2/object.htm){target="_top"}**.

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


EFFERENT CUE

**EFFERENT CUE**

*Attendez! Por ejemplo!! Place the fingers of your right hand extended.
Distend the thumb of your right hand until it touches your nose. The
little finger of your right hand is stretched venomously towards the
world. You say nothing but you think much, and that is that. The gesture
is made; and an ugly world is scoffed*. \--John D. Williams (1926:8; see
below, *The Shanghai gesture*)\
\
\
*Neuro term*. **1.** A nonverbal sign *sent*, as opposed to one
*received* (see **[AFFERENT
CUE](http://members.aol.com/nonverbal2/afferent.htm){target="_top"}**).
**2.** An outgoing sign produced, e.g., by a **[body
movement](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}**, **[clothing
cue](http://members.aol.com/nonverbal2/adorn.htm){target="_top"}**,
**[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}**, glandular secretion (e.g., **[apocrine
odor](http://members.aol.com/nonverbal2/apocrine.htm){target="_top"}**,
**[sweaty
palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}**,
**[tears](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**),
**[hair
style](http://members.aol.com/nonverbal2/haircue.htm){target="_top"}**,
[**nonverbal
vocalization**](http://members.aol.com/nonverbal2/tone.htm){target="_top"}
(e.g.,
**[cry](http://members.aol.com/nonverbal3/cry.htm){target="_top"}**,
**[laugh](http://members.aol.com/nonverbal3/laugh.htm){target="_top"}**,
whine),
**[posture](posture1.htm){tppabs="http://members.aol.com/doder1/posture1.htm"
target="_top"}**, recipe (e.g., **[Big
Mac](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"}**®****,
**[Coca-Cola](http://members.aol.com/nonverbal2/cocacola.htm){target="_top"}**®****,
**[shrimp
cocktail](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}**), or **[speech
error](sperrors.htm){tppabs="http://members.aol.com/nonverbal3/sperrors.htm"
target="_top"}**.\
\
*Usage*: Conceptually, *efferent* and *afferent* reflect the two sides
of every nonverbal sign: (1) *egress* (i.e., as an out-bound cue to be
produced) and (2) *ingress* (i.e., as an in-bound cue to be processed).

*The Shanghai gesture*. \"The gesture \[see epigraph above\] is useful.
It is comforting. It does something for you and to you, because the
world cannot answer\--in kind\--if you make the gesture first\"
(Williams 1926:8).\
\
*Neuro-note*: Efferent cues reflect **a.** inner thoughts (produced,
e.g., in tandem with the speech areas), and **b.** inner workings of the
**[nonverbal
brain](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**.

See also
**[CUE](http://members.aol.com/nonverbal2/cue.htm){target="_top"}**,
**[INFORMATION](http://members.aol.com/nonverbal2/info.htm){target="_top"}**,
**[MESSAGING
FEATURE](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**.

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


ENTERIC BRAIN

**ENTERIC BRAIN**

[![Enteric Brain Food](enteric.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/enteric.jpg" height="35%"
width="35%"}](shellfis.htm){tppabs="http://members.aol.com/nonverbal3/shellfis.htm"
target="_top"}\
\
*Ever since you gave me that order to be
[**silent**](silence1.htm){tppabs="http://members.aol.com/doder1/silence1.htm"
target="_top"}, a number of things in my stomach have gone to rot* . . .
. \--Sancho Panza (Miguel de Cervantes, *Don Quixote* \[1605:161\])\
\
*Chomsky\'s linguistics was beginning to strike many people as \"a
theory of the stomach which ignored digestion.\"* \--David Berreby
(1994)\
\
*I don\'t like shopping, especially in a mall. I get dizzy and it makes
me want to toss my cookies*. \--Nancy Lee Grahn, \"Alexis,\" *General
Hospital* (*Soap Opera Digest*, May 2, 2000:57)\
\
*Neuro term*. A vast collection of nerve cells and
**[paleocircuits](http://members.aol.com/nonverbal2/paleo.htm){target="_top"}**
in the bowel area, of such complexity that it has recently been called
the \"second brain.\"

*Usage*: In many ways independent of the brain proper\--i.e., having a
mind of its own\--the enteric brain expresses itself nonverbally as
visible \"gut reactions.\" The \"full\" feeling of satisfaction, the
\"sick\" feeling of nausea, the urge to vomit, and abdominal pain, e.g.,
are telegraphed through familiar [**facial
expressions**](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}
and [**body
movements**](bodymov1.htm){tppabs="http://members.aol.com/doder1/bodymov1.htm"
target="_top"}.\
\
*Culture*. In the Japanese art of *shinyo*, one may cultivate the
nonverbal skills of an awareness center called the *hara*, a region of
the abdomen, diaphram, and stomach, which may be trained to process
\"gut feelings\" about another person\'s unvoiced motivations and moods.
\"It is the primary way in which senior level Japanese officials and
executives conduct business, and takes precedence over almost all other
forms of decision-making. It does not consist of 'winging it\' based on
generally ill-defined intuition; rather it is a skill and art which sets
some people apart from all others in Japanese society and consists of
learning and skills which are in some ways closely guarded secrets even
today\" (Drake 2000).

*Goethe\'s biology*. \"Much of the ungulate\'s soul life\--despite its
undoubted intensity and power\--does not appear at the surface, because
it is too much involved in the processes of digestion and growth to
establish any close relationship with the outside world\" \[Schadt, p.
226\].

*Neuro-notes I*. In terms of its structures, functions, and
neurochemicals, the enteric nervous system (ENS) is now regarded as \"a
brain unto itself.\" According to Gershon (1998), \"Within those yards
of tubing lies a complex web of microcircuitry driven by more
neurotransmitters and neuromodulators than can be found anywhere else in
the peripheral nervous system. These allow the ENS to perform many of
its tasks in the absence of central nervous system (CNS) control . . .
.\"

*Neuro-notes II*. Though the vagus nerve controls much of the ENS, the
latter itself dictates how to perform most of its diverse functions.

See also
**[DISGUST](http://members.aol.com/nonverbal2/disgust.htm){target="_top"}**,
**[NONVERBAL
BRAIN](http://members.aol.com/nonverbal2/nvbrain.htm){target="_top"}**,
**[REST-AND-DIGEST](rest.htm){tppabs="http://members.aol.com/nonverbal3/rest.htm"
target="_top"}**, **[SPECIAL VISCERAL
NERVE](viscera1.htm){tppabs="http://members.aol.com/doder1/viscera1.htm"
target="_top"}**.\
\
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})


ERGONOMICS OF THE MIND

**[ERGONOMICS OF THE MIND\
\
![Smooth & Rounded (ca. 2500 BC)](ergo1.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/ergo1.jpg"
height="35%" width="45%"}]{#ERGONOMICS FOR THE MIND}\
**\
*Concept*. **1.** The application of *neuroscience principles* to
**[consumer
product](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"}** design. **2.** *Design features* **a.** adapted
specifically to the brain and nervous system, and **b.** intended to
optimize product appeal, enjoyment, and value (see, e.g., **[new car
smell](newcar.htm){tppabs="http://members.aol.com/doder1/newcar.htm"
target="_top"}**). **3.** Emotional **[messaging
features](http://members.aol.com/nonverbal2/messafea.htm){target="_top"}**
added to make products more expressive (e.g., more \"lively\") and fun
to use.

*Usage*: Ergonomics of the mind means \"user friendly to the brain.\"
For the last 100,000 years, human beings have designed products so as to
maximize their appeal to emotions, feelings, and moods. Today we form
strong attachments to products which express themselves, show attitude,
and emote personality (see, e.g., [**BIG
MAC**](http://members.aol.com/nonverbal2/bigmac.htm){target="_top"},
[**BLUE
JEANS**](http://members.aol.com/nonverbal2/bluejean.htm){target="_top"},
[**VEHICULAR
STRIPE**](vstripe.htm){tppabs="http://members.aol.com/nonverbal3/vstripe.htm"
target="_top"}).

![Smooth & Rounded (1999 AD)](ergo2.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/ergo2.jpg"
height="35%" width="45%"}\
\
*Familiarity*. We prefer those products we have already seen, tasted,
heard, felt, or smelled to those yet unexperienced. According to
research by Robert Zajonc (1980): \"If subjects are exposed to some
novel visual patterns (like Chinese ideograms) and then asked to choose
whether they prefer the previously exposed or new patterns, they
reliably tend to prefer the preexposed ones. Mere exposure to stimuli is
enough to create preferences\" (quoted in LeDoux, 1996:53). Subliminal
mere exposure works, too: \"This led him \[Robert Bornstein\] to
conclude that the mere exposure effect is much stronger when the stimuli
are subliminally presented than when the stimuli are freely available
for conscious inspection\" (LeDoux, 1996:59).\
\
***[Color](http://members.aol.com/nonverbal3/color.htm){target="_top"}***.
We like multi-hued products. Like our primate relatives, we have acute
color vision and can recognize ca. 200 specific hues, from fiery reds to
violet blues. (***N.B.***: The color green strongly attracts our
attention, and is used in traffic lights, under the first and last steps
of escalators, and in rented bowling shoes.)\
\
***[Touch](touch1.htm){tppabs="http://members.aol.com/doder1/touch1.htm"
target="_top"}***. We like products that feel smooth and soft to the
touch. When a silk scarf, e.g., is drawn across our palm, the \"soft\"
sensation is carried by *free nerve endings*, the oldest touch sensors
found in vertebrate skin. Today, the soft or *protopathic* touch sensors
found in hairless areas of our skin are partly responsible for our
itching, tickling, and sexual sensations.\
\
See also
[**ARTIFACT**](http://members.aol.com/nonverbal3/artifact.htm){target="_top"},
[**OBJECT
FANCY**](http://members.aol.com/nonverbal2/object.htm){target="_top"},
**[VEHICULAR
GRILLE](http://members.aol.com/nonverbal2/vegrille.htm){target="_top"}**.\
\
Copyright **©** 1998 - 2001 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Top illustration: A native American atlatl (spear-thrower) weight from
Ohio, dated between 2600-2400 BC (Scarre 1993:101; copyright Dorling
Kinderslee)

\


EXPECTANCY THEORY


EYEBROW-LOWER

**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)


EYEBROW-RAISE

**EYEBROW-RAISE**

![Supercilious](browrais.jpg){border="0"
tppabs="http://members.aol.com/doder1/objects/browrais.jpg" height="35%"
width="30%"}\
\
*. . . the vast corrugated brow overhanging the proud eyes . . . .*
\--Joseph Conrad (*Lord Jim*)\
***[\
Facial
expression](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}***.
**1.** To lift the arch of short hairs above the eye, as in
**[uncertainty](http://members.aol.com/nonverbal2/uncert.htm){target="_top"}**,
disbelief, surprise, or exasperation. **2.** To elevate the eyebrow by
contracting the occipitofrontalis muscle.

*Usage I*: Raising the eyebrows adds intensity to a facial expression.
Brow-raising can strengthen a dominant stare, exaggerate a submissive
**[pout](pout.htm){tppabs="http://members.aol.com/doder1/pout.htm"
target="_top"}**, or boost the energy of a
**[smile](http://members.aol.com/nonverbal2/zygosmi.htm){target="_top"}**.
The involved muscle (occipitofrontalis) elevates the eyebrows to form
prominent, horizontal furrows in the forehead, making almost any gesture
look and feel stronger.

*Usage II*: In tandem with head-tilt-back, raising one or both eyebrows
suggests a supercilious air of disdain, haughtiness, or pride.
(***N.B.***: \"Supercilious\" comes from the Latin word for \"eyebrow,\"
*supercilium*.) We may unconsciously lift our eyebrows as we give
orders, argue important speaking points, or make demands.\
\
*Anatomy*. Our
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
evolved as a signboard to display
**[emotions](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
welling from the **[mammalian
brain](mammal.htm){tppabs="http://members.aol.com/nonverbal3/mammal.htm"
target="_top"}**. Facial messages are controlled by the facial nerve
(*cranial VII*). Its nucleus has both an upper and a lower component;
the former lifts and depresses our eyebrows. When we feel
**[happy](http://members.aol.com/nonverbal2/happy.htm){target="_top"}**,
e.g., our **[limbic
brain](limbic.htm){tppabs="http://members.aol.com/nonverbal3/limbic.htm"
target="_top"}** stimulates cranial VII, which innervates the forehead
muscles to raise our brows.

***[Media](http://members.aol.com/nonverbal3/media.htm){target="_top"}***.
**1.** \"\[Phil\] Donahue has a characteristic way of raising his
eyebrows which draws attention to his eyes which are directed to the
\[TV\] viewers\" (Raffler-Engel 1984:12). **2.** To convey authority and
show strong emotion, televangelists raise their eyebrows and project
their foreheads\' horizontal lines onto the video screen for added
dramatic effect.

***RESEARCH REPORTS***: **1.** Eyebrow-raise is a threat sign in
baboons, mandrills, and cebus monkeys (Andrew 1965; van Hooff 1967).
**2.** The *eyebrow-flash* of recognition is a worldwide friendly
greeting (Eibl-Eibesfeldt 1989; Morris 1994). **3.** One eyebrow raised
(as in the *eyebrow cock*) is a widespread sign of scepticism (Morris
1994).

*Neuro-notes*. Brow-raising is mediated by the top part of cranial
VII\'s motor nucleus, which contains cells to innervate the contraction
of muscles in the upper part of our face. The top part receives
bilateral input from both sides of the cerebral neocortex, rather than
unilaterally (as in the bottom part of the nucleus, which controls the
muscles of the lower half of our face).

See also
**[EYEBROW-LOWER](browlow1.htm){tppabs="http://members.aol.com/doder1/browlow1.htm"
target="_top"}**.

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

\
\


FACIAL FLUSHING

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

*A flush stole over Miss Sutherland\'s face, and she picked nervously at
the fringe of her jacket*. \--Arthur Conan Doyle (\"A Case of
Identity\")\
\
*Note whether she changes color while you are giving her my message* . .
. \--Don Quixote to Sancho Panza (Cervantes 1605:566)\
\
***[Emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
cue*. Becoming red or rosy in the
**[face](http://members.aol.com/nonverbal2/face.htm){target="_top"}**
from physical exercise, embarrassment, shyness,
**[anger](http://members.aol.com/nonverbal2/anger.htm){target="_top"}**,
or shame.

*Usage*: Facial flushing or *blushing* is elicited by social stimuli,
e.g., as one **a.** becomes the focus of attention in a group, **b.** is
asked to speak in public, or **c.** experiences **[stranger
anxiety](strange1.htm){tppabs="http://members.aol.com/doder1/strange1.htm"
target="_top"}**. Suddenly the face, ears, and neck (and in extreme
cases, the entire upper chest) redden, causing further embarrassment
still.\
\
*Anatomy*. Blushing is caused by sudden arousal of the *sympathetic
nervous system*, which dilates the small blood vessels of the face and
body (see
[**FIGHT-OR-FLIGHT**](fight.htm){tppabs="http://members.aol.com/nonverbal3/fight.htm"
target="_top"}).\
\
*Ethology*. \"Flushing, contrary to popular belief, is never seen in a
purely aggressive individual; it is a sign of actual or possible
defeat\" (Brannigan and Humphries 1969:407).\
\
*Medicine*. Some people blush uncontrollably in almost any social
situation, and suffer such embarrassment that they undergo surgery to
interrupt sympathetic nervous supply to their faces. In a *thorascopic
sympathicotomy*, an incision is made through the arm pit into the
thoracic cavity to sever a sympathetic nerve located close to the spine.
(***N.B.***: Embarrassing **[sweaty
palms](sweaty1.htm){tppabs="http://members.aol.com/doder1/sweaty1.htm"
target="_top"}** may be controlled the same way.)

*Observation*. One of the first signs of anger is an uncontrollable
*reddening of the ears*.

***RESEARCH REPORTS***: **1.** \"In most cases the face, ears and neck
are the sole parts which redden; but many persons, whilst blushing
intensely, feel that their whole bodies grow hot and tingle. . .\"
(Darwin 1872:312). **2.** The *red face* (accompanied by overhand
beating and screaming) has been observed in nursery school children who
were motivated to attack but did not actually do so (i.e., they seemed
\"defeated\"; Blurton Jones 1967:355). **3.** \"\[Michael\] Lewis
suggests that embarrassment is first seen between the ages of two and
two and a half\" (Ekman 1998:311). **4.** \"There is general agreement
among contemporary researchers that attention to the self is the cause
of blushing\" (Ekman 1998:324).

See also
**[EYE-BLINK](http://members.aol.com/nonverbal2/eyeblink.htm){target="_top"}**,
**[FLASHBULB
EYES](http://members.aol.com/nonverbal2/flashbul.htm){target="_top"}**.

Copyright 1999, 2000 (David B. Givens/[**Center for Nonverbal
Studies**](http://members.aol.com/nonverbal2/index.htm){target="_top"})\
Detail of portrait *Mr. S. Vaughan* (copyright 1845 by Sheldon Peck)


FACIAL I.D.

**[FACIAL I.D.]{#FACIAL I.D.}\
**\
![Mug Shots](facialid.jpg){border="0"
tppabs="http://members.aol.com/nonverbal3/objects/facialid.jpg"
height="40%" width="35%"}\
\
*Identification*. Those definitive features of a
[**face**](http://members.aol.com/nonverbal2/face.htm){target="_top"}
with which to establish its age, sex, attractiveness, and identity.

*Usage*: Despite an advanced ability to recognize and recall thousands
of faces (see **[FACIAL
RECOGNITION](facerec.htm){tppabs="http://members.aol.com/nonverbal3/facerec.htm"
target="_top"}**), we are unable to describe individual faces adequately
in **[words](word1.htm){tppabs="http://members.aol.com/doder1/word1.htm"
target="_top"}**. Witnesses at crime scenes, e.g., offer police few
verbal clues of facial I.D.

*Identity clues*. Our brain\'s innate ability to recognize faces far
exceeds that of any spoken language to describe them. Identity clues
used by the Chicago Police, e.g., consist of general, all-purpose words
such as **a.** *high*, *low*, *wide*, and *narrow* foreheads; **b.**
*smooth*, *creased*, and *wrinkled* skin; **c.** *long*, *wide*, *flat*,
*pug*, and *Roman* noses; **d.** *wide*, *narrow*, and *flared*
nostrils; **e.** *sunken*, *filled-out*, *dried*, *oily*, and *wrinkled*
cheeks; **f.** *prominent*, *high*, *low*, *wide*, and *fleshy* cheek
bones; **g.** *corners-turned-up*, *down*, and *level* for the mouth;
**h.** *thin*, *medium*, and *full* upper and lower lips; **i.** *double
chin*, *protruding Adam\'s apple*, and *hanging jowls* for necks; and
**j.** *round*, *oval*, *pointed*, *square*, *small*, and *double*
chins.

*Prehistory*. That linguistic labels for the face pale in comparison to
those for [**consumer
products**](consprod.htm){tppabs="http://members.aol.com/nonverbal2/consprod.htm"
target="_top"} (see, e.g.,
**[FOOTWEAR](http://members.aol.com/nonverbal3/footwear.htm){target="_top"}**)
is because our primate face \"speaks for itself\" and has done so for
millions of years. The need to describe faces in words is a recent
development dating back only a few thousand years to adaptations for
city life, i.e., for urban crime and increasing numbers of strangers.
(***N.B.***: Recognizing and remembering faces involves
**[emotion](http://members.aol.com/nonverbal2/emotion.htm){target="_top"}**
centers of the brain, which are addressed only indirectly by speech
centers.)

***RESEARCH REPORTS***: **1.** Researchers have isolated facial traits
preferred, perhaps, by all human beings. Facial \"cuteness,\" e.g.\--a
set of immature features and youthful proportions\--is found to be
generally attractive in the male and female face. Cuteness (i.e., the
*infantile schema*) was originally identified in mammals (including
human beings) by Konrad Lorenz (1939). **2.** Japanese and Caucasian men
and women prefer *high cheekbones* and such infantile traits as **a.**
*thin jaws*, **b.** *large eyes*, **c.** a *short distance* between the
mouth and chin, and **d.** a *short distance* between the nose and mouth
(Perrett, May and Yoshikawa 1994). **3.** Another preferred trait is
*symmetry* between a face\'s right- and left-hand sides. In a review of
symmetry in mate selection, Paul Watson and Randy Thornhill concluded,
e.g., that animals from scorpion flies to zebra finches show a
preference for symmetrical patterns and shapes (perhaps because
*asymmetry* is a sign of weakness or disease; Watson and Thornhill
1994). Thornhill applied the findings to human beings by studying
college student ratings of young adult faces (through photos showing a
range of vertical and horizontal symmetry or its lack): subjects rated
symmetrical faces most attractive.

*Evolution*. Our face has become more baby-like (and less intimidating)
through time. The wide jaws and broad dental arch of our ancestor, *Homo
habilis* (ca. 2.3 m.y.a.), e.g., belonged to a fearsome-looking face
with great biting power. Our own lower face\'s comparatively smaller
features are crouched beneath an immense, bulbous\--i.e.,
infantile\--forehead.

See also [**FACIAL
BEAUTY**](http://members.aol.com/nonverbal3/beauty1.htm){target="_top"},
**[FACIAL
EXPRESSION](http://members.aol.com/nonverbal3/facialx.htm){target="_top"}**,
**[LOVE
SIGNAL](http://members.aol.com/nonverbal2/lovesig.htm){target="_top"}**.

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