The tradeoff hypothesis in the speech–gesture relationship claims that (a) when gesturing gets harder, speakers will rely relatively more on speech, and (b) when speaking gets harder, speakers will rely relatively more on gestures. We tested the second part of this hypothesis in an experimental collaborative referring paradigm where pairs of participants (directors and matchers) identified targets to each other from an array visible to both of them. We manipulated two factors known to affect the difficulty of speaking to (...) assess their effects on the gesture rate per 100 words. The first factor, codability, is the ease with which targets can be described. The second factor, repetition, is whether the targets are old or new (having been already described once or twice). We also manipulated a third factor, mutual visibility, because it is known to affect the rate and type of gesture produced. None of the manipulations systematically affected the gesture rate. Our data are thus mostly inconsistent with the tradeoff hypothesis. However, the gesture rate was sensitive to concurrent features of referring expressions, suggesting that gesture parallels aspects of speech. We argue that the redundancy between speech and gesture is communicatively motivated. (shrink)

Speakers of different languages (e.g., English vs. Turkish) show a binary split in how they package and order components of a motion event in speech and co‐speech gesture but not in silent gesture. In this study, we focused on Mandarin Chinese, a language that does not follow the binary split in its expression of motion in speech, and asked whether adult Chinese speakers would follow the language‐specific speech patterns in co‐speech but not silent gesture, thus showing a (...) pattern akin to Turkish and English adult speakers in their description of animated motion events. Our results provided evidence for this pattern, with Chinese—as well as English and Turkish—speakers following language‐specific patterns in speech and co‐speech gesture but not in silent gesture. Our results provide support for the “thinking‐for‐speaking” account, namely that language influences thought only during online, but not offline, production of speech. (shrink)

This paper explores how Wundt’s and Bühler’s respective conceptions of gestural expression have implications for how each conceives of what, in broad terms, may be understood as a ‘grammar of gestures’: that is, the rules for the formation and performance of gestures with and without speech. Unlike previous scholarship that has looked at the relationship of Wundt and Bühler, the aim here will be to give particular attention to the relevance of their respective accounts for current philosophical and linguistic research (...) on gesture. Building off of Bühler, we can offer an alternative to the psychologistic and solipsistic model of gestural expression that can be found in Wundt and that seems to be resurgent today in work by McNeil and others. Via Bühler’s notions of diacrisis and of the underlying functions that guide human communication, we propose an understanding of the relationship between gestures and speech that aims to render accurately both the highly contextualised and the highly structured conditions of their mutual employment. (shrink)

This article examines the formal and functional features of a recurring ‘away’ gesture in Syuba (Tibeto-Burman, Nepal). The formal properties of this gesture include a pronation of the forearms to bring the palms downward while the fingers spread away, and is most often performed with both hands. Functionally, it is found with utterances that signal negation, particularly the absence of something. A growing body of literature links ‘away’ trajectories with negation, or negative evaluation of speech content cross-linguistically. The (...) temporal alignment between these gesture and lexical content also shows that cross-linguistic differences in word order appear to affect performance of gestures associated with negated content. (shrink)

Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not (...) do. For conducting is to make oneself understood by an orchestra rather than to impact on it causally. A better way of making sense of the relationship between conductor and orchestra is offered by the theory of the social contract. That idea should be supplemented by an account of the relationship between the conductor who gesturally embodies the music’s expression on the one hand and the audience on the other hand. (shrink)

This study investigates whether there is a relation between the semantics of linguistic expressions that indicate temporal distance and the spatial properties of their co-speech gestures. To this date, research on time gestures has focused on features such as gesture axis, direction, and shape. Here we focus on a gesture property that has been overlooked so far: the distance of the gesture in relation to the body. To achieve this, we investigate two types of temporal linguistic expressions (...) are addressed: proximal (e.g., near future, near past) and distal (e.g., distant past, distant future). Data was obtained through the NewsScape library, a multimodal corpus of television news. A total of 121 co-speech gestures were collected and divided into the two categories. The gestures were later annotated in terms of gesture space and classified in three categories: (i) center, (ii) periphery, and (iii) extreme periphery. Our results suggest that gesture and language are coherent in the expression of temporal distance: when speakers locate an event far from them, they tend to gesture further from their body; similarly, when locating an event close to them, they gesture closer to their body. These results thus reveal how co-speech gestures also reflect a space-time mapping in the dimension of distance. (shrink)

Originally published in 2005, the 2018 translation of François Caradec’s Dictionary of Gestures provides the Anglophone public with a rich, idiosyncratic, amusing and informative collection of gest...

This article aims to determine to what extent photographic practices in psychology, psychiatry and physiology contributed to the definition of the external bodily signs of passions and emotions in the second half of the 19th century in France. Bridging the gap between recent research in the history of emotions and photographic history, the following analyses focus on the photographic production of scientists and photographers who made significant contributions to the study of expressions and gestures, namely Duchenne de Boulogne, Charles Darwin, (...) Paul Richer and Albert Londe. This article argues that photography became a key technology in their works due to the adequateness of the exposure time of different cameras to the duration of the bodily manifestations to be recorded, and that these uses constituted facial expressions and bodily gestures as particular objects for the scientific study. (shrink)

Journal Name: Cognitive Linguistics Issue: Ahead of print.

Originally published in 2005, the 2018 translation of François Caradec’s Dictionary of Gestures provides the Anglophone public with a rich, idiosyncratic, amusing and informative collection of gest...

In dynamic theories of presupposition, a trigger pp′ with presupposition p and at-issue component p′ comes with a requirement that p should be entailed by the local context of pp′. We argue that some co-speech gestures should be analyzed within a presuppositional framework, but with a twist: an expression p co-occurring with a co-speech gesture G with content g comes with the requirement that the local context of p should guarantee that p entails g; we call such assertion-dependent presuppositions (...) ‘cosuppositions’. We show that this analysis can be combined with earlier theories of local contexts to account for complex patterns of gesture projection in quantified and in attitudinal contexts, and we compare our account to two potential alternatives: one based on supervaluations, and one, due to Cornelia Ebert, that treats co-speech gestures as supplements. We argue that the latter is correct, but for ‘post-speech’ gestures, rather than for co-speech gestures. (shrink)

There has long been interest in why languages are shaped the way they are, and in the relationship between sign language and gesture. In sign languages, entity classifiers are handshapes that encode how objects move, how they are located relative to one another, and how multiple objects of the same type are distributed in space. Previous studies have shown that hearing adults who are asked to use only manual gestures to describe how objects move in space will use gestures (...) that bear some similarities to classifiers. We investigated how accurately hearing adults, who had been learning British Sign Language for 1–3 years, produce and comprehend classifiers in locative and distributive constructions. In a production task, learners of BSL knew that they could use their hands to represent objects, but they had difficulty choosing the same, conventionalized, handshapes as native signers. They were, however, highly accurate at encoding location and orientation information. Learners therefore show the same pattern found in sign-naïve gesturers. In contrast, handshape, orientation, and location were comprehended with equal accuracy, and testing a group of sign-naïve adults showed that they too were able to understand classifiers with higher than chance accuracy. We conclude that adult learners of BSL bring their visuo-spatial knowledge and gestural abilities to the tasks of understanding and producing constructions that contain entity classifiers. We speculate that investigating the time course of adult sign language acquisition might shed light on how gesture became conventionalized during the genesis of sign languages. (shrink)

The ubiquitous human practice of spontaneously gesturing while speaking demonstrates the embodiment, embeddedness, and sociality of cognition. The present essay takes gestural practice to be a paradigmatic example of a more general claim: human cognition is social insofar as our embedded, intelligent, and interacting bodies select and construct meaning in a way that is intersubjectively constrained and defeasible. Spontaneous co-speech gesture is markedly interesting because it at once confirms embodied aspects of linguistic meaning-making that formalist and linguistic turn-type philosophical (...) approaches fail to appreciate, and it also forefronts intersubjectivity as an inherent and inherently normative dimension of communicative action. Co-speech hand gestures, as linguistically meaningful speech acts, demonstrate both sedimentation and spontaneity (in the sense of Maurice Merleau-Ponty’s dialectic of linguistic expression ( 2002 )), or features of convention and nonconvention in a Gricean sense ( 1989 ). Yet neither pragmatic nor classic phenomenological approaches to communication can accommodate the practice of co-speech hand gesturing without some rehabilitation and reorientation. Pragmatic criteria of intersubjectivity, normativity, and rationality need to confront the non-propositional and nonverbal meaning-making of embodied encounters. Phenomenological treatments of expression and intersubjectivity must consider the normative nature of high-order social practices like language use. Reciprocally critical exchanges between these traditions and gesture studies yield an improved philosophy that treats language as a multi-modal medium for collaborative meaning achievement. The proper paradigm for these discussions is found in enactive approaches to social cognition. Co-speech hand gestures are first and foremost emergent elements of social interaction, not the external whirring of an isolated internal consciousness. In contrast to current literature that frequently presents gestures as uncontrollable bodily upsurge or infallible imagistic phenomenon that drives and dances with verbal or “linguistic” convention (McNeill 1992 , 2005 ), I suggest that we study gestures as dynamic, embodied, and shared tools for collaborative sense-making. (shrink)

Methodological problems often arise when a special case is confused with the general principle. So you will find affordances only for ‚artifacts’ if you restrict the analysis to ‚artifacts’. The general principle, however, is an ‚invitation character’, which triggers an action. Consequently, an action-theoretical approach known as ‚pragmatic turn’ in cognitive science is recommended. According to this approach, the human being is not a passive-receptive being but actively produces those action effects that open up the world to us. This ‚ideomotor (...) approach’ focuses on the so-called ‚epistemic actions’, which guide our perception as conscious and unconscious cognitions. Due to ‚embodied cognition’ the own body is assigned an indispensable role. The action theoretical approach of ‚enactive cognition’ enables that every form can be consistently processualized. Thus, each ‚Gestalt’ is understood as the process result of interlocking cognitions of ‚forward modelling’ and ‚inverse modelling’. As can be shown, these cognitions are fed by previous experiences of real interaction, which later changes into a mental trial treatment, which is highly automated and can therefore take place unconsciously. It is now central that every object may have such affordances that call for instrumental or epistemic action. In the simplest case, it is the body and the facial expressions of our counterpart that can be understood as a question and provoke an answer/reaction. Thus, emotion is not only to be understood as expression/output according to the scheme ‚input-processing-output’, but acts itself as a provocative act/input. Consequently, artifacts are neither necessary nor sufficient conditions for affordances. Rather, they exist in all areas of cognition—from Enactive Cognition to Social Cognition. (shrink)

Social cognition researchers have become increasingly interested in the ways that behavioral, physiological, and neural coupling facilitate social interaction and interpersonal understanding. We distinguish two ways of conceptualizing the role of such coupling processes in social cognition: strong and moderate interactionism. According to strong interactionism (SI), low-level coupling processes are alternatives to higher-level individual cognitive processes; the former at least sometimes render the latter superfluous. Moderate interactionism (MI) on the other hand, is an integrative approach. Its guiding assumption is that (...) higher-level cognitive processes are likely to have been shaped by the need to coordinate, modulate, and extract information from low-level coupling processes. In this paper, we present a case study on Möbius Syndrome (MS) in order to contrast SI and MI. We show how MS—a form of congenital bilateral facial paralysis—can be a fruitful source of insight for research exploring the relation between high-level cognition and low-level coupling. Lacking a capacity for facial expression, individuals with MS are deprived of a primary channel for gestural coupling. According to SI, they lack an essential enabling feature for social interaction and interpersonal understanding more generally and thus ought to exhibit severe deficits in these areas. We challenge SI’s prediction and show how MS cases offer compelling reasons for instead adopting MI’s pluralistic model of social interaction and interpersonal understanding. We conclude that investigations of coupling processes within social interaction should inform rather than marginalize or eliminate investigation of higher-level individual cognition. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

In debates about the proper analysis of demonstrative expressions, ostensive gestures and speaker intentions are often seen as competing for primary importance in securing reference. Underlying some of these debates is the mistaken assumption that ostensive gestures always make the demonstrated object maximally salient to interlocutors. When we abandon this assumption and focus on an object’s mutually-recognized salience itself, rather than on how the object came to be salient, we can work towards a more promising analysis with a uniform treatment (...) of demonstrative reference whether or not there is an ostensive gesture, and whether reference is ordinary or deferred. (shrink)

ABSTRACTRecognising a facial expression is more difficult when the expresser's body conveys incongruent affect. Existing research has documented such interference for universally recognisable bodil...

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture (...) in boxing. The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic. (shrink)

Two eye-tracking experiments investigated how and when pointing gestures and location descriptions affect target identification. The experiments investigated the effect of gestures and referring expressions on the time course of fixations to the target, using videos of human gestures and human voice, and animated gestures and synthesized speech. Ambiguous, yet informative pointing gestures elicited attention and facilitated target identification, akin to verbal location descriptions. Moreover, target identification was superior when both pointing gestures and verbal location descriptions were used. These findings (...) suggest that gesture not only operates as a context to verbal descriptions, or that verbal descriptions operate as a context to gesture, but that they complement one another in reference resolution. (shrink)

When faced with an ambiguous pronoun, comprehenders use both multimodal cues and linguistic cues to identify the antecedent. While research has shown that gestures facilitate language comprehension, improve reference tracking, and influence the interpretation of ambiguous pronouns, literature on reference resolution suggests that a wide set of linguistic constraints influences the successful resolution of ambiguous pronouns and that linguistic cues are more powerful than some multimodal cues. To address the outstanding question of the importance of gesture as a cue (...) in reference resolution relative to cues in the speech signal, we have previously investigated the comprehension of contrastive gestures that indexed abstract referents – in this case expressions of personal preference – and found that such gestures did facilitate the resolution of ambiguous statements of preference. In this study, we extend this work to investigate whether the effect of gesture on resolution is diminished when the gesture indexes a statement that is less likely to be interpreted as the correct referent. Participants watched videos in which a speaker contrasted two ideas that were either neutral or moral acceptable). A gesture to the left or right side co-occurred with speech expressing each position. In gesture-disambiguating trials, an ambiguous phrase was accompanied by a gesture to one side or the other. In gesture non-disambiguating trials, no third gesture occurred with the ambiguous phrase. Participants were more likely to choose the idea accompanied by gesture as the stimulus speaker’s preference. We found no effect of scenario type. Regardless of whether the linguistic cue expressed a view that was morally charged or neutral, observers used gesture to understand the speaker’s opinion. This finding contributes to our understanding of the strength and range of cues, both linguistic and multimodal, that listeners use to resolve ambiguous references. (shrink)

People with aphasia use gestures not only to communicate relevant content but also to compensate for their verbal limitations. The Sketch Model (De Ruiter, 2000) assumes a flexible relationship between gesture and speech with the possibility of a compensatory use of the two modalities. In the successor of the Sketch Model, the AR‐Sketch Model (De Ruiter, 2017), the relationship between iconic gestures and speech is no longer assumed to be flexible and compensatory, but instead iconic gestures are assumed to (...) express information that is redundant to speech. In this study, we evaluated the contradictory predictions of the Sketch Model and the AR‐Sketch Model using data collected from people with aphasia as well as a group of people without language impairment. We only found compensatory use of gesture in the people with aphasia, whereas the people without language impairments made very little compensatory use of gestures. Hence, the people with aphasia gestured according to the prediction of the Sketch Model, whereas the people without language impairment did not. We conclude that aphasia fundamentally changes the relationship of gesture and speech. (shrink)

People with aphasia use gestures not only to communicate relevant content but also to compensate for their verbal limitations. The Sketch Model (De Ruiter, 2000) assumes a flexible relationship between gesture and speech with the possibility of a compensatory use of the two modalities. In the successor of the Sketch Model, the AR‐Sketch Model (De Ruiter, 2017), the relationship between iconic gestures and speech is no longer assumed to be flexible and compensatory, but instead iconic gestures are assumed to (...) express information that is redundant to speech. In this study, we evaluated the contradictory predictions of the Sketch Model and the AR‐Sketch Model using data collected from people with aphasia as well as a group of people without language impairment. We only found compensatory use of gesture in the people with aphasia, whereas the people without language impairments made very little compensatory use of gestures. Hence, the people with aphasia gestured according to the prediction of the Sketch Model, whereas the people without language impairment did not. We conclude that aphasia fundamentally changes the relationship of gesture and speech. (shrink)

Throughout his career, the influential new media theorist Vilém Flusser kept the idea of gesture in mind: that people express their being in the world through a sweeping range of movements. He reconsiders familiar actions—from speaking and painting to smoking and telephoning—in terms of particular movement, opening a surprising new perspective on the ways we share and preserve meaning. A gesture may or may not be linked to specialized apparatus, though its form crucially affects the person who makes (...) it. These essays, published here as a collection in English for the first time, were written over roughly a half century and reflect both an eclectic array of interests and a durable commitment to phenomenological thought. Defining gesture as “a movement of the body or of a tool attached to the body for which there is no satisfactory causal explanation,” Flusser moves around the topic from diverse points of view, angles, and distances: at times he zooms in on a modest, ordinary movement such as taking a photograph, shaving, or listening to music; at others, he pulls back to look at something as vast and varied as human “making,” embracing everything from the fashioning of simple tools to mass manufacturing. But whatever the gesture, Flusser analyzes it as the expression of a particular form of consciousness, that is, as a particular relationship between the world and the one who gestures. (shrink)

Natural languages make prolific use of conventional constituent‐ordering patterns to indicate “who did what to whom,” yet the mechanisms through which these regularities arise are not well understood. A series of recent experiments demonstrates that, when prompted to express meanings through silent gesture, people bypass native language conventions, revealing apparent biases underpinning word order usage, based on the semantic properties of the information to be conveyed. We extend the scope of these studies by focusing, experimentally and computationally, on the (...) interpretation of silent gesture. We show cross‐linguistic experimental evidence that people use variability in constituent order as a cue to obtain different interpretations. To illuminate the computational principles that govern interpretation of non‐conventional communication, we derive a Bayesian model of interpretation via biased inductive inference and estimate these biases from the experimental data. Our analyses suggest people's interpretations balance the ambiguity that is characteristic of emerging language systems, with ordering preferences that are skewed and asymmetric, but defeasible. (shrink)

Natural languages make prolific use of conventional constituent‐ordering patterns to indicate “who did what to whom,” yet the mechanisms through which these regularities arise are not well understood. A series of recent experiments demonstrates that, when prompted to express meanings through silent gesture, people bypass native language conventions, revealing apparent biases underpinning word order usage, based on the semantic properties of the information to be conveyed. We extend the scope of these studies by focusing, experimentally and computationally, on the (...) interpretation of silent gesture. We show cross‐linguistic experimental evidence that people use variability in constituent order as a cue to obtain different interpretations. To illuminate the computational principles that govern interpretation of non‐conventional communication, we derive a Bayesian model of interpretation via biased inductive inference and estimate these biases from the experimental data. Our analyses suggest people's interpretations balance the ambiguity that is characteristic of emerging language systems, with ordering preferences that are skewed and asymmetric, but defeasible. (shrink)

In this wide-ranging and probing book Erin Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture. The minor gesture, although it may pass almost unperceived, transforms the field of relations. More than a chance variation, less than a volition, it requires rethinking common assumptions about human agency and political action. To embrace the minor gesture's power to fashion relations, its capacity to open new modes of experience and manners of (...) expression, is to challenge the ways in which the neurotypical image of the human devalues alternative ways of being moved by and moving through the world—in particular what Manning terms "autistic perception." Drawing on Deleuze and Guattari's schizoanalysis and Whitehead's speculative pragmatism, Manning's far-reaching analyses range from fashion to depression to the writings of autistics, in each case affirming the neurodiversity of the minor and the alternative politics it gestures toward. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

Religious experiences of the human spirit are implemented, in an inevitable way, due to body-soul connection, at the level of the dynamics of corporeality. Gestures in religious rites are a key issue for the believer who sits in front of the Deity to supplicate and adore. Among the most common religious gestures are kneeling and putting the hands together in a vertical position. Far from being simple positioning and posture without any symbolical meaning, they express intense inner feelings of the (...) human emotionally and mentally directed from the profane dimension towards the endless extensions of the sacredness in a total approach of worship and mystical confession. (shrink)

The neuroscience of dance is a vibrant, fast growing field which embodies the promise of a genuine and productive interdisciplinary rapprochement between neuroscience and art. The strength of this field lies in the way it ties the experience of dance to sensorimotor processes that underwrite our ordinary perceptual engagement with the environment. Motor simulation and mimicry enhance our capacity to interpret the goals, motives, and emotions of others. Recent studies demonstrate that these same processes enable us to recognize abstract dance (...) movements as intentional actions with emotionally expressive and semantic content constitutive of their meaning. In what follows I examine this research with an eye to the potential contribution neuroscience can make to our understanding of dance as an artform. (shrink)

This study examines the form and function of gestural depictions that develop over extended stretches of concept explanation by a philosopher. Building onStreeck’s (2009)explorations of depiction by gesture, we examine how this speaker’s process of exposition involves sequences of multimodal, analogical depiction by which the philosophical concepts are not only expressed through gesture forms, but also dynamically analyzed and construed through gestural activity. Drawing on perspectives of gesture as active meaning making (Müller 2014,2016,Streeck 2009), we argue that (...) the build-up of gestures in depiction sequences, activated through a multimodal metaphor (Müller & Cienki 2009), engages the wider philosophical standpoint of the speaker. Using video analysis supported by interview data, we demonstrate how examination of gestures within and across discourse can lead to understanding of how dynamic, embodied, and subjective processes of conceptualization contribute to philosophical theorizing. (shrink)

In order to produce a coherent narrative, speakers must identify the characters in the tale so that listeners can figure out who is doing what to whom. This paper explores whether speakers use gesture, as well as speech, for this purpose. English speakers were shown vignettes of two stories and asked to retell the stories to an experimenter. Their speech and gestures were transcribed and coded for referent identification. A gesture was considered to identify a referent if it (...) was produced in the same location as the previous gesture for that referent. We found that speakers frequently used gesture location to identify referents. Interestingly, however, they used gesture most often to identify referents that were also uniquely specified in speech. Lexical specificity in referential expressions in speech thus appears to go hand‐in‐hand with specification in referential expressions in gesture. (shrink)

Arbib suggests that language emerged in direct relation to manual gestural communication, that Broca's area participates in producing and imitating gestures, and that emotional facial expressions contributed to gesture-language coevolution. We discuss functional and structural evidence supporting localization of the neuronal modules controlling limb praxis, speech and language, and emotional communication. Current evidence supports completely independent limb praxis and speech/language systems.

RésuméDans cet article, j'analyse deux approches du phénomène du geste, tel qu'il est constitué par l'incarnation, l'intersubjectivité, l'affectivité et le langage : tandis que Martin Heidegger affirme que le mouvement corporel humain dans son ensemble doit être compris comme geste par opposition au mouvement spatial des choses, Vilém Flusser intègre sous cette notion une multitude de pratiques et d'activités humaines que le sens commun hésite à appeler gestes. Le dilemme de la phénoménologie du geste consiste dans cette tension entre la (...) concrétude plurielle des apparences gestuelles et la tentation irrépressible d'identifier une couche unitaire qui leur permettrait de tenir ensemble. (shrink)

_ Source: _Volume 45, Issue 3, pp 369 - 385 In “The Vestige of Art,” Jean-Luc Nancy argues that art is neither representation nor inscription, but rather _exscription_. The figure is the vestige of an expressive gesture; it represents neither a separable idea nor the one who traced it but, rather _exscribes_ their presence and their world in the event of expression. As such, Nancy’s aesthetics in _The Muses_ deploys a certain logic of expression best understood in the (...) tradition of Merleau-Pontian phenomenology. Echoing Merleau-Ponty’s notion of speech accomplishing, rather than translating, thought, Nancy’s understanding of the expressive gesture suggests an event that brings forth a self that does not pre-exist its expression and that is paradoxically always already past, always already fallen into material vestiges. By connecting Merleau-Ponty’s notion of a “past that has never been present” to Nancy’s concept of _exscription_, I argue that reading Nancy’s _The Muses_ and Merleau-Ponty’s “Eye and Mind” together suggests an importantly restructured “phenomenology” of painting that is in fact more of an ontology of intercorporeality. (shrink)

It can hardly be denied that play is an important tool for the development and socialisation of children. In this article we argue that, through dramaturgical play in combination with pedagogical tools such as the Community of Inquiry (CoI), in the tradition of Philosophy for Children (P4C), students can creatively think, reflect and be more aware of the impact their gestures (Schmid 2000b) have on others. One of the most fundamental aspects of the embodied human life is human interaction that (...) is based on expressions, what Schmid calls gestures. Through self-reflection, one’s set of gestures can be developed into a deliberate ‘life-performance’; a conscious, selected and coherent work of art (Schmid, 2000b, p. 332). Drawing on Nietzsche’s idea of living artistically, we explore how Schmid’s philosophy of the art of living, P4C and the liberal arts, with a focus on drama education, can work together to develop (self-) reflective, reasonable citizens who are able to develop their own art of living while respecting and supporting the development of the good and beautiful life of others. (shrink)

The ArgumentPain has important biomedical socioanthropological, semiotic, and other facets. In this contribution pain and the experssion of pain are looked at from the perspective of evolutionary biology, utilizing, among others, cross-cultural data from field work in Melanesia.No other being cares for sick and suffering conspecifics in the way humans do. Notwithstanding aggression and neglect, common in all cultures, human societies can be characterized as empathic, comforting, and promoting the health and well-being of their members. One important stimulus triggering this (...) caring response in others is the expression of pain. The nonverbal channel of communication, particularly certain universal — i.e., culture-independent facial expressions, gestures, and body postures, convey much of the message from the painstricken person to the group.These behaviors signal the person's physical and psychical pain, sadness, grief, and despair in ways very similar to the signs given by infants and small children: the body loses tonus and sinks or drops to the ground, the gestures are those of helplessness. Pain and grief may be so strong that control is lost not only over the body's posture but also over the mind's awareness. In such cases the afflicted person may carry out actions endangering himself or others. In general, these behavior patterns resemble those of infants in situations of distress and danger, and it is not surprising that the response of the members of the group is basically parental: taking care, assisting and consoling.Perceptive and behavioral patterns which developed in the course of avian and mammalian phylogeny to serve the well-being of the young have proven, as was shown by Eibl-Eibesfeldt, to be powerful building blocks for actions in other spheres of human interaction. Love is one such field, the reactions to a conspecific suffering pain is another. (shrink)