Category: Amplifier

Amplifier, Courtship display, Indicator Of Sexual Interest (IOsI), Liking

Body Language of Face Platter

by Chris • October 21, 2014 • 0 Comments

Body Language of Face Platter

Cue: Face Platter

Synonym(s): N/A

Description: A gesture done by resting the chin on the backside of the hands or in the palms of the hands. The elbows are usually propped up on a table providing additional support to the chin and head.

In One Sentence: The face platter is a positive courtship type gesture used to place full emphasis on the face.

How To Use it: Women can use the face platter to show men that they are keenly interested in what they are saying while at the same time putting their face in full view. The hand position serves to highlighted thief faces. In a general setting, the face platter can be used to show others that you are focused on what they are saying and given them your undivided attention.

Context: a) General b) Dating.

Verbal Translation: “I’m serving my face up on a platter so you can have the best view of it – like a trophy on display.”

Variant: See Face Palm and Double Face Palm.

Cue In Action: During coffee, she propped her elbows up on the table and placed her chin on her palms and gaze adoringly at her date.

Meaning and/or Motivation: A positive courtship gesture essentially “serving the face on a platter.” It is feminine gesture that puts the face on full display as if it should be admired.

When courtship signals are absent the face platter can mean boredom especially if no eye contact is made and the head seems to slouch.

In a friendly context, the face platter coupled with persistent eye contact, indicates high focus as if the person is studying and watching their companion.

Cue Cluster: The face platter is coupled with adoring eyes and smiling.

Body Language Category: Amplifier, Courtship displays, Indicators of sexual interest (IOsI), Liking.

Resources:

Borkenau, P. (1991). Evidence of a correlation between wearing glasses and personality. Personality and Individual Differences, 12, 1125-1128. doi:10.1016/0191-8869(91)90074-L

Cash, T. F., Dawson, K., Davis, P., Bowen, M., & Galumbeck, C. (1989). Effects of cosmetics use on the physical attractiveness and body image of American college women. Journal of Social Psychology, 129, 349-355.
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Chao, A., & Schor, J. B. (1998). Empirical tests of status consumption: Evidence from women’s cosmetics. Journal of Economic Psychology, 19, 107-131.
Franzoi, S. L. (2001). Is female body esteem shaped by benevolent sexism? Sex Roles, 44, 177-188.

Charles v. Ford, Lies! Lies! Lies!: The Psychology of Deceit (Washington, DC: American Psychiatric Press, Inc., 1996), 200.

Dimond, Stuart ; Harries, Rashida. Face touching in monkeys, apes and man: Evolutionary origins and cerebral asymmetry. Neuropsychologia. 1984. 22(2): 227-233.

Edwards, K. (1987). Effects of sex and glasses on attitudes toward intelligence and attractiveness. Psychological Reports, 60, 590.

Guéguen, Nicolas. Makeup and Menstrual Cycle: Near Ovulation, Women Use More Cosmetics. The Psychological Record. 2012, 62, 541-548.
http://bodylanguageproject.com/articles/women-use-makeup-fertile/

Guéguen, Nicolas. Brief Report: The Effects of Women’s Cosmeticson Men’s Approach: An Evaluation in a Bar North American Journal of Psychology. 2008. 10 (1): 221-228.

Guéguen, Nicolas and Céline Jacob. Lipstick And Tipping Behavior: When Red Lipstick Enhance Waitresses Tips. International Journal of Hospitality Management, 2012; 31: 1333– 1335.
http://bodylanguageproject.com/articles/men-prefer-women-who-dress-in-red-and-wear-red-lipstick-how-to-earn-more-tips-or-favours-from-men/

Guéguen, Nicolas. Hair color and wages: Waitresses with Blond Hair Have More Fun. The Journal of Socio-Economics. 2012. 41: 370-372.
http://bodylanguageproject.com/articles/research-says-blondes-fair-better-tips-courtship-donations-spontaneous-helping/

Guéguen, Nicolas. Hair Color and Courtship: Blond Women Received More Courtship Solicitations and Redhead Men Received More Refusals. Psychol Stud. 2012. 57(4):369–375. DOI 10.1007/s12646-012-0158-6

Guéguen, Nicolas. Brief Report: Women’s Hair Color and Donations: Blonds Receive More Money. North American Journal of Psychology. 2011. 13(3): 367-372.
Guéguen, Nicolas. The Sweet Color of an Implicit Request: Women’s Hair Color and Spontaneous Helping Behavior. Social Behavior and Personality. 2012. 40(7): 1099-1102.

Holme, S. A., Beattie, P. E., & Fleming, C. J. (2002). Cosmetic camouflage advice improves quality of life. British Journal of Dermatology, 147, 946-949.

Harris, M. B., Harris, R. J., & Bochner, S. (1982). Fat, four-eyed, and female: Stereotypes of obesity, glasses, and gender. Journal of Applied Social Psychology, 12, 503-516. doi:10.1111/j.1559-1816.1982. tb00882.x

Harris, M.B. (1991). Sex differences in stereotypes of spectacles. Journal of Applied Social Psychology, 21, 1659–1680. doi 10.1111/j.1559-1816.1991.tb00497.x

Hasart, J. K.,&Hutchinson, K. L. (1993). The effects of eyeglasses on perceptions of interpersonal-attraction. Journal of Social Behavior and Personality, 8, 521–528.

Hellström, A., & Tekle, J. (1994). Person perception through facial photographs: Effects of glasses, hair, and beard on judgments of occupation and personal qualities. European Journal of Social Psychology, 24, 693–705. doi 10.1002/ejsp.2420240606

Jones, Alex L.; Robin S. S. Kramerb and Robert Warda. Miscalibrations in Judgements of Attractiveness With Cosmetics. The Quarterly Journal of Experimental Psychology. 2014. 64(1): 12060-2068. DOI: 10.1080/17470218.2014.908932.
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Jones, Alex L and Robin S. S. Kramer. Facial Cosmetics Have Little Effect on Attractiveness Judgments Compared With Identity. 2015. In Press. doi:10.1068/p7904
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Kyle, D. J., & Mahler, H. I. (1996). The effects of hair colour and cosmetic use on perceptions of a female’s ability. Psychology of Women Quarterly, 20, 447-455.

Lundberg, J. K., & Sheehan, E. P. (1994). The effects of glasses and weight on perceptions of attractiveness and intelligence. Journal of Social Behavior and Personality, 9, 753–760.

Leder, Helmut ; Forster, Michael ; Gerger, Gernot. The Glasses Stereotype Revisited: Effects of Eyeglasses on Perception, Recognition, and Impression of Faces. Swiss Journal of Psychology. 2011. 70(4): 211-222.

Mulhern, R., Fieldman, G., Hussey, T., Le´veˆque, J.-L., & Pineau, P. (2003). Do cosmetics enhance Caucasian female facial attractiveness? International Journal of Cosmetic Science, 25(4), 199-205.
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Mohiyeddini, Changiz ; Semple, Stuart. Displacement behaviour regulates the experience of stress in men. Stress. 2013. 16(2): 163-171.

Nash, Rebecca; George Fieldman; Trevor Hussey; Jean-Luc Le Ve Que and Patricia Pineau. Cosmetics: They Influence More Than Caucasian Female Facial Attractiveness
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Amplifier, Anger body language, Closed facial gestures, Emotional body language, Negative body language, Stressful body language, Suppressed facial expression

Body Language of Eyebrows Knit or Oblique Eyebrows Of Grief

by Chris • October 21, 2014 • 0 Comments

Body Language of Eyebrows Knit or Oblique Eyebrows Of Grief

Cue: Eyebrows Knit or Oblique Eyebrows Of Grief

Synonym(s): Grief Muscle Flex, Worry Facial Expression, Eyebrow Scrunch, Oblique Eyebrows Of Grief.

Description: The eyebrows are raised simultaneously and drawn inward toward each other producing both horizontal creases in the forehead and vertical creases between the eyebrows. In the oblique eyebrows of grief cue, the eyebrows are pulled upward more so than the other ends.

In One Sentence: Knitting the eyebrows together signals grief or physical pain.

How To Use it: Knit the eyebrows by flexing the muscles between the brows. This is most effective when upset or angry and you want someone else to know it. Parents can use this on children, or partners on each other, to show that they disapprove.

Research has shown that children are able to read the facial expressions of adults, and that the messages they carry are more salient to them, than are verbal expressions. In other words, an angry voice is less detectable to children than an angry face so the latter is more effective than the former.

Avoid knitting the eyebrows in airports near security as officers are specially trained to catch grief in high risk situations.

Context: General.

Verbal Translation: “I’m in deep pain due to emotional or physical pain and I’m showing you this by pulling my eyebrows together.”

Variant: See Eyebrow Cock, Eyebrow Hold, Eyebrow Lowering, Eyebrow Flash, Eyebrow Raise.

Cue In Action: At the boarder crossing, he was asked if he carried any drugs with him. He said no, but his eyebrows immediately came together. Spotting his grief, he was detained and questioned. His micro-expression showed that he was probably lying.

Meaning and/or Motivation: When the eyebrows pinch together it is a universal signal of pain, even if it flashes for a split second. Personnel who analyze high-risk events such as boarder crossings, airport security, police officers and detectives are trained to spot momentary expresses of grief. The muscle between the brows can flex at anytime when negative thoughts are held.

The French call the area between the eyebrows, the “grief muscle.” It is active when expressing both pain, as well as when you wish to inflict it. The fearful face carries a momentary raise in the upper eyelids and a grimace comes across the mouth. Anger appears with a lowering of the eyebrows, flaring of the eyes and a tightening of the mouth or jaw.

Fear, grief and surprise in addition to other facial expressions can quickly flash across the face in the form of micro expressions.

Cue Cluster: Eyebrows of grief are combined with other close facial expressions such as lip pursing, squinted eyes, grimacing, as well as nervous cues such as touching the face or ears, scratching the neck, smoothing and adjusting clothing, eye avoidance and even tears in extreme cases.

Body Language Category: Amplifier, Anger, Closed facial gestures, Emotional body language, Negative body language, Stressful body language, Suppressed facial expression.

Resources:

Bonanno, George A. ; Keltner, Dacher Strauss, Milton E. (editor). Facial Expressions of Emotion and the Course of Conjugal Bereavement. Journal of Abnormal Psychology. 1997. 106(1): 126-137.

Bartlett Marian S, Littlewort Gwen C, Frank Mark G, Lee K. Automatic decoding of facial movements reveals deceptive pain expressions. Curr Biol 2014;24:738–43.

Boucher, J D. Facial displays of fear, sadness and pain. Perceptual and motor skills 1969. 28(1): 239-42.

Craig, Kenneth D. ; Patrick, Christopher J. Hogan, Robert (editor). Facial Expression During Induced Pain. Journal of Personality and Social Psychology. 1985 48(4): 1080-109.

Cannon, W. B. (1929). Bodily changes in pain, hunger, fear and rage (2nd ed.). New York: Appleton, Century, Crofts.

Daniele Marzoli, Mariagrazia Custodero, Alessandra Pagliara, and Luca Tommasi. Sun-Induced Frowning Fosters Aggressive Feelings. Cognition And Emotion. 2013; 27 (8): 1513-1521.
http://bodylanguageproject.com/articles/the-sun-can-produce-feelings-of-anger-and-aggression-it-makes-us-frown/

Frijda, Nico H.. What is pain facial expression for? Behavioral and Brain Sciences. 2002. 25(4): 460-460.

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Hermann, Christiane; Flor, Herta. Facial expression of pain more than a fuzzy expression of distress? Behavioral and Brain Sciences. 2002. 25(4): 462-463.

Han, Changsu ; Park, Geun-Young ; Wang, Sheng-Min ; Lee, Seung-Yeop ; Lee, Soo-Jung ; Bahk, Won-Myong ; Pae, Chi-Un. Can botulinum toxin improve mood in depressed patients? Expert review of neurotherapeutics. 2012 12(9): 1049-51.

Keogh E. Gender differences in the nonverbal communication of pain: A new direction for sex, gender, and pain research? PAIN_ 2014;155:1927–31.

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Keogh, Edmund; Holdcroft, Anita. Sex differences in pain: Evolutionary links to facial pain expression. Behavioral and Brain Sciences. 2002. 25(4): 465-465.

Kunz, Miriam ; Peter, Jessica ; Huster, Sonja ; Lautenbacher, Stefan Gray, Marcus (Editor). Pain and Disgust: The Facial Signaling of Two Aversive Bodily Experiences (Comparing Facial Expressions of Pain and Disgust). 2013. 8(12): p.e83277

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Simon D, Craig K, Gosselin F, Belin P, Rainville P. Recognition and discrimination of prototypical dynamic expressions of pain and emotions. PAIN_ 2008;135:55–64.

Vlaeyen, Johan W.S. ; Hanssen, Marjolein ; Goubert, Liesbet ; Vervoort, Tine ; Peters, Madelon ; van Breukelen, Gerard ; Sullivan, Michael J.L. ; Morley, Stephen. Threat of pain influences social context effects on verbal pain report and facial expression. Behaviour Research and Therapy. 2009 47(9): 774-782.

Walsh, Joseph ; Eccleston, Christopher ; Keogh, Edmund. Pain communication through body posture: The development and validation of a stimulus set. Pain. 2014. 155(11): 2282-2290.

*No Photo, Amplifier, Eye Language, Microexpression, Open facial gestures, Submissive body language, Surprised body language

Body Language of Eyebrow Raise

by Chris • October 21, 2014 • 0 Comments

Body Language of Eyebrow Raise

Cue: Eyebrow Raise

Synonym(s): Raising The Eyebrows, Lifting The Eyebrows.

Description: Raising both eyebrows in unison.

In One Sentence: When the eyebrows rise in unison it signals excitement and surprise.

How To Use it: Raise your eyebrows when you want to tell other people that you find what they have said, or what you have said, surprising, shocking or exciting. A more expressive face helps people connect with you more easily as it helps build your personality. Women usually have a far easier time with these sorts of facial expressions, but men can also benefit especially when they are trying to connect with other women and children.

Context: General.

Verbal Translation: “My eyebrows are bopping up and down in unison with my speech to emphasis points and produce emotion and expression.”

Variant: See Eyebrow Cock, Eyebrow Hold, Eyebrow Lowering, Eyebrow Flash, Eyebrows Knit or Oblique Eyebrows Of Grief.

Cue In Action: The news reporter raised her eyebrows as she punctuated each news item to show emphasis.

Meaning and/or Motivation: Eyebrows that rise are an indication of excitement. When we speak, we show our enthusiasm more frequently than a full surprise or fear expression, which also has the raises the eyebrows. If you watch closely, you will see a person’s eyebrows rise several times as they deliver their story. It is more common in woman than men.

Eyebrows can also rise to show agreement or to emphasize and punctuate points in speech. The eyebrows frequently rise at the end of questions, as if asking others to clarify. Where eyebrows lower, it signifies dominance, whereas eyebrows raised signals a mild submission and an open facial expression. When one eyebrow rises, the eye cock, it shows suspicion.

Cue Cluster: When eyebrows rise, the eyes also tend to pop open as well. This cue cluster seeks to improve vision, often accompanying surprise.

Body Language Category: Amplifier, Eye Language, Microexpressions, Open facial gestures, Submissive body language, Surprised body language.

Resources:

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Reisenzein, R. (2000). Exploring the strength of association between the components of emotion syndromes: the case of surprise. Cognition and Emotion, 14, 1–38.

Reisenzein, R., Bördgen, S., Holtbernd, T., & Matz, D. (2006). Evidence for strong dissociation between emotion and facial displays: the case of surprise. Journal of Personality and Social Psychology, 91, 295–315.

Reisenzein, R., & Studtmann, M. (2007). On the expression and experience of surprise: no evidence for facial feedback, but evidence for a reverse self-inference effect. Emotion, 7, 612–627.

Scherer, K. R., Zentner, M. R., & Stern, D. (2004). Beyond surprise: the puzzle of infants’ expressive reactions to expectancy violation. Emotion, 4, 389–402.

Schützwohl, Achim ; Reisenzein, Rainer. Facial expressions in response to a highly surprising event exceeding the field of vision: a test of Darwin’s theory of surprise. Evolution and Human Behavior. 2012. 33(6): 657-664.

Stienen, Bernard M. C.; Akihiro Tanaka and Beatrice de Gelder. Emotional Voice and Emotional Body Postures Influence Each Other Independently of Visual Awareness. PLoS ONE. 2011. 6(10): e25517. doi:10.1371/journal.pone.0025517.
http://bodylanguageproject.com/articles/body-language-read-quickly-subconsciously-study/

Sinke, C.B, Sorger, B, Goebel, R, and de Gelder, B. Tease or Threat? Judging Social Interactions From Bodily Expressions. Neuroimage. A Journal of Brain Function. 2009. 49:1717-1727. doi: 10.1016/j.neuroimage.
http://bodylanguageproject.com/articles/friend-foe-let-body-language-decide

Schubert, Thomas W. The Power In Your Hand: Gender Differences In Bodily Feedback
From Making a Fist. Society for Personality and Social Psychology. 2004. 30(6): 757-769. DOI: 10.1177/0146167204263780
http://bodylanguageproject.com/articles/men-view-power-body-language-different-women-bodily-feedback-making-fist/

Susskind, Joshua M and Adam K Anderson. Facial Expression Form and Function. Communicative Integrative Biology. 2008. 1(2): 148–149. PMCID: PMC2686004
http://bodylanguageproject.com/articles/emotional-facial-expressions-evolve/

Sell, A., Cosmides, L. and Tooby, J., The Human Anger Face Evolved to Enhance Cues of Strength. Evolution and Human Behavior. 2014, doi: 10.1016/j.evolhumbehav.2014.05.008
http://bodylanguageproject.com/articles/human-anger-face-signal-strength

Teixeira Fiquer, Juliana; Paulo Sérgio Boggio and Clarice Gorenstein. Talking Bodies: Nonverbal Behavior in the Assessment of Depression Severity. Journal of Affective Disorders. 2013. 150: 1114-1119.
http://bodylanguageproject.com/articles/using-nonverbal-behaviour-to-assess-depression-severity/

Thompson, Erin H. and James A. Hampton. The Effect of Relationship Status on Communicating Emotions Through Touch,. Cognition and Emotion. 2011. 25(2): 295-306. DOI: 10.1080/02699931.2010.492957.
http://bodylanguageproject.com/articles/using-touch-convey-emotion/

Wilkowski, Benjamin M. and Brian P. Meier. Bring It On: Angry Facial Expressions Potentiate Approach-Motivated Motor Behavior. 2010. Journal of Personality and Social Psychology. 98(2): 201-210.
http://bodylanguageproject.com/articles/anger-facial-expression-elicits-approach-not-avoidance-study/

Zieber, Nicole; Ashley Kangas; Alyson Hock; and Ramesh S. Bhatt. Infants’ Perception of Emotion From Body Movements. Child Development. 2014. 85(2): 675-684.
http://bodylanguageproject.com/articles/careful-infants-perceptive-reading-body-language/

Zhao, Ke; Wen-Jing Yan; Yu-Hsin Chen; Xi-Nian Zuo and Xiaolan Fu. Amygdala Volume Predicts Inter-Individual Differences in Fearful Face Recognition. PLOS one. August 2013. (8): 8: e74096. doi:10.1371/journal.pone.0074096.g001
http://bodylanguageproject.com/articles/fear-amygdala

Vrticka, Pascal ; Lordier, Lara ; Bediou, Benoît ; Sander, David Desteno, David (editor). Human Amygdala Response to Dynamic Facial Expressions of Positive and Negative Surprise. Emotion. 2014. 14(1): 161-169.

Vanhamme, J. (2000). The link between surprise and satisfaction: an exploratory research on how to best measure surprise. Journal of Marketing Management, 16, 565–582.

*No Photo, Aggressive body language, Amplifier, Anger body language, Closed facial gestures, Dislike (nonverbal), Dominant body language, Emotional body language, Eye Language, Fearful body language, Frustration or frustrated body language, Hostile body language, Negative body language, Threat displays

Body Language of Eyebrow Lowering

by Chris • October 21, 2014 • 0 Comments

Body Language of Eyebrow Lowering

Cue: Eyebrow Lowering

Synonym(s): Lowering The Eyebrows, Anger Eyebrows.

Description: Eyebrows that are lowered.

In One Sentence: Lowering the eyebrows signals anger, aggression, or fear.

How To Use it: Lower the eyebrows to tell others that you disapprove of their conduct and wish for them to correct it. Likewise you may lower your brows to show that you are experiencing an internal struggle. Overall, the cue can be useful when trying to manipulate other people into changing their behaviour.

The anger expression has been shown to be a signal of strength and helps reinforce dominance so it is useful in creating the impression of authority. Even if one lacks the physical power to back up aggression, the anger expression can still be used to create the illusion of force. Lowering the eyebrows should be used whenever you wish to be taken seriously and want that seriousness to be backed up by visible threat.

Avoid keeping the eyebrows lowered for too long, however, as this will be perceived as being weakness and dejection.

Context: General.

Verbal Translation: “I’m angry and my face is squishing all up including my eyebrows.”

Variant: N/A

Cue In Action: When she saw the girl who posted rude remarks on her online profile, she lowered her eyebrows to show her anger.

Meaning and/or Motivation: Eyebrows can squint just like eyes can and have many different meanings. Eyebrows can be lowered to indicate confrontation due to anger or aggression, fear from threats, when we feel displeasure or are annoyed.

If eyebrows are dropped low enough and kept there it indicates weakness and insecurity. This is true universally and so can even appear in children especially those who are abused. Lowered eyebrows is submissive, cowering, facial expression. Lowered eyebrows is a sign of being defeated and weak. It shows that one is unlikely to put up a fight. Bullies at school will also look for the expression to single out children as prey and so will social predators and psychopaths.

Cue Cluster: Varied depending on context.

Body Language Category: Amplifier, Aggressive body language, Anger, Closed facial gestures, Dislike (nonverbal), Dominant body language, Emotional body language, Eye Language, Fearful body language, Frustration or frustrated body language, Hostile body language, Negative body language, Threat displays.

Resources:

Blurton Jones, N. G. (1967). “An Ethological Study of Some Aspects of Social Behaviour of Children in Nursery School.” In Desmond Morris (Ed.), Primate Ethology (Chicago: Aldine), pp. 347-68.

Burgoon, Judee K., David B. Buller, and W. Gill Woodall (1989). Nonverbal Communication: The Unspoken Dialogue (New York: Harper & Row).

Carroll E. 1994. Innate and universal facial expressions: Evidence from developmental and cross-cultural research Izard, Psychological Bulletin. 115(2): 288-299.

Darwin, Charles (1872). The Expression of the Emotions in Man and Animals, third edition (New York: Oxford University Press, 1998).

Eibl-Eibesfeldt, Irenaus (1973). “The Expressive Behaviour of the Deaf-and-Blind-Born.” In Mario von Cranach and Ian Vine (Eds.), Social Communication and Movement (European Monographs in Social Psychology 4, New York: Academic Press), pp. 163-94.

Ekman, P. (1994). Strong evidence for universals in facial expressions: A reply to Russell’s mistaken critique. Psychological Bulletin, 115, 268-287.

Ekman, P., Levenson, R. W., & Friesen, W. V. (1983). Autonomic nervous system activity distinguishes among emotions. Science, 221(4616), 1208-1210.

Ekman, P., O’Sullivan, M., & Matsumoto, D. (1991b). Contradictions in the study of contempt: What’s it all about? Reply to Russell. Motivation & Emotion, 15(4), 293-296.

Elfenbein, H. A., & Ambady, N. (2002). On the universality and cultural specificity of emotion recognition: A meta-analysis. Psychological Bulletin, 128(2), 205-235.

Ekman, Paul. 1994. Strong evidence for universals in facial expressions: A reply to Russell’s mistaken critique Psychological Bulletin. 115(2): 268-287.

Ekman, Paul. 1986. A new pan-cultural facial expression of emotion. Source: Motivation and Emotion Ekman. 10(2): 159-168.

Ekman, Paul and Friesen, W. V. 1987. Universals and cultural differences in the judgments of facial expressions of emotion. Journal of Personality and Social Psychology. 53(4): 712-717.

Ekman, Paul; Friesen, Wallace V. 1971. Constants across cultures in the face and emotion. Journal of Personality and Social Psychology. 17(2): 124-129.

Ekman, Paul. 1972. Universals and cultural differences in facial expressions of emotion. In J. Cole (Ed.), Nebraska Symposium on Motivation, 1971. 19: 207-282. Lincoln: University of Nebraska Press.

Fulcher, J. S. “Voluntary” facial expression in blind and seeing children. Archives of Psychology, 1942. 38: 272.

James A. Russell, Naoto Suzuki and Noriko Ishida. 1993. Canadian, Greek, and Japanese freely produced emotion labels for facial expressions. Motivation and Emotion. 17(4): 337 -351.

Kret, M. E. and B. de Gelder. When a Smile Becomes a Fist: The Perception of Facial and Bodily Expressions of Emotion in Violent Offenders. Exp Brain Res. 2013. 228: 399-410. DOI 10.1007/s00221-013-3557-6.
http://bodylanguageproject.com/articles/reading-bodily-postures-facial-expressions-incorrectly-can-disastrous-just-ask-violent-offenders/

Levenson, R. W., Ekman, P., & Friesen, W. V. (1990). Voluntary facial action generates emotion-specific autonomic nervous system activity. Psychophysiology, 27(4), 363-384.

Lee, Daniel H.; Reza Mirza, John G. Flanagan and Adam K. Anderson. Optical Origins of Opposing Facial Expression Actions. Psychological Science published online 24 January 2014 DOI: 10.1177/0956797613514451
http://bodylanguageproject.com/articles/eyes-and-facial-expressions-may-be-biologically-controlled-serve-a-real-non-emotional-purpose-says-research/

McClure, Erin B 2000. A meta-analytic review of sex differences in facial expression processing and their development in infants, children, and adolescents
Psychological Bulletin. 126(3): 424-453.

Mead, M. 1975. Review of “Darwin and facial expression.” Journal of Communication, 25: 209-213.

Marsh, Abigail A; Henry H. Yu; Julia C. Schechter and R. J. R. Blair. Larger than Life: Humans’ Nonverbal Status Cues Alter Perceived Size. PLoS ONE. 2009. 4(5): e5707. doi:10.1371/journal.pone.0005707. http://bodylanguageproject.com/articles/large-life-nonverbal-dominance-affects-perception-size/

Matsumoto, D. (1989). Cultural influences on the perception of emotion. Journal of Cross-Cultural Psychology, 20(1), 92-105.

Matsumoto, D. (1992). American-Japanese cultural differences in the recognition of universal facial expressions. Journal of Cross-Cultural Psychology, 23(1), 72-84.

Matsumoto, D. (2001). Culture and Emotion. In D. Matsumoto (Ed.), The Handbook of Culture and Psychology (pp. 171-194). New York: Oxford University Press.

Matsumoto, D., & Ekman, P. (1989). American-Japanese cultural differences in intensity ratings of facial expressions of emotion. Motivation & Emotion, 13(2), 143-157.

Matsumoto, D., & Willingham, B. (2009). Spontaneous Facial Expressions of Emotion of Congenitally and Non-Congenitally Blind Individuals. Journal of Personality and Social Psychology, 96(1), 1-10.

Mesquita, B., & Frijda, N. H. (1992). Cultural variations in emotions: A review. Psychological Bulletin, 112, 197-204.

Marzoli, Daniele; Mariagrazia Custodero, Alessandra Pagliara, and Luca Tommasi. Sun-Induced Frowning Fosters Aggressive Feelings. Cognition And Emotion. 2013; 27 (8): 1513-1521.
http://bodylanguageproject.com/articles/the-sun-can-produce-feelings-of-anger-and-aggression-it-makes-us-frown/

Nelson, Nicole L and James A. Russell. Children’s Understanding Of Nonverbal Expressions Of Pride. Journal of Experimental Child Psychology. 2012; 111: 379-385.
http://bodylanguageproject.com/articles/can-children-read-pride-body-language/

Russell, James A. 1995. Facial Expressions of Emotion: What Lies Beyond Minimal Universality? Psychological bulletin. 118(3): 379-391.

Russell, James A. 1994. Is There Universal Recognition of Emotion From Facial Expression? A Review of the Cross-Cultural Studies. Psychological Bulletin. 115(1): 102-141.

Weisfeld, Glenn E. and Jody M. Beresford. Erectness of Posture as an Indicator of Dominance or Success in Humans. Motivation and Emotion. 1982. 6(2): 113-130.
http://bodylanguageproject.com/articles/body-language-cues-dominance-submission-children/

Amplifier, Eye Language, Hostile body language, Negative body language, Suspicious body language

Body Language of The Eyebrow Cock

by Chris • October 21, 2014 • 0 Comments

Body Language of The Eyebrow Cock

Cue: Eyebrow Cock

Synonym(s): Raising One Eyebrow, Single Eyebrow Raise.

Description: A mixed eyebrow movement where one eyebrow is raised while the other is lowered.

In One Sentence: The eyebrow cock is a signal that a person is suspicious.

How To Use it: Use the eyebrow cock to tell others that you are in general disbelief with respect to an action performed, or a comment made.

Context: General.

Verbal Translation: “I’m suspicious of your motives so my eyes will show surprise by raising on one side and anger by lowering on the other.”

Variant: See Eyebrow Flash, Eyebrow Hold, Eyebrow Lowering, Eyebrow Raise, Eyebrows Knit or Oblique Eyebrows Of Grief.

Cue In Action: She stood up and vehemently denied being the one who stole the doughnut despite overwhelming evidence. Her mom looked at her, turned her head to the side, raised one eyebrow and lowered the other, then compressed her lips. She was showing suspicion nonverbally.

Meaning and/or Motivation: It represents both aggression and fear at the same time due to the division of high and low, and when mixed, indicates suspicion or skepticism.

Cue Cluster: The head is often tilted to the side when representing skepticism. The eyes will squint when showing aggression and the lips will purse.

Body Language Category: Amplifier, Eye Language, Hostile body language, Negative body language, Suspicious body language or suspicion.

Resources:

Grammer, Karl ; Schiefenhövel, Wulf ; Schleidt, Margret ; Lorenz, Beatrice ; Eibl eibesfeldt, Irenäus. Patterns on the Face: The Eyebrow Flash in Crosscultural Comparison. Ethology. 1988. 77(4): 279-299.

Martin, David John. 1997. Slaughtering a sacred cow: The eyebrow flash is not a universal social greeting. Dissertation Abstracts International: Section B: The Sciences and Engineering 58(5-B): 2751.

Moore, Monicam. Human Nonverbal Courtship Behavior—A Brief Historical Review. Journal of Sex Research. 2010 47(2-3): 171-180.

Moore, Monica. Courtship Signaling and Adolescents: Girls Just Wanna Have Fun. Journal of Sex Research. 1995. 32(4): 319-328.
http://bodylanguageproject.com/articles/girls-just-want-to-have-fun-the-origins-of-courtship-cues-in-girls-and-women/

Navarro, Joe. 2008. What Every BODY is Saying: An Ex-FBI Agent’s Guide to Speed-Reading People. William Morrow Paperbacks.

Schmidt, K. L., Bhattacharya, S., & Denlinger, R. (2009). Comparison of deliberate and spontaneous facial movement in smiles and eyebrow raises. Journal of Nonverbal Behavior, 33, 35–45.

Shichuan Du; Yong Tao and Aleix M. Martinez. Compound facial expressions of emotion. Published online before print on March 31, 2014. DOI10.1073/pnas.1322355111
http://bodylanguageproject.com/articles/in-fact-there-are-more-than-21-facial-expressions/

Watt, Roger ; Craven, Ben ; Quinn, Sandra. A role for eyebrows in regulating the visibility of eye gaze direction. The Quarterly Journal of Experimental Psychology. 2007. 60(9): 1169-1177.

Wheldall, Kevin ; Mittler, Peter. Eyebrow-raising, eye widening and visual search nursery school children. Journal of Child Psychology and Psychiatry. 1976. 17(1): 57-62.

Amplifier, Excited body language, Eye Language, Happiness body language, Open body language

Body Language of Eye Flash, Eye Pop and Flashbulb Eyes

by Chris • October 21, 2014 • 0 Comments

Body Language of Eye Flash, Eye Pop and Flashbulb Eyes

Cue: Eye Flash, Eye Pop and Flashbulb Eyes

Synonym(s): Flashbulb Eyes, Eye Pop.

Description: The eye flash lasts on average for only 0.75 seconds and is a momentary widening of the eyelids during a conversation. The widening is usually wide enough to reveal the sclera. Sclera is the white area surrounding the iris. The eyebrows usually arch in unison as well to make the eyes appear even larger.

In One Sentence: The eye flash is a signal used to display emotional excitement during expressive conversation.

How To Use it: Pop the eyes whenever you want to add a nonverbal exclamation to spoken words. For example, force your eyes to pop when delivering positive or exciting news to friends or relatives. Women can generally use this expression best as it usually fits in better with women’s overall expressivity. However, men can also add the occasional eye pop to signal sarcasm. When you pop your eyes, think “Oh my God!”

Context: General.

Verbal Translation: “I’m so excited that my eyes are popping open with emotion and excitement.”

Variant: N/A

Cue In Action: a) It had been a while since they had seen each other. When they turned the corner, their eyes popped open with excitement as they took each other into full view. b) He opened his first holiday bonus to see a big fat cheque. His eyes popped open with excitement. c) On the first date, she showed her excitement. She told stories while popping her eyes open.

Meaning and/or Motivation: The eyeflash when given by a speaker, emphasizes specific words being spoken and can serve to change the meaning of a given word or phrase. It normally accompanies adjectives rather than any other parts of speech. Women use it more often them men. The eye pop makes the eyes burst with emotion and is usually done to indicate surprise and positive emotions.

Cue Cluster: Open body language such as palms up, smiling, arms animated and excited while moving with speech.

Body Language Category: Amplifier, Eye Language, Excited body language, Happiness, Open body language.

Resources:

Ariel, Robert and Castel, Alan. Eyes wide open: enhanced pupil dilation when selectively studying important information. Experimental Brain Research, 2014. 232(1):.337-344.

Bijleveld E, Custers R, Aarts H (2009) The unconscious eye opener: pupil size reveals strategic recruitment of resources upon presentation of subliminal reward cues. Psychol Sci 20:1313–1315

Brannigan, Christopher, and David Humphries (1969). “I See What You Mean.” New Scientist (Vol. 42), pp. 406-08.

Duan, Xujun ; Dai, Qian ; Gong, Qiyong ; Chen, Huafu. Neural mechanism of unconscious perception of surprised facial expression. NeuroImage. 2010. 52(1): 401-407.

e Charlesworth, W. R. (1964). Instigation and maintenance of curiosity behavior as a function of surprise versus novel and familiar stimuli. Child Development, 35, 1169–1186.

Ekman, P. & O’Sullivan, M. (1991). Who can catch a liar? American Psychologist. 46, 913-920.

Ekman, Paul, Wallace V. Friesen, and Sylvan S. Tomkins (1971). “Facial Affect Scoring Technique: A First Validity Study.” In Semiotica (Vol. 3), pp. 37-58.

Kapoor, A. ; Qi, Y. ; Picard, R.W. Fully automatic upper facial action recognition
2003 IEEE International SOI Conference. 2003. 195-202.

Lee, Daniel H ; Susskind, Joshua M ; Anderson, Adam K. Social Transmission of the Sensory Benefits of Eye Widening in Fear Expressions. Psychological Science. 2013. 24(6): 957-965.

Ludden, G. D. S., Schifferstein, H. N. J., & Hekkert, P. (2009). Visual–tactual incongruities in products as sources of surprise. Empirical Studies of the Arts, 27, 63–89.

Mondloch, Catherine J. ; Horner, Matthew ; Mian, Jasmine. Wide Eyes and Drooping Arms: Adult-Like Congruency Effects Emerge Early in the Development of Sensitivity to Emotional Faces and Body Postures. Journal of Experimental Child Psychology. 2013. 114(2): 203-216.

Provine, Robert R., Jessica Nave-Blodgett and Marcello O. Cabrera. The Emotional Eye: Red Sclera as a Uniquely Human Cue of Emotion. Ethology. 2013a. 119: 993–998. doi: 10.1111/eth.12144

Provine, Robert R.; Marcello O. Cabrera and Jessica Nave-Blodgett. Red, Yellow, and Super-White Sclera Uniquely Human Cues for Healthiness, Attractiveness, and Age. Human Nature. 2013. 24:126–136. DOI 10.1007/s12110-013-9168-x

Provine, R. R., Cabrera, M. O. and Nave-Blodgett, J. 2013c: Binocular symmetry / asymmetry of scleral redness as a cue for sadness, healthiness, and attractiveness in
humans. Evol. Psychol. 11, 873-884.

Provine, R. R., Cabrera, M. O., Brocato, N. W. and Krosnowski, K. A. 2011: When the whites of the eyes are red: a uniquely human cue. Ethology 117, 1—5.

Reisenzein, R. (2000). Exploring the strength of association between the components of emotion syndromes: the case of surprise. Cognition and Emotion, 14, 1–38.

Reisenzein, R., & Studtmann, M. (2007). On the expression and experience of surprise: no evidence for facial feedback, but evidence for a reverse self-inference effect. Emotion, 7, 612–627.

Scherer, K. R., Zentner, M. R., & Stern, D. (2004). Beyond surprise: the puzzle of infants’ expressive reactions to expectancy violation. Emotion, 4, 389–402.

Tipples, Jason. Wide eyes and an open mouth enhance facial threat. Cognition & Emotion. 2007. 21(3): 535-557.

Navarro, Joe. 2008. What Every BODY is Saying: An Ex-FBI Agent’s Guide to Speed-Reading People. William Morrow Paperbacks.

Parzuchowski, Michal ; Szymkow-Sudziarska, Aleksandra. Well, slap my thigh: expression of surprise facilitates memory of surprising material. Emotion. 2008. 8(3): 430-4.

Vanhamme, J. (2000). The link between surprise and satisfaction: an exploratory research on how to best measure surprise. Journal of Marketing Management, 16, 565–582.

Walker, Michael ; Trimboli, Carmelina. The expressive function of the eye flash
Journal of Nonverbal Behavior. 1983. 8(1): 3-13.

Walker, M.B. The relative importance of verbal and nonverbal cues in the expression of confidence. Aust. J. Psychol., 1977, 29, 45-57.

Wheldall, Kevin ; Mittler, Peter. Eyebrow-raising, eye widening and visual search nursery school children. Journal of Child Psychology and Psychiatry. 1976. 17(1): 57-62.

*No Photo, Amplifier, Anger body language, Closed body language, Closed facial gestures, Doubt or disbelief body language, Eye Language, Frustration or frustrated body language, Negative body language, Rejection body language

Body Language of The Extended Eye Blink or Double Wink

by Chris • October 21, 2014 • 0 Comments

Body Language of The Extended Eye Blink or Double Wink

Cue: Extended Blink or Double Wink

Synonym(s): Extended Eye Closure, Double Wink, Lengthy Eye Closure, Eyes Super-Blink, Super Blinking Eyes, Eye Blink Hold, Blink Hold, Prolonged Blinking.

Description: The extended wink is done by blinking both eyes at the same time and holding them closed for a slightly longer period of time than that which is found in a natural blink. An exaggerated closing of the eyelids that is slow in speed but high in amplitude. The eyes will seem to close tightly together and spring open.

In One Sentence: The extended eye blink is a signal of disbelief.

How To Use it: Use the extended blink to show others that you can’t believe what you just heard. Reacting nonverbally is a great way to show others how you really feel without having to put it into words. When someone says something shocking, hold your eyes closed for a long second, then open them brightly. This says “I can’t believe what I just heard!”

Context: General.

Verbal Translation: “I seriously can’t believe what I’m seeing and I’m showing my displeasure by shutting my eyes for longer then normal in hopes that when I re-open them, the offensive stimuli will have disappeared.”

Variant: Eyes can be closed cheekily in a more playful way to show less severe disbelief or even flirtation – a double wink. Also see Wink.

Cue In Action: a) It was time for 3-year-old Charlie to change out of his pajamas and into his shirt and pants. He hated doing this more than anything because the shirt would always catch on his ears and cause him pain. When his Mom approached, he ran away, but she quickly cornered him and calmed him down. She told him it was time to change and he closed his eyes and held them closed for a second before reopening them. He didn’t like what he was seeing. b) It was yet another superfluous TPS report meeting, she closed her eyes, held them closed for a second and popped them open. Her colleagues laughed.

Meaning and/or Motivation: It signifies negative emotions, displeasure, disbelief or feigned surprise. Imagine the eyes as if they are trying to change the channel (or the scene) by forcing them close and popping them open quickly.

The extended blink is a form of eye blocking which protects a person from distasteful images and ideas.

If the extended eye blink is performed routinely, then we can assume that the person is arrogant as they seek to repeatedly shut off the outside world due to their belief of their superior thought process. They are sending a message to others that they feel they are irrelevant, boring and a waste of time.

Cue Cluster: The extended blink is usually a stand-alone cue and needs no other cues in cluster to have a negative disbelief meaning.

Body Language Category: Amplifier, Anger, Closed body language, Closed facial gestures, Doubt or disbelief body language, Eye Language, Frustration or frustrated body language, Negative body language, Rejection body language.

Resources:

Brooks, C. I., Church, M. A., & Fraser, L. 1986. Effects of duration of eye contact on judgments of personality characteristics. Journal of Social Psychology. 126: 71–78

Barbato, Giuseppe ; De Padova, Vittoria ; Paolillo, Antonella Raffaella ; Arpaia, Laura ; Russo, Eleonora ; Ficca, Gianluca. Increased spontaneous eye blink rate following prolonged wakefulness. Physiology & Behavior. 2007. 90(1): 151-154.

Dawson, Michael E. ; Hazlett, Erin A. ; Filion, Diane L. ; Nuechterlein, Keith H. ; Schell, Anne M. Mineka, Susan (editor). Attention and Schizophrenia: Impaired Modulation of the Startle Reflex. Journal of Abnormal Psychology. 1993. 102(4): 633-641.

Drew, G. C. (1951). Variations in reflex blink-rate during visual motor tasks. Quaterly Journal of Experimental Psychology, 3, 73–88.

Davis 1978. Camera Eye-Contact by the Candidates in the Presidential Debates of 1976 Source: The journalism quarterly. 55 (3): 431 -437.

Ellsworth, Phoebe; Carlsmith, J Merrill. 1973. Eye contact and gaze aversion in an aggressive encounter. Journal of Personality and Social Psychology. 28(2): 280-292.

Gregersen, Tammy S. Nonverbal Cues: Clues to the Detection of Foreign Language Anxiety. Foreign Language Annals. 2005. 38(3): 388-400
http://bodylanguageproject.com/articles/what-anxious-learners-can-tell-us-about-anxious-body-language-how-to-read-nonverbal-behavior/

Gordon, A. K. and A. G. Miller. 2000. Perspective differences in the construal of lies: is deception in the eye of the beholder? Personality and Social Psychology Bulletin 26 (1): 46-55.

Gilliam, Harold V. B.; Van Den Berg, Sjef. 1980. Different Levels of Eye Contact: Effects on Black and White College Students. Urban Education. 15 (1): 83-92.

Goldman. 1980. Effect of Eye Contact and Distance on the Verbal Reinforcement of Attitude. The Journal of social psychology 111(1): 73 -78.

Greene 1979. Title: Need-Fulfillment and Consistency Theory: Relationships Between Self-Esteem and Eye Contact. Source: Western journal of speech communication. 43(2): 123 -133.

Galin, D. and Ornstein, R., 1974. Individual Differences in Cognitive Style – Reflective Eye Movements; Neuropsychologia, 12: 376-397.

Goldstein, R., Bauer, L. O., & Stern, J. A. (1992). Effect of task difficulty and interstimulus interval on blink parameters. International Journal of Psychophysiology, 13, 111–118.

Holland, M. K., & Tarlow, G. (1972). Blinking and mental load. Psychological Reports, 31, 119–127.

Holland, M. K., & Tarlow, G. (1975). Blinking and thinking. Psychological Reports, 41, 403–406. READ

Huang, Zhinjin ; Stanford, Matthew S. ; Barratt, Ernest S.. Blink rate related to impulsiveness and task demands during performance of event-related potential tasks.
Personality and Individual Differences. 1994. 16(4): 645-648.

Hocking. 1985. Eye contact contrast effects in the employment interview. Communication research reports 2(1): 5-10.

Kinsbourne, M., 1972. Eye and Head Turning Indicates Cerebral Lateralization; Science, 179: 539-541.

Kocel, K., et al.,1972. Lateral Eye Movement and Cognitive Mode; Psychon Sci. 27: 223-224.

Knackstedt, G., & Kleinke, C. L. (1991). Eye contact, gender, and personality judgments. Journal of Social Psychology, 131: 303-304.

Konopacki 1987. Eye Movement Betrays a Prospect’s Inner Feelings Source: Marketing news 21(10): 4.

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Adornments, Amplifier, Courtship display, Indicator Of Sexual Interest (IOsI)

Body Language of Dressing Sexy

by Chris • October 20, 2014 • 0 Comments

Body Language of Dressing Sexy

Cue: Dressing Sexy

Synonym(s): Sexy Dress, Provocative Dress, Short Skirts, Tight Jeans, Revealing Dress, Cleavage Display, Overt Dress, Slutty Dress.

Description: A primarily female cue where women dress provocatively with short skirts, tight jeans or shirts, low-cut blouse and/or, high heels. Men may also dress sexy, with similar underlying meaning, but it is not as salient.

In One Sentence: Dressing sexy is universally perceived by others as a signal of health, virility, and a want to be desired.

How To Use it: The use of sexy dress is one which should be used cautiously. Sexy dress can be used by either men or women to gain sexual attention from others. Dressing sexy for men and women, however, differs. Women have more liberty in their sexy dress, but men and women both share common features. When dressing sexy, aim to emphasis the features that best showcase your strongest features. Men should show their masculinity with displays of abs, chest, biceps broad shoulders or buttocks. This can be done with a tight shirt or even shirtless as well as with a well fitted suit. Women can dress sexy by showing their legs, breasts and buttocks. A tight fitting top, low cut blouse, short skirt, heels and so forth are ways which women can draw eyes to their bodies.

Note that the use of sexy dress is entirely option, and can often create issues with objectification. To draw attention to parts of the sexual body is to reduce one’s self to parts. As long as one is aware of how one is perceived, then dressing sexy can be used to accomplish desired goals. No matter how one dresses, it is very important to understand that one is nearly always in charge of how one is perceived. If one does not wish to be objectified then one should hide visual sexuality and instead emphasis other more abstract qualities including intelligence, kindness and personality. As nonverbal signals are strong, and people being what they are, they will always reduce people to their lowest common denominator.

Research shows that dressing sexy is highly frowned upon in business settings as it often reduces perceptions of competence. However, dressing sexy might lead to better treatment and higher tips in low ranking service jobs.

Sexy dress is known to produce benevolent sexism where men and women are willing to perform services in order to be near a sexy counterpart.

Finally, dressing sexy can also create issues with same-sex competitors who will be quick to dismiss your sexiness as they seek to diminish your sexual power over them and their significant others.

Context: a) Dating b) Business c) General (alternative explanation)

Verbal Translation: a) “I’m sexually receptive and am searching for sexual invitation.” b) “I’m sexual in nature and looking for favours and chivalry from men in the workplace and for men, due to my high attractiveness, to do the work for me or treat me favourably.” c) “I feel comfortable in sexy clothing as it suits my style and personality even though I don’t consciously want additional sexual attention otherwise.”

Variant: See Unkept or Dowdiness.

Cue In Action: a) She was in a great mood, full of energy. As she searched through her clothing, she tried to match her mood to her attire. Overlooking dumpy sweatpants and lose sweatshirt, she chose instead a short fitting skirt and heels with a low cut blouse. She was nearing ovulation, but her sexual cycle never crossed her mind, she was just following her emotions. b) She tried to dress professionally, but her look tended to arouse attraction from other men. This frequently got her trouble with the boss as it distracted the clients as well as the other employees. The women became quite catty and talked behind her back. The men, on the other hand, either did extra favours for her, didn’t take her skill-set seriously, or did their best to remain professional despite her dress.

Meaning and/or Motivation: Dressing sexy is not a sexual invitation by itself, but it does give us clues to the intensions and attitudes present. In most cases, overt cleavage, short skirts and heavy make-up tell us that women are available and sexually receptive.

Women who dress sexily all the time appear might make sexy attire a non-cue, but one must still wonder why they are motivated to dress overtly on a more frequent and often inappropriate context. Often times the overtly dressed baseline tells us that women seek male favours and male chivalry. This often goes hand-in-hand with flirty behaviour and casual sexual suggestions.

If, on the other hand, we notice extra dressiness, or extra frills or “ornamentation” we know that a woman is probably feeling sexually receptive. Conversely if we see a lack of dressiness, we know that a woman is particularly down and unreceptive. The research supports this. Women, at around the time of ovulation, will display more sexually. They will break out their high heels, tend to dance more, talk more suggestively, and even walk differently near ovulation.

While women might not be aware of the reason for dressing provocatively. Most women are aware of the signals they give off to men, and therefore shouldn’t be surprised to receive additional attention when they show more skin. From a prowling male perspective therefore, it would pay back in dividends to make note of which women dress provocatively and deviate from their baseline and which women wear more frills and glitz. Tight jeans, elaborate decoration and short skirts, not only signal sexuality, but also interest in sex.

Other times, when women travel in groups, they may be influenced by the decisions of others and therefore dress to fit in, despite their underlying mood. We see this often when groups of women travel to a bar together and dress provocatively to fit into their clique. In these instances, it is important to watch for cues in cluster to determine if women are in fact sexually receptive as indicated by their attire.

Cue Cluster: Dressing sexy, when it is matched to a woman’s sexual cycle will be accompanied by other sexual cues such as grooming, hair tossing, legs uncrossed and re-crossed, neck and wrist exposure, desire for proximity to men, leaning inward, licking the lips, batting the eyes, the parade, exaggeration of the hips by pushing them out, pushing the chest out be keeping the back arched, and so forth.

Body Language Category: Adornments, Amplifier, Arousal, Courtship displays, Indicators of sexual interest (IOsI).

Resources:

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Aggressive body language, Amplifier, Anger body language, Attentive body language, Authoritative body language, Confident body language, Courtship display, Dominant body language, High confidence body language, Indicator of interest (IoI), Leadership body language, Liking, Rapport or rapport building

Body Language of Direct Eye Contact

by Chris • October 20, 2014 • 0 Comments

Body Language of Direct Eye Contact

Cue: Direct Eye Contact

Synonym(s): Eye Contact

Description: Eyes that meet someone else’s (versus looking away or at the mouth, chin, or body).

In One Sentence: Direct eye contact signals to others that one is intently listening and focused on the person whose eyes they have met.

How To Use it: Use direct eye contact to signal that you are dominant and can withstand reciprocal eye contact without wavering. Alternatively, use eye contact in dating to signal sexual interest. While with friends, eye contact can also send a warm glow when it is not done in a piercing fashion. Various cultures use direct eye contact in different ways – therefore, it would pay to be conscious of these social norms when traveling.

Context: a) General, b) Dating.

Verbal Translation: “I’m interested in you and I want you to know that so my eyes are meeting yours.”

Variant: Eyes are an important source of information; see other eye cues for more details. See Friendly Social Gaze, Staring or The Evil Eye, Gaze Omission, Gazing Adoringly, Intimate Gaze (The) or Triangular Gaze Pattern.

Cue In Action: When speaking, the lovers made frequent eye contact.

Meaning and/or Motivation: An indication of active honest listening. Practiced liars feign eye contact to study whether or not a lie is being rejected or accepted. In a dating context, direct eye contact is a sign of interest. The meaning of direct eye contact is hugely varied and one should look at the associated cues to determine the true intent of direct eye contact.

Eye contact can be piercing and studied, an attack, or alluring and coy such as gazing. See variants for more specific meaning of eye contact.

Cue Cluster: Varied depending on context.

Body Language Category: Amplifier, Arousal, Attentive, Aggressive body language, Anger, Authoritative body language, Courtship display, Confident, Dominant body language, High confidence body language, Indicator of interest (IoI), Leadership body language, Liking, Rapport or rapport building.

Resources:

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*No Photo, Adornments, Amplifier, Courtship display, Elective nonverbal traits, Masked body language, Power play, Relaxed body language

Body Language of Clothing

by Chris • October 20, 2014 • 0 Comments

Body Language of Clothing

Cue: Clothing.

Synonym(s): Dress, Fashion, Overdressing, Underdressing, Practical Dressing, Casual Dress, Dressing Casually, Dressing Practically, Attire, Uniform.

Description: The body language associated with ones attire.

In One Sentence: Clothing represents an elective form of nonverbal expression which indicate how a person wishes to be perceived by others.

How To Use it: Using clothing to create a desired impression. When you apply clothing, remember that regardless of your desire, certain character traits will be ascribed to you regardless of your desires. These will be either correct or incorrect. If one wishes to be viewed in one way or another, one should be conscious of how one presents oneself. For example, revealing clothing will result in others believing that you are sexually easy or promiscuous. Wearing heavy clothing during hot weather will lead others to assume that you are prudish. Use clothing to create the impression you wish is complicated and person specific, but one simply needs to understand that one has a high degree of control over the perceptions of others and these can be manipulated with nonverbal displays including fashion. Some experimentation may be required to produce the results you desire.

Context: General.

Verbal Translation: “My clothing is a reflection of my inner thoughts, feelings and values.”

Variant: See Unkept or Dowdiness, Dressing Sexy.

Cue In Action: a) The teenager usually let his underwear show above his loose pants. He didn’t care what the adults thought about him. b) The teacher sent the girls to the principle if their skirts were too short. c) She was always well put together with expensive gowns and jewelry. d) He didn’t care what people thought of him, he felt that jogging pants were the most comfortable daily attire. e) She made waves with her low cut blouse and ample cleavage.

Meaning and/or Motivation: Clothing is a very potent nonverbal cue as it gives off all sorts of vital information about its wearer. It is a nonverbal language all onto itself. Before we even speak with one another, our clothing creates an image about us, it also tells of our sex, age, occupation, origins, social class, personality and beliefs. Clothing can also tell others where we are going as well as what we are about to do. A business suit for example, indicates that one is conducting business or a summer dress indicates that one is on vacation. In other words, clothing provides context.

As a language, clothing can be conventional or eccentric, clothing can give off signals about whom one wants to be or become. Teenagers place importance on designer clothing so they can impress their friends and fit in, but as we grow older, our shift takes on a more specific role as we tailor our attire to the functions we attend and to the status we want to hold.

Clothing also sets us apart from others in terms of values. The eccentric often have flamboyant clothing to differentiate themselves from others showing that their ideas about life are different than the rest of those around them.

How one ‘wears’ what they wear also gives off indicators of their disposition. For example, the uptight employee that does his collar up to the top, or the laid back employee who fails to properly tighten his neck tie or avoids wearing one at all. Having buttons done up tight as opposed to having an open suite jacket also has meaning. Having un-pressed pants, dirty shoes or even no shoes, at all, provide details of other people’s disposition. Using inappropriately loose or tight clothing can also give us clues as to the nature of the person. Removing a tie midday under a strict dress code indicates that the person is rebellious and defiant. Unbuttoning a blouse to show more cleavage could lead to being labeled easy or a seductress.

Dress plays a big part in first and daily impressions and also provides excellent cues to be read in others.

Over dressing: Someone who is low in confidence but and tries to make up for it by using fashion as a crutch. These people may also be striving for extra attention from others to make up for their insecurities.

Under dressing: A person who feels that outward appearances are of no value or who lacks the desire to conform to social norms.

Practical dresser or practical fashion: A style that is more focused on functionality and utility instead of extravagance. People who wear practical attire are at ease with themselves. Typically they are not self-centered, are willing to go against the grain so as to feel comfortable in their clothing, or are frugal.

Dressing sexy: Someone who wishes to gain attention and power through sex appeal.

Cue Cluster: Watch for congruence between how one dresses and the body language they carry. While someone might overdress, you might find other clues to insecurity. If someone dresses sexy, they may also give off flirtatious cues. Some women might act catty toward, or challenge other women if they are looking for sexual attention from men. Someone who under-dresses, might have a lax attitude or lack the desire to conform. Watch for awkward body language and speech patterns as well as blushing or a desire to exit social gatherings. The practical dresser might have a more casual approach and seem at ease in every situation. When the attire doesn’t match the body language, you have likely spotted a rouse. This person may be trying to fake others through dress.

Body Language Category: Adornments, Amplifier, Courtship display, Elective nonverbal traits, Masked body language, Relaxed body language, Power play.

Resources:

Angela Book, Kimberly Costello and Joseph A. Camilleri Psychopathy and Victim Selection: The Use of Gait as a Cue to Vulnerability. Journal of Interpersonal Violence. 2013. 28(11): 2368-2383. DOI: 10.1177/0886260512475315jiv.sagepub.com
http://bodylanguageproject.com/articles/dont-walk-like-youre-watched-avoid-victimization-nonverbal-behavior/