Its communicational abilities depend on the existence of codes: explicit (like in classic Indian dance and ritualistic dance, magical or religious) or implicit codes, like the kinesic
, proxemic, and rhythmic ones.
Yet even in these embodied accounts kinesic
understanding and empathy on the part of the viewer are often linked to characterization and the simulation of moving bodies on screen (Plantinga 128; Grodal, Moving Pictures 91; Bolens).
In fact, this impression of contented relaxation is maintained by Cohen's kinesic
choices throughout the sequence.
Randomized study on urinary continence after radical prostatectomy with previous kinesic
Expression of the emotion in man, in The Kinesic
Level in the Investigation of the Emotion.
By this means she investigates the essential communicative aspects of movements, postures, gestures, and facial expressions--all of which constitute kinesic
intelligence--and brings this understanding to discussion of the creation and consumption of artistic and literary works.
Getting conductors to be more expressive--and less mechanically oriented, by implication--is the stated purpose in research of pedagogical methods such as Dalcroze Eurythmics (Baker, 1992; Dickson, 1992), Laban movement analysis (Gambetta, 2005; Holt, 1992; Plaag, 2006), kinesic
nonverbal communication (Krudop, 2003; Mathers, 2009), theater-acting exercises (Baker, 1992; Running, 2008), and metaphorical gestures (Wis, 1993), with mime also posed as a potential source of expressive gestures (MacKay, 2008).
By disambiguating (or by rendering still more ambiguous) the illocutionary mode of the utterances though such 'illocutionary force indicators' as stress, intonation, kinesic
markers and facial expressions .
Therefore, my discussion of nonverbal behavior extends only to kinesic
behavior (gestures, expressions, postures, positions and the like).
Although this list of behavioral manifestations provided language teachers with a point of departure for detecting foreign-language anxiety, preliminary inroads were made with a compilation of nonverbal kinesic
behaviors indicative of foreign-language anxiety, which gave teachers actual physical manifestations to look for including more stoical facial expressions and limited eye contact; rigid, closed posture; and use of more self-adaptive gesture than illustrative, speech-related hand movements (Gregersen, 2005).
Contributors include Anne Cranny-Francis ("Moving The Matrix: Kinesic
Excess and Postindustrial Being"), Pamela Church Gibson ("Fashion, Fetish and Spectacle: The Matrix Dresses Up--and Down"), Catherine Constable ("Baudrillardian Revolutions: Repetition and Radical Intervention in the Matrix Trilogy"), and Paul Sheehan ("Immanence, Autonomy and Integral Anomalies").
21) Bauman (1971, 41) refers to the use of kinesic
markers as points of connection in folklore performance.