Citati iz knjige „Introducing Body Language“ autora Glenn Wilson

Philip Houston, Michael Floyd and Susan Carnicero, Spy the Lie: Former CIA Officers Teach You How to Detect Deception, London: Icon, 2012

Glenn Wilson and Chris McLaughlin, Winning With Body Language, London: Bloomsbury, 1996

Glenn Wilson, Psychology for Performing Artists (2nd edition), London: Whurr, 2002
Accidental touching – the woman nudges or brushes against the target man. She may even contrive a full body collision.
Looking forlorn – the woman suddenly looks terribly sad in the proximity of the target man.
Body pout – a part of the woman’s body is protruded or displayed.
Empty glass – the gentle shake of an empty glass (‘Buy me a drink’).
Grimace – a response to attention, as though in extreme pain.
Preening – adjustment of clothes or hair in presence of target.
Looking helpless – deliberately evoking male caretaking instincts
Head cant – leaning head to lower height and mimic baby leaning on mother.
Bottom wiggle – walking past the man with buttocks rolling in a display of fertility.
Challenge – a subtle display of defiance.
Foot stamp – the foot is stamped audibly on the floor.
Hesitation – uncertainty is displayed in an action or direction of movement.
Looking back – after passing the target, she turns and looks back over her shoulder.
Playful abandon – careless and playful gesture indicating receptivity.
Gaze diversion – being caught looking at target and rapidly looking away.
Hair flick – flexible hair is a self-conscious youth display.
Shoe dangle – dangling a shoe on the toes as symbolic of undressing.
Fondling objects – a glass or salt cellar is suggestively fondled.
Waving keys – target male is invited to follow.
Not saying goodbye – also sometimes a cue that the man should follow
The ‘anchoring’ trick

The approach to behavioural analysis called ‘neuro­linguistic programming’ recommends a number of special techniques for influencing others. One particular gimmick is called anchoring. For example, a salesperson encourages a client to talk about something enjoyable and close to their heart, such as a pet, a sport or hobby. They then ‘anchor’ this feeling
Tips on detecting liars
Emotions that appear on one side of the face only (asymmetrical), or which involve the mouth and not the upper part of the face, are more likely to be simulated than real. This is because different neural pathways are involved in consciously manufactured emotions as against those that are spontaneously felt.
Longer than usual pauses in a narrative and delays in answering a question may suggest lying. This often happens when a liar is unprepared for a question and needs time to concoct a plausible answer. Generally speaking, liars under questioning tend to slow down their account to give themselves time to think.
The pitch of the voice also denotes emotion. A person’s voice tends to be higher when they are anxious or afraid and this may be due to an attempt to deceive. Stammering, voice tremors, mumbling and fumbling for words indicate stress, which is perhaps, in turn, caused by lying. (Note, however, that there are other causes of stress apart from lying that produce voice impediments, and that practised liars do not necessarily stammer.)
Tall stories often contain a paucity of detail, particularly when the storyteller is not highly imaginative or accomplished as a liar. Their concern is that any particular detail may be shown to be fabricated, providing solid evidence of untruth. Hence there
is a tendency towards vagueness in an untruthful account of events.
A technique used by some interrogators when they believe they have been told a lie is to carry on the conversation for a while and then repeat the same question a bit later. The liar is likely to be rattled by this because it registers as a challenge and they have to rapidly recall exactly what they said previously.
Blushing may be a giveaway; most obviously it is provoked by embarrassment but it is also associated with a sense of shame or guilt and hence may suggest lying. The same applies to other signs of autonomic arousal, such as sweating, blinking, pupil dilation, increased swallowing and changes in breathing patterns. Of course, like voice tremors, these are general stress signs and there may be reasons for feeling stressed other than lying. Care should be taken not to discount these other possibilities.
Biting the lip and puckering of the mouth also suggest some kind of tension as though the individual is trying to intercept an inadvertent spilling of the truth they are trying to withhold.
The hand-shrug (waving a single hand outwards) may effectively discard what the person is saying as unreliable. However, opening the palms symmetrically is more likely to be a sign of openness (having nothing to hide).
Attempts at deception are sometimes betrayed by what is not seen rather than what is observed. For example, if a person is recounting a traumatic experience, then the absence of distress signs (e.g. a tear in the corner of the eye or a crinkling of the brow
People are two-faced
If you take a photo of a person and draw a dividing line down the centre of the face the two sides will often look different. Generally, the left side is more emotionally expressive. An emotion portrayed by an actor is more easily identified in the left half of the face than the right. The likely reason is that the right half of the brain ‘feels’ emotions more strongly than the relatively cold, logical left side and since the right side of the brain controls the muscles on the left side of the face the feelings are exhibited more on that side. The right side of the brain is also the reservoir of facial configurations and hence creates them more effectively in the face. You can try this with a photo of yourself; you might expect to see a stronger expression on the left side of your face, regardless of what that expression is (whether happy, sad or angry).
Tips on detecting liars
Tips on how to make someone like you
Eye contact can be used either as a means of seeking intimacy or as an attempt to intimidate. By corollary, avoidance of eye contact may be a means of avoiding excessive intimacy or an act of social submission. In
Women who want to establish authority in relationships with men, whether at work or socially, may need to deliberately adopt a more male style in the use of gaze. For example, they might make eye contact for shorter periods of time in conversation and avoid flirtatious signals. Similarly, men who want to avoid coming across as cold and superior in their dealings with women may soften themselves by adopting more warm and supportive patterns of eye contact in the workplace and elsewhere.
Take a look at yourself in the mirror. Which side of your face is longer from the chin to the eyebrow? Which side is more muscular and smooth? Which side of your mouth opens more when you talk and tilts towards the person listening? If these are mostly consistent then that side of your face is dominant
Seven key emotions
Paradoxically, ‘phallic’ characteristics can seem very sexy to heterosexual men when worn by women

Tu m'explique ça ?

In most matters it is a question of achieving a proper balance between extremes
attitudes­ and intentions are better read through body language.
the expression of an emotion is usually achieved by delivering a sample or residue of a more complete and overt instinctive behavioural pattern.
While we might think of it as a display of female modesty, some anthropologists interpret this behaviour as a ritual invitation to chase, the expectation being that they would eventually be run down and caught by a ‘fit’ male. This is why gaze-averting comes across as a flirtatious gesture.
Body language enables us to make threats to others that, if properly received and responded to, can deflect actual aggression.
body language ‘leaks’ certain emotions and attitudes that we might have preferred to conceal from those who observe us
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