Other adaptors involve adjusting or grooming others, similar to how primates like chimpanzees pick things off each other. Finally, as noted, other adaptors are more common in social situations than in public speaking situations given the speaker’s distance from audience members. Smartphones have become common object adaptors, as people can fiddle with their phones to help ease anxiety. Use of object adaptors can also signal boredom as people play with the straw in their drink or peel the label off a bottle of beer. Other people play with dry-erase markers, their note cards, the change in their pockets, or the lectern while speaking. Specifically, I subconsciously gravitate toward metallic objects like paper clips or staples holding my notes together and catch myself bending them or fidgeting with them while I’m speaking. Some self-adaptors manifest internally, as coughs or throat-clearing sounds. Common self-touching behaviors like scratching, twirling hair, or fidgeting with fingers or hands are considered self-adaptors. In public speaking situations, people most commonly use self- or object-focused adaptors. Public speaking students who watch video recordings of their speeches notice nonverbal adaptors that they didn’t know they used. Many of us subconsciously click pens, shake our legs, or engage in other adaptors during classes, meetings, or while waiting as a way to do something with our excess energy. In regular social situations, adaptors result from uneasiness, anxiety, or a general sense that we are not in control of our surroundings. Adaptors can be targeted toward the self, objects, or others. are touching behaviors and movements that indicate internal states typically related to arousal or anxiety. Adaptors Touching behaviors and movements that indicate internal states typically related to arousal or anxiety and may be directed at the self, others, or objects. Andersen, Nonverbal Communication: Forms and Functions (Mountain View, CA: Mayfield, 1999), 36. There are three main types of gestures: adaptors, emblems, and illustrators. zip file containing this book to use offline, simply click here. You can browse or download additional books there. More information is available on this project's attribution page.įor more information on the source of this book, or why it is available for free, please see the project's home page. Additionally, per the publisher's request, their name has been removed in some passages. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Normally, the author and publisher would be credited here. This content was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz in an effort to preserve the availability of this book. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book is licensed under a Creative Commons by-nc-sa 3.0 license.
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