Communication In Perspective

My tryst with human facial expressions is about two decade old. After engaging myself in the empirical investigation of these expressions I became more interested exploring its applied domains. This curiosity grew exponentionally during the course of my interaction with design programme students. It is this interest that has resulted into this multidisciplinary book with contributions from experts in different areas. The first chapter describes the importance of geometric associations in understanding human facial expressions. It goes on to say that the features of the face can be transduced into ‘line elements of expressions’ which could be of relevance to design, both product and communication. It also talks about eye behaviour and advertising, study of human facial expression in the light of human-computer interaction (HCI). Adrian Furnham has described what gestures speak. He has described typical as well as specialized gestures such as punching, prodding, gripping, scratching, and chopping. The explanation of self-touching gesture and its meaning is also very interesting. The discussion of individual as well as cultural differences in gestures is of special interest. Virginia McDermott and Pamela Lutgen-Sandvik have examined the communication aspects that differentiate hostile work environment from supportive ones. Taking into account the fact that positive and supportive communication is linked to enhanced social relationships, they have illustrated how subtle changes in communication can help create positive and supportive social and work environment. Charlotte Kroløkke has brought forth various turns that gender sensitivity has taken since its initial beginning. She describes how language has always been insensitive towards women and how socially constructed gender difference are being naturalized and institutionalized. Her chapter puts forth new issues and demands that have come up with the changing feminist definition. Shilpa Ranade has beautifully portrayed the usage of an evolved visual syntax in Warli painting, a folk art dating back to 2500 or 3000 B.C. The paintings represent their religious belief/ practices, rituals, and life. Although not explicitly detailed in the chapter, one can see the usage of geometric shapes in these paintings. Of utmost significance is the depiction of ‘timelessness’ in these paintings. In his chapter Mandar Rane has explained visual relationship with the help of assignments using different variables and explained how emphasis can be created. The beautiful depiction of Gestalt principles is also noteworthy. He has illustrated the correlation between content and space. One will also find the interpretation of blank (‘empty’) space very interesting. A remarkable synthesis of objects in the physical world and the mental world has been made by Uday Athavankar. With heavy inputs from several allied disciplines, one will find the move from the real world complexity to mental representations very appealing. This is an earnest attempt to create a beautiful collage of creations that have several elements in common and any one attempting to see things holistically will find it motivating.