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Figure 8.8: Excerpt of a typology of pointing gestures in the form of a tree-diagram, including Directing as an immediate elaboration of Representing in 1D. (The following figures at the beginning of each section will build up on this diagram. The bold-faced dimensions below the name of the operation show the number of dimensions of the output form determined by that operation and the preceding ones. The operation of Articulator Profiling is not part of these diagrams since it occurs in all gestures analysed in this dissertation.)

Figure 8 8: Excerpt of a typology of pointing gestures in the form of a tree-diagram, including Directing as an immediate elaboration of Representing in 1D. (The following figures at the beginning of each section will build up on this diagram. The bold-faced dimensions below the name of the operation show the number of dimensions of the output form determined by that operation and the preceding ones. The operation of Articulator Profiling is not part of these diagrams since it occurs in all gestures analysed in this dissertation.)

Related Figures (124)

Figure 1.2: 1,5 seconds of Elan coding of multiple articulators annotated in one tier each (Hassemer 2009:68)
Figure 1.2: 1,5 seconds of Elan coding of multiple articulators annotated in one tier each (Hassemer 2009:68)
Figure 1.4: Hands creating gesture form extending between the fingers and in the length of the centrifugal motion. From Kendon (2004:192). Courtesy of Adam Kendon and Cambridge University Press. Copyright © 2004, Cambridge University Press. Kendon 2004:191
Figure 1.4: Hands creating gesture form extending between the fingers and in the length of the centrifugal motion. From Kendon (2004:192). Courtesy of Adam Kendon and Cambridge University Press. Copyright © 2004, Cambridge University Press. Kendon 2004:191
Figure 2.2: (a) Acting opening a window (reproduced from Miller 2010:162); (b) representing how a car hits the wall (ibid., p. 161); (c) moulding a round bench (ibid.); (d) drawing the contour of a picture frame (ibid.). Drawings by Mathias Roloff (www.mathiasroloff.de). Courtesy of Cornelia Miller and De Gruyter; through Copyright Clearance Center. Copyright © 2010, Walter De Gruyter GmbH.
Figure 2.2: (a) Acting opening a window (reproduced from Miller 2010:162); (b) representing how a car hits the wall (ibid., p. 161); (c) moulding a round bench (ibid.); (d) drawing the contour of a picture frame (ibid.). Drawings by Mathias Roloff (www.mathiasroloff.de). Courtesy of Cornelia Miller and De Gruyter; through Copyright Clearance Center. Copyright © 2010, Walter De Gruyter GmbH.
Figure 2.3: Two wiggling fingers representing walking legs occur in gesture as well as in sign language. ? From Liddell (2003:305; excerpt). Courtesy of Cambridge University Press. Copyright © 2003, Cambridge University Press in Figure 2.3 from Liddell (2003))—both examples for Muller’s representing.
Figure 2.3: Two wiggling fingers representing walking legs occur in gesture as well as in sign language. ? From Liddell (2003:305; excerpt). Courtesy of Cambridge University Press. Copyright © 2003, Cambridge University Press in Figure 2.3 from Liddell (2003))—both examples for Muller’s representing.
Figure 2.4: Continuum of the degree of similarity between hand and referent within gestures that map in three dimensions.*
Figure 2.4: Continuum of the degree of similarity between hand and referent within gestures that map in three dimensions.*
Figure 2.5: Chaplin’s body curved adjacent to a gearwheel (Modern Times, Chaplin 1936; screenshot JH) forms in immediate spatial vicinity that are shaped in a way that allows for continuous contact proximity” (e.g., of brother and sister; Jakobson 1971:354) by using the term ‘adjacency’: two
Figure 2.5: Chaplin’s body curved adjacent to a gearwheel (Modern Times, Chaplin 1936; screenshot JH) forms in immediate spatial vicinity that are shaped in a way that allows for continuous contact proximity” (e.g., of brother and sister; Jakobson 1971:354) by using the term ‘adjacency’: two
gure 2.6: Iconicity and conventionality in signs (redrawn based on Mandel 1977:60; axis direction changed). Mandel’s illustration from 1977.
gure 2.6: Iconicity and conventionality in signs (redrawn based on Mandel 1977:60; axis direction changed). Mandel’s illustration from 1977.
Figure 2.7: Holding an imaginary object. From McNeill (1992:148, fig. 6.1.1 (in original), see also McNeill 1992:14, fig. 3.1). Courtesy of David McNeill and University of Chicago Press. Copyright © 1992, University of Chicago Press. Taub’s words, “metaphor lets iconic signs have abstract meanings” (2004:3).
Figure 2.7: Holding an imaginary object. From McNeill (1992:148, fig. 6.1.1 (in original), see also McNeill 1992:14, fig. 3.1). Courtesy of David McNeill and University of Chicago Press. Copyright © 1992, University of Chicago Press. Taub’s words, “metaphor lets iconic signs have abstract meanings” (2004:3).
Figure 3.1: A vector is part of the conceptualisation of pointing. From Pfeiffer (2010:17). Courtesy of Thies Pfeiffer.
Figure 3.1: A vector is part of the conceptualisation of pointing. From Pfeiffer (2010:17). Courtesy of Thies Pfeiffer.
Figure 3.3(a-d): Trace leaving of different shapes in different directions. Lines (a,b) and surfaces (c,d) in parallel (a,c) and non-parallel (b,d) motion.
Figure 3.3(a-d): Trace leaving of different shapes in different directions. Lines (a,b) and surfaces (c,d) in parallel (a,c) and non-parallel (b,d) motion.
Figure 3.4: Static (a) vs. dynamic (b) representation of a circle. From Calbris (1990:51; excerpt). Courtesy of Indiana University Press. Copyright © 1990, Indiana University Press. trace (Figure 3.4b) can equally represent the shape of a ‘circle’.
Figure 3.4: Static (a) vs. dynamic (b) representation of a circle. From Calbris (1990:51; excerpt). Courtesy of Indiana University Press. Copyright © 1990, Indiana University Press. trace (Figure 3.4b) can equally represent the shape of a ‘circle’.
Figure 3.6: Drawing. See Figure 8.24 for a Gesture Form Analysis of this example. From Goodwin (The Body in Action (2003b:21), Palgrave Macmillan; excerpt). Reproduced with permission of Charles Goodwin and Palgrave Macmillan. This material may not be copied or reproduced without permission from Palgrave Macmillan. Figure 3.5: Drawing gestures as ‘pointing gestures that leave a trace’.
Figure 3.6: Drawing. See Figure 8.24 for a Gesture Form Analysis of this example. From Goodwin (The Body in Action (2003b:21), Palgrave Macmillan; excerpt). Reproduced with permission of Charles Goodwin and Palgrave Macmillan. This material may not be copied or reproduced without permission from Palgrave Macmillan. Figure 3.5: Drawing gestures as ‘pointing gestures that leave a trace’.
Figure 4.1: The 24D sketch. From Marr & Poggio (1979:307). Courtesy of The Royal Society; through Copyright Clearance Center. Copyright © 1979, The Royal Society ‘ocessing (for example, because they emitted similar brightness and colour), can be inferred
Figure 4.1: The 24D sketch. From Marr & Poggio (1979:307). Courtesy of The Royal Society; through Copyright Clearance Center. Copyright © 1979, The Royal Society ‘ocessing (for example, because they emitted similar brightness and colour), can be inferred
Figure 5.1: Dimensions of the ground in a figure-ground construction. On the basis of Talmy (20007191) identifies prepositions to require specific ground geometries, as illustrated in Figure 5.1
Figure 5.1: Dimensions of the ground in a figure-ground construction. On the basis of Talmy (20007191) identifies prepositions to require specific ground geometries, as illustrated in Figure 5.1
Figure 5.2: Forms of one and two dimensions in topological distinction.
Figure 5.2: Forms of one and two dimensions in topological distinction.
Figure 5.3: Profiled hand (bold oval) within immediate scope within maximal scope. From Langacker (2008:64; excerpt). Courtesy of Oxford University Press. Copyright © 2008, Oxford University Press
Figure 5.3: Profiled hand (bold oval) within immediate scope within maximal scope. From Langacker (2008:64; excerpt). Courtesy of Oxford University Press. Copyright © 2008, Oxford University Press
Figure 6.2: (a) A |football team] sitting down represented by curled fingers being berated by (b) their |coach represented by the index finger of the right hand. From Liddell (2003:310; excerpt). Courtesy of Cambridge University Press. Copyright © 2003, Cambridge University Press. angry (b) facial expressions. In Dudis’ (2004) terms, the signer’s body is “partitioned”.
Figure 6.2: (a) A |football team] sitting down represented by curled fingers being berated by (b) their |coach represented by the index finger of the right hand. From Liddell (2003:310; excerpt). Courtesy of Cambridge University Press. Copyright © 2003, Cambridge University Press. angry (b) facial expressions. In Dudis’ (2004) terms, the signer’s body is “partitioned”.
Figure 7.1: Summary of preliminary structure of gesture types from Chapter 3.
Figure 7.1: Summary of preliminary structure of gesture types from Chapter 3.
Figure 7.2: Simplified distinction of gesture types according to the profiled shape. of typology this and the following chapter will build up to.
Figure 7.2: Simplified distinction of gesture types according to the profiled shape. of typology this and the following chapter will build up to.
Figure 7.3: Four different types of form in gestures conceptualisation. dimensions that can be elicited by certain hand shapes. something or represent a physical object. Figure 7.3 exemplifies forms of zero to three How are these forms related to different gesture types? What role do they play in fulfilling
Figure 7.3: Four different types of form in gestures conceptualisation. dimensions that can be elicited by certain hand shapes. something or represent a physical object. Figure 7.3 exemplifies forms of zero to three How are these forms related to different gesture types? What role do they play in fulfilling
Figure 7.6: One plane (a) divides 3D space, two (or more) planes (b) or one curved surface (c) encloses 3D space. otherwise interact with objects (Section 8.5). This affordance is crucial in our three-dimensional world, which consists of three-dimensional
Figure 7.6: One plane (a) divides 3D space, two (or more) planes (b) or one curved surface (c) encloses 3D space. otherwise interact with objects (Section 8.5). This affordance is crucial in our three-dimensional world, which consists of three-dimensional
Figure 7.7: Forms of 0-3D affording division across one-to-three-dimensional space. The simplest forms (lowest number of dimensions) that afford enclosure are in bold face. extent of an object, see, e.g., Figure 8.30 through Figure 8.32). srofile view (2D), see, e.g., Figure 8.9, Figure 8.42 and Figure 8.43, or just showing the (1D
Figure 7.7: Forms of 0-3D affording division across one-to-three-dimensional space. The simplest forms (lowest number of dimensions) that afford enclosure are in bold face. extent of an object, see, e.g., Figure 8.30 through Figure 8.32). srofile view (2D), see, e.g., Figure 8.9, Figure 8.42 and Figure 8.43, or just showing the (1D
Figure 7.8: Prominent affordances of form dimensions in three-dimensional space. like to propose form-function mappings as the foundation of gesture analysis. Figure 7.8
Figure 7.8: Prominent affordances of form dimensions in three-dimensional space. like to propose form-function mappings as the foundation of gesture analysis. Figure 7.8
Figure 7.9(a-d): Forms of different spatial dimensions in gestures.
Figure 7.9(a-d): Forms of different spatial dimensions in gestures.
Figure 7.10: Gesture Form Analysis coding scheme. operation. gesture form: constituent forms are output forms of one operation and input forms for another Figure 7.10 illustrates this general formula, also emphasising the multi-layered character of
Figure 7.10: Gesture Form Analysis coding scheme. operation. gesture form: constituent forms are output forms of one operation and input forms for another Figure 7.10 illustrates this general formula, also emphasising the multi-layered character of
specific input and output forms are given in the graphical equations (17-20):
specific input and output forms are given in the graphical equations (17-20):
Examples for curved shapes: regard to another form physically present or imagined to be present by the observer of the
Examples for curved shapes: regard to another form physically present or imagined to be present by the observer of the
of the equation is the intersection):
of the equation is the intersection):
shapes that are moved in corresponding arches: within the movement to remain parallel to the curved movement trajectory. In three- dimensional data, a dynamic correspondence of hand shape and trajectory possibly is an
shapes that are moved in corresponding arches: within the movement to remain parallel to the curved movement trajectory. In three- dimensional data, a dynamic correspondence of hand shape and trajectory possibly is an
Since very early work on gesture (see chapters 3 and 4 in Kendon 2004), one criterion is used Expressed in graphical equations, this is
Since very early work on gesture (see chapters 3 and 4 in Kendon 2004), one criterion is used Expressed in graphical equations, this is
Figure 7.11: Overview of dimensions of input and output form across static and dynamic gesture form operations
Figure 7.11: Overview of dimensions of input and output form across static and dynamic gesture form operations
Figure 7.12(a,b): Stimulus object (ring) and ambiguous gesture either representing in 3D or enclosing the imaginec object. example of a gesture of ambiguous gesture form.
Figure 7.12(a,b): Stimulus object (ring) and ambiguous gesture either representing in 3D or enclosing the imaginec object. example of a gesture of ambiguous gesture form.
Figure 7.13: Gesture form operations and approximatively corresponding semiotic notions.
Figure 7.13: Gesture form operations and approximatively corresponding semiotic notions.
Figure 7.14: Gesture form operations grouped by three distinct kinds of spatial relations.
Figure 7.14: Gesture form operations grouped by three distinct kinds of spatial relations.
Figure 8.2: Gesture types akin to pointing (blue frame) and drawing (green frame) in some functional gesture categorisations.
Figure 8.2: Gesture types akin to pointing (blue frame) and drawing (green frame) in some functional gesture categorisations.
Figure 8.3: Diagram showing spatial operations (3“ level of the hierarchy) as a result of specific forms (1" level) affording specific spatial structures (2™ level). these geometric operations as the building blocks of the conceptualisation of space in gesture
Figure 8.3: Diagram showing spatial operations (3“ level of the hierarchy) as a result of specific forms (1" level) affording specific spatial structures (2™ level). these geometric operations as the building blocks of the conceptualisation of space in gesture
Figure 8.5: Structure of a tree diagram capturing the rising complexity of gesture types, in which each hierarchical level cumulatively adds one operation to the necessary spatial processing. columns as introduced in Figure 8.4. operations. Figure 8.20 exemplifies an elaboration of the combination of a tree-diagram an
Figure 8.5: Structure of a tree diagram capturing the rising complexity of gesture types, in which each hierarchical level cumulatively adds one operation to the necessary spatial processing. columns as introduced in Figure 8.4. operations. Figure 8.20 exemplifies an elaboration of the combination of a tree-diagram an
Figure 8.6(a,b): Representing in 1D indicating the angle of a drainage pipe. Adapted from Enfield (2009:7). Courtesy of Nicholas Enfield and Cambridge University Press. Copyright © 2009, Cambridge University Press. (In the visual part of Gesture Form Analysis, the original, un-annotated, picture is reproduced on the left (a), while the zoomed picture with the form annotations is located on the right (b). This is done to clearly separate the original material from the annotations from the Gesture Form Analysis.)
Figure 8.6(a,b): Representing in 1D indicating the angle of a drainage pipe. Adapted from Enfield (2009:7). Courtesy of Nicholas Enfield and Cambridge University Press. Copyright © 2009, Cambridge University Press. (In the visual part of Gesture Form Analysis, the original, un-annotated, picture is reproduced on the left (a), while the zoomed picture with the form annotations is located on the right (b). This is done to clearly separate the original material from the annotations from the Gesture Form Analysis.)
Figure 8.9(a,b): Directing “left” in a route description. Adapted from Kita (2003b:319; excerpt). Courtesy of Sotaro Kita and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.9(a,b): Directing “left” in a route description. Adapted from Kita (2003b:319; excerpt). Courtesy of Sotaro Kita and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.10(a,b): Directing a cardinal direction in response to the prompt to indicate where North is (@nmLab).
Figure 8.10(a,b): Directing a cardinal direction in response to the prompt to indicate where North is (@nmLab).
Figure 8.11: Excerpt of a typology of pointing gestures, including Pointing At Location (contact) as a elaboration of Representing in 1D (an alternative elaboration to ‘Directing’ in Figure 8.8). 8.4.3.Pointing At Location (contact)
Figure 8.11: Excerpt of a typology of pointing gestures, including Pointing At Location (contact) as a elaboration of Representing in 1D (an alternative elaboration to ‘Directing’ in Figure 8.8). 8.4.3.Pointing At Location (contact)
Figure 8.12(a,b): An infant Pointing At Location (contact). Adapted from Andrén (2010:186; excerpt). Courtesy of Mats Andrén. be best for unambiguous interpretation.
Figure 8.12(a,b): An infant Pointing At Location (contact). Adapted from Andrén (2010:186; excerpt). Courtesy of Mats Andrén. be best for unambiguous interpretation.
Figure 8.13: Excerpt of a typology of pointing gestures, including Pointing At Location (no contact), which combines the operations of Continuation and Intersection.
Figure 8.13: Excerpt of a typology of pointing gestures, including Pointing At Location (no contact), which combines the operations of Continuation and Intersection.
Figure 8.14(a,b): Pointing At Location (no contact) on an imaginary surface. Adapted from Fricke (2007:129; 2014:1818; excerpt). Courtesy of Ellen Fricke (www.ellenfricke.de) and De Gruyter; through Copyright Clearance Center. Copyright © 2007, Walter De Gruyter GmbH. The point is the resulting form.
Figure 8.14(a,b): Pointing At Location (no contact) on an imaginary surface. Adapted from Fricke (2007:129; 2014:1818; excerpt). Courtesy of Ellen Fricke (www.ellenfricke.de) and De Gruyter; through Copyright Clearance Center. Copyright © 2007, Walter De Gruyter GmbH. The point is the resulting form.
Figure 8.15: Excerpt of a typology of pointing gestures, including Pointing At Object (contact) as the immediate elaboration of Pointing At Location.
Figure 8.15: Excerpt of a typology of pointing gestures, including Pointing At Object (contact) as the immediate elaboration of Pointing At Location.
Figure 8.16(a,b): Pointing At Object (contact). Adapted from Andrén (2010:185). Courtesy of Mats Andrén. gesture.
Figure 8.16(a,b): Pointing At Object (contact). Adapted from Andrén (2010:185). Courtesy of Mats Andrén. gesture.
Figure 8.17: Typology of pointing gestures (profiling the articulator as a 1D shape) in a tree-diagram. (The code on the right-most column summarises combination and order of operations.) 8.4.6. Pointing At Object (no contact)
Figure 8.17: Typology of pointing gestures (profiling the articulator as a 1D shape) in a tree-diagram. (The code on the right-most column summarises combination and order of operations.) 8.4.6. Pointing At Object (no contact)
Figure 8.18(a,b): Pointing At Object (no contact). Adapted from Haviland (2003:147). Courtesy of John Haviland and Taylor and Francis Group; through Copyright Clearance Center, Copyright © 2003, Taylor and Francis Group LLC Books. individualisation of the referent.
Figure 8.18(a,b): Pointing At Object (no contact). Adapted from Haviland (2003:147). Courtesy of John Haviland and Taylor and Francis Group; through Copyright Clearance Center, Copyright © 2003, Taylor and Francis Group LLC Books. individualisation of the referent.
Figure 8.19(a,b): Pointing At Object (no contact), in this case an area on the ground. Adapted from Goodwin (2003a:233; excerpt). Courtesy of Charles Goodwin and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.19(a,b): Pointing At Object (no contact), in this case an area on the ground. Adapted from Goodwin (2003a:233; excerpt). Courtesy of Charles Goodwin and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.20: Typology of pointing gestures extended to the types of Drawing (profiling the articulator as a 1D shape) in a single tree-diagram.
Figure 8.20: Typology of pointing gestures extended to the types of Drawing (profiling the articulator as a 1D shape) in a single tree-diagram.
Figure 8.22(a,b): Drawing (contact) on the surface of the other hand held still (@nmLab)
Figure 8.22(a,b): Drawing (contact) on the surface of the other hand held still (@nmLab)
Figure 8.23: Physical drawing with an instrument exhibiting similar structure to Drawing (contact). Adapted from Goodwin (2003a:231). Courtesy of Charles Goodwin and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.23: Physical drawing with an instrument exhibiting similar structure to Drawing (contact). Adapted from Goodwin (2003a:231). Courtesy of Charles Goodwin and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.24(a,b): Drawing (no contact) without touching the ground. Adapted from Goodwin (The Body in Action (2003b:21), Palgrave Macmillan; excerpt). Reproduced with permission of Charles Goodwin and Palgrave Macmillan. This material may not be copied or reproduced without permission from Palgrave Macmillan. (Figure 8.22b); or without contact, requiring the operation of Continuation (Figure 8.24b).
Figure 8.24(a,b): Drawing (no contact) without touching the ground. Adapted from Goodwin (The Body in Action (2003b:21), Palgrave Macmillan; excerpt). Reproduced with permission of Charles Goodwin and Palgrave Macmillan. This material may not be copied or reproduced without permission from Palgrave Macmillan. (Figure 8.22b); or without contact, requiring the operation of Continuation (Figure 8.24b).
Figure 8.25: The resulting traces of Drawing gestures. From Mittelberg (2010a:368; excerpt). Courtesy of Irene Mittelberg and Equinox Publishing. Copyright © 2010, Equinox Publishing Ltd. [...] imaginary traces in gesture space” (Mittelberg 2010a: 367).
Figure 8.25: The resulting traces of Drawing gestures. From Mittelberg (2010a:368; excerpt). Courtesy of Irene Mittelberg and Equinox Publishing. Copyright © 2010, Equinox Publishing Ltd. [...] imaginary traces in gesture space” (Mittelberg 2010a: 367).
Figure 8.27(a,b): Representing in 2D as a strategy to depict an oval shape (@nmLab).
Figure 8.27(a,b): Representing in 2D as a strategy to depict an oval shape (@nmLab).
Figure 8.28: Excerpt of a typology of Surface Contact Gestures (profiling the articulator as a 2D shape) in the form of a tree diagram. The following figures at the beginning of each section will elaborate on this.
Figure 8.28: Excerpt of a typology of Surface Contact Gestures (profiling the articulator as a 2D shape) in the form of a tree diagram. The following figures at the beginning of each section will elaborate on this.
Figure 8.29(a,b): Holding an unspecified imaginary object. convey anything of the object’s shape.
Figure 8.29(a,b): Holding an unspecified imaginary object. convey anything of the object’s shape.
Figure 8.30(a,b): Holding by two opposing surfaces showing the |object|’s extent on one axis, performed by two flat hands and applied to the abstract category of Tweety and Sylvester cartoons. Adapted from McNeill (1992:148 fig. 6.1.1 (in original), see also McNeill 1992:14, fig. 3.1). Courtesy of David McNeill and University of Chicago Press. Copyright © 1992, University of Chicago Press.
Figure 8.30(a,b): Holding by two opposing surfaces showing the |object|’s extent on one axis, performed by two flat hands and applied to the abstract category of Tweety and Sylvester cartoons. Adapted from McNeill (1992:148 fig. 6.1.1 (in original), see also McNeill 1992:14, fig. 3.1). Courtesy of David McNeill and University of Chicago Press. Copyright © 1992, University of Chicago Press.
Figure 8.31(a,b): Holding a subcategory of a word class. Adapted from Mittelberg (2010b:131). Courtesy of Irene Mittelberg and Equinox Publishing. (Image also published in Mittelberg (2010a:353). Copyright ©2010, Equinox Publishing Ltd.)
Figure 8.31(a,b): Holding a subcategory of a word class. Adapted from Mittelberg (2010b:131). Courtesy of Irene Mittelberg and Equinox Publishing. (Image also published in Mittelberg (2010a:353). Copyright ©2010, Equinox Publishing Ltd.)
Figure 8.32(a,b): Holding by two opposing surfaces showing an stimulus object’s thickness in vertical orientation performed by the index and thumb pad (@nmLab). investigated more closely in Part III.
Figure 8.32(a,b): Holding by two opposing surfaces showing an stimulus object’s thickness in vertical orientation performed by the index and thumb pad (@nmLab). investigated more closely in Part III.
Figure 8.33(a,b): Holding by two surfaces that fully enclose an |object| thus showing the |object|’s complete shape (@nmLab).
Figure 8.33(a,b): Holding by two surfaces that fully enclose an |object| thus showing the |object|’s complete shape (@nmLab).
Figure 8.34: Holding by the complete inner surface of index and thumb, specifying an |object|’s 2D projection. than in Figure 8.30b and Figure 8.32b.
Figure 8.34: Holding by the complete inner surface of index and thumb, specifying an |object|’s 2D projection. than in Figure 8.30b and Figure 8.32b.
Figure 8.35(*1-*4): Different ways to indicate a circular form with different articulators (digit 1 is the thumb, 2 the index and 3 the middle finger). From Calbris (1990:51; excerpt). Courtesy of Columbia University Press. Copyright © 1990, Columbia University Press.
Figure 8.35(*1-*4): Different ways to indicate a circular form with different articulators (digit 1 is the thumb, 2 the index and 3 the middle finger). From Calbris (1990:51; excerpt). Courtesy of Columbia University Press. Copyright © 1990, Columbia University Press.
Figure 8.36(a,b): Pulling movement in a dynamic Holding gesture miming to open a door (@nmLab)
Figure 8.36(a,b): Pulling movement in a dynamic Holding gesture miming to open a door (@nmLab)
Figure 8.37: Typology of Surface Contact Gestures (profiling the articulator as a 2D shape) in form of a tree- diagram.”
Figure 8.37: Typology of Surface Contact Gestures (profiling the articulator as a 2D shape) in form of a tree- diagram.”
Figure 8.38: Moulding a cylindrical form. Adapted from Sowa (2006:261; excerpt). Courtesy of Timo Sowa.” cylinder, larger than the hand could capture without being moved.
Figure 8.38: Moulding a cylindrical form. Adapted from Sowa (2006:261; excerpt). Courtesy of Timo Sowa.” cylinder, larger than the hand could capture without being moved.
Figure 8.39(a-e): Depicting the Drop. Moulding (a,b) and a combination of Holding with the right and Moulding with the left hand (c-e; @nmLab). of the referred object.
Figure 8.39(a-e): Depicting the Drop. Moulding (a,b) and a combination of Holding with the right and Moulding with the left hand (c-e; @nmLab). of the referred object.
Figure 8.40: Stimulus objects (a) Drop and (b) Torus.
Figure 8.40: Stimulus objects (a) Drop and (b) Torus.
Figure 8.41: Moulding the Torus. The Adjacency is positioned last or second but last (white arrow; @nmLab)
Figure 8.41: Moulding the Torus. The Adjacency is positioned last or second but last (white arrow; @nmLab)
Figure 8.42: Moulding a conic shape in 2D space (on vertical facing plane) (@nmLab).
Figure 8.42: Moulding a conic shape in 2D space (on vertical facing plane) (@nmLab).
Figure 8.43: Moulding a conic shape in 2D space (on mid-sagittal plane) (@nmLab).
Figure 8.43: Moulding a conic shape in 2D space (on mid-sagittal plane) (@nmLab).
Figure 8.44: Moulding the flatness of an object’s surface (Study 2; @nmLab).
Figure 8.44: Moulding the flatness of an object’s surface (Study 2; @nmLab).
Figure 8.45: Two different gestures emphasising the gestural use of the head as representing a sphere in 3D (pilot of Study 2) (@nmLab).
Figure 8.45: Two different gestures emphasising the gestural use of the head as representing a sphere in 3D (pilot of Study 2) (@nmLab).
Figure 8.46: The right hand representing the Egg in 3D (@nmLab).
Figure 8.46: The right hand representing the Egg in 3D (@nmLab).
* The articulator head is also used to represent itself in showing facial expressions, see Dudis 2004.
* The articulator head is also used to represent itself in showing facial expressions, see Dudis 2004.
Figure 8.47: Different degrees of similarity when Representing in 3D in American Sign Language at examples of classifier handshapes reproduced from Schembri et al. (2005:275; excerpt). Courtesy of Oxford University Press; through Copyright Clearance Center. Copyright © 2005, Oxford University Press.
Figure 8.47: Different degrees of similarity when Representing in 3D in American Sign Language at examples of classifier handshapes reproduced from Schembri et al. (2005:275; excerpt). Courtesy of Oxford University Press; through Copyright Clearance Center. Copyright © 2005, Oxford University Press.
Figure 8.48: (a) Broad Directing (triangle) and (b) Broad Pointing (triangle).
Figure 8.48: (a) Broad Directing (triangle) and (b) Broad Pointing (triangle).
Figure 8.49: (a) Broad Directing (cone) and (b) Broad Pointing (cone). counted as a single gesture type, so that the number of gesture types discussed so far is four
Figure 8.49: (a) Broad Directing (cone) and (b) Broad Pointing (cone). counted as a single gesture type, so that the number of gesture types discussed so far is four
Figure 8.50: Broad Pointing (cone) directed towards the ground in front of the speaker.
Figure 8.50: Broad Pointing (cone) directed towards the ground in front of the speaker.
Figure 8.51(a-c): Broad Pointing (“wide-hand point” in original). From Wilkins (2003:195; excerpt). Courtesy of David Wilkins and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.51(a-c): Broad Pointing (“wide-hand point” in original). From Wilkins (2003:195; excerpt). Courtesy of David Wilkins and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books.
Figure 8.52. Broad Directing (regardless whether triangle or cone) in flat, 2D space from a top perspective.
Figure 8.52. Broad Directing (regardless whether triangle or cone) in flat, 2D space from a top perspective.
Figure 8.53(a,b): Surface Directing. From Wilkins (2003:197; excerpt). Courtesy of David Wilkins and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books. functions. Figure 8.53b shows an Arrernte gesturer indicating South by Surface Directing
Figure 8.53(a,b): Surface Directing. From Wilkins (2003:197; excerpt). Courtesy of David Wilkins and Taylor and Francis Group, through Copyright Clearance Center. Copyright © 2003, Taylor and Francis Group LLC Books. functions. Figure 8.53b shows an Arrernte gesturer indicating South by Surface Directing
Figure 8.54: Schematic illustration of Surface Directing.
Figure 8.54: Schematic illustration of Surface Directing.
Figure 8.55(a,b): Surface Directing used for a path that includes climbing upstairs (@nmLab).
Figure 8.55(a,b): Surface Directing used for a path that includes climbing upstairs (@nmLab).
Figure 8.56: Examples of Surface Directing in route descriptions (a) from Wilkins (2003:197; excerpt) and (b) from Fricke (2007:110; 2013:741, 2014:1809; excerpt). (a) Courtesy of David Wilkins and Taylor and Francis Group, Copyright © 2003, Taylor and Francis Group LLC Books. (b) Courtesy of Ellen Fricke (www.ellenfricke.de) and De Gruyter. Copyright © 2003, Walter De Gruyter GmbH. Through Copyright Clearance Center.
Figure 8.56: Examples of Surface Directing in route descriptions (a) from Wilkins (2003:197; excerpt) and (b) from Fricke (2007:110; 2013:741, 2014:1809; excerpt). (a) Courtesy of David Wilkins and Taylor and Francis Group, Copyright © 2003, Taylor and Francis Group LLC Books. (b) Courtesy of Ellen Fricke (www.ellenfricke.de) and De Gruyter. Copyright © 2003, Walter De Gruyter GmbH. Through Copyright Clearance Center.
Figure 8.57: Applying the gesture form operation of Trace Leaving with a movement orthogonal to the profiled shape, resulting in different types of sketching, including Drawing.
Figure 8.57: Applying the gesture form operation of Trace Leaving with a movement orthogonal to the profiled shape, resulting in different types of sketching, including Drawing.
Figure 8.58: Possible interpretations of Surface Sketching extending away from the hand (c,d) or not (a,b), intersecting with a frontal plane (b. d) or not (a,c).
Figure 8.58: Possible interpretations of Surface Sketching extending away from the hand (c,d) or not (a,b), intersecting with a frontal plane (b. d) or not (a,c).
Figure 8.59: Typology of gestures discussed in this dissertation based on Gesture Form Analysis; excluding various gesture types’ conceptual reduction of gesture space to one or two dimensions.
Figure 8.59: Typology of gestures discussed in this dissertation based on Gesture Form Analysis; excluding various gesture types’ conceptual reduction of gesture space to one or two dimensions.
Figure 9.2: Age distribution boxplot. that would have to be more broadly tested for any general claim. humans. Conclusions on the basis of this pool of participants can thus only show structures
Figure 9.2: Age distribution boxplot. that would have to be more broadly tested for any general claim. humans. Conclusions on the basis of this pool of participants can thus only show structures
Figure 9.3: Capturing volume @nmLab (Photo: Matthias Priesters), see also Figure 9.4 for setup the volume in a setup similar to what is shown in Figure 9.3.
Figure 9.3: Capturing volume @nmLab (Photo: Matthias Priesters), see also Figure 9.4 for setup the volume in a setup similar to what is shown in Figure 9.3.
Figure 9.4: Lab setup for Study 2 @nmLab including high-speed video cameras (HS), regular digital video cameras (DV), the participant (Part.), the interviewer (Int.) and the operator of the motion-capture system (Op.).
Figure 9.4: Lab setup for Study 2 @nmLab including high-speed video cameras (HS), regular digital video cameras (DV), the participant (Part.), the interviewer (Int.) and the operator of the motion-capture system (Op.).
Figure 9.5: The six markers of the Minimal Marker Set.
Figure 9.5: The six markers of the Minimal Marker Set.
Figure 9.6: Stimulus objects of Study 2.
Figure 9.6: Stimulus objects of Study 2.
Figure 9.7: Screenshot of Elan as shown to the participants. Bottom: tier with live annotations
Figure 9.7: Screenshot of Elan as shown to the participants. Bottom: tier with live annotations
Figure 9.9: Hand Shape Coordinates for the right hand, oriented according to the 3-finger-rule.
Figure 9.9: Hand Shape Coordinates for the right hand, oriented according to the 3-finger-rule.
Figure 10.1: Measure and Shape Gesture. From Sowa (2006:199; excerpt), where both gestures are called “connective hand-shapes”. Courtesy of Timo Sowa.
Figure 10.1: Measure and Shape Gesture. From Sowa (2006:199; excerpt), where both gestures are called “connective hand-shapes”. Courtesy of Timo Sowa.
Figure 10.2: Measure Gesture. One specific group of gestures within the gesture type Holding. Gestures may specify horizontal or sagittal extents.
Figure 10.2: Measure Gesture. One specific group of gestures within the gesture type Holding. Gestures may specify horizontal or sagittal extents.
Figure 10.3(a-f): Possible referent shapes of a Measure Gesture.
Figure 10.3(a-f): Possible referent shapes of a Measure Gesture.
Figure 10.4: Shape Gesture, one group of gestures within the gesture type Holding.
Figure 10.4: Shape Gesture, one group of gestures within the gesture type Holding.
Figure 10.5(a-f): Possible referent shapes of a Shape Gesture. Gesture, the shapes in Figure 10.5(a-c) are not.
Figure 10.5(a-f): Possible referent shapes of a Shape Gesture. Gesture, the shapes in Figure 10.5(a-c) are not.
Figure 10.6: Curvature information deciding over participants perceiving Measure or Shape Gesture. Shape Gestures as Figure 10.6 summarises.
Figure 10.6: Curvature information deciding over participants perceiving Measure or Shape Gesture. Shape Gestures as Figure 10.6 summarises.
Figure 10.7: Screenshots of the expressive phase of 14 Measure Gestures (Study 1).
Figure 10.7: Screenshots of the expressive phase of 14 Measure Gestures (Study 1).
Figure 10.8: Screenshots of three Shape Gestures (Study 1). The data of this participant (taken to elaborate Study 2) did not include more Shape Gestures (for more examples of Measure and Shape Gestures, see Appendix 7).
Figure 10.8: Screenshots of three Shape Gestures (Study 1). The data of this participant (taken to elaborate Study 2) did not include more Shape Gestures (for more examples of Measure and Shape Gestures, see Appendix 7).
Figure 10.9: The variable Curve inversely proportional to the distance spanned by the finger. can be captured by the distance between two points (Figure 10.9).
Figure 10.9: The variable Curve inversely proportional to the distance spanned by the finger. can be captured by the distance between two points (Figure 10.9).
Figure 10.10: Combinations of pinkie, ring and middle finger occluding the inner contour of index finger and thum
Figure 10.10: Combinations of pinkie, ring and middle finger occluding the inner contour of index finger and thum
Figure 10.12: Pinkie Curl as the angle from a side-perspective. as in Figure 10.12, a degree of roughly 35 degrees and an orthogonally inclined finger 90
Figure 10.12: Pinkie Curl as the angle from a side-perspective. as in Figure 10.12, a degree of roughly 35 degrees and an orthogonally inclined finger 90
Figure 10.13: Same Curl value for inclining a straight finger (preceding figure) as for curving the finger (this figure).
Figure 10.13: Same Curl value for inclining a straight finger (preceding figure) as for curving the finger (this figure).
Figure 10.14: List of quantitative exclusion criteria for the Measure and Shape Gesture annotations.” The order in this list is also the order of execution.
Figure 10.14: List of quantitative exclusion criteria for the Measure and Shape Gesture annotations.” The order in this list is also the order of execution.
Figure 10.15: Cohen’s and Fleiss’ « respectively for all combinations among the individuals interpreting Measure and Shape Gestures. ‘hroughout all combinations of interpreting individuals is “substantial” (Landis & Koch 197 Measure and Shape Gestures according to Cohen’s and Fleiss’ kappa. The agreement
Figure 10.15: Cohen’s and Fleiss’ « respectively for all combinations among the individuals interpreting Measure and Shape Gestures. ‘hroughout all combinations of interpreting individuals is “substantial” (Landis & Koch 197 Measure and Shape Gestures according to Cohen’s and Fleiss’ kappa. The agreement
Figure 10.16: Significant differences in means of Measure and Shape Gestures. Figure 10.16 shows the means of the defined variables.
Figure 10.16: Significant differences in means of Measure and Shape Gestures. Figure 10.16 shows the means of the defined variables.
Figure 10.19: Frequency of Shape Gesture interpretations in 10 stages of decreasing pinkie Curl (low x-values more curled, high x values less curled).
Figure 10.19: Frequency of Shape Gesture interpretations in 10 stages of decreasing pinkie Curl (low x-values more curled, high x values less curled).
Figure 11.1: Coarse analogy of different layers of analysis in speech and gesture.
Figure 11.1: Coarse analogy of different layers of analysis in speech and gesture.
Related topics:
Computer VisionGesture StudiesGesture RecognitionStructure from MotionMotion CaptureHand Gesture Recognition System
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