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| the focus, paid attention to most of the time. |
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| the background, selective perception of this needs to change and be pushed to the front. |
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| a simple message or interpretable act (statement, gesture, logo, picture, ad, etc.) |
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| environmental system in which everything interrelates & organisms are studied in relation to their environment. |
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| "the medium is the message" |
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| MuLuhan; technology is reshaping & restructuring patterns of social & personal life. |
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| McLuhan; events are heard of as soon as they happen and everyone cares about the problem/news. |
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| McLuhan; acoustic, oral, village, rich life. |
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| McLuhan; alphabet, history, linear thinking, disrupts community, individualistic. |
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| McLuhan; literacy on speed, printing press, power, angered the church, difference becomes important. |
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| McLuhan; "shift work", industrial revolution, TV, revert to eastern thinking, novel ways to solve problems. |
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| the study of the meanings of body movements. |
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| the study of how voice can create the context for understanding words |
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| the study of how people develop meanings for touch behaviors. |
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| the study of distance as a communication message. |
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| the study of how people communicate different messages through the manipulation of time. |
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| Mehrabian's immediacy theory |
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Definition
| behaviors by which we signal to another person the desire to be closer to them, physically & contextually. |
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| levels of emotional response |
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Definition
| attraction, dominance, & arousal. |
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| human-designed environments; lack of permeability, high expanse of construction, clearly marked status levels, selection of materials based on maintenance, & uniformity in design/layout. |
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| expectancy-violations theory |
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Definition
| persuasive situations in which people's expectations about reasonable or proper behavior can be known. |
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| a process's success depends in part on some other entity, such as a technology. |
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| the process by which an organization assimilates, makes sense out of, & uses sensory data. |
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| perceived importance to the self |
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| built into our sensory experience, not total, & seems to support an internal strain toward consistency. |
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| an organized structure of meanings. |
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| we hear/see what we've already preordained for ourselves. |
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| believe that homeostasis (system balance) is a preferred state of being for humans; cannot be achieved statically. |
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| the overall system of symbolic message structures. |
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| a particular & unique property of spokenness. |
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| a one-to-one unambiguous relationship to what they represent. |
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| suggest, rather than verify, the relations between things. |
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| a direct link between a sign & its object. |
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| something that calls attention to, or stands for, something else; the object that carries meaning. |
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| our sense of what it stands for or refers to; the meaning of the sign. |
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| by speaking, we engage in significant action; spoken words are literally actions because they require energy & affect others. |
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| the ability to think what you are doing while doing it; think on your feet. |
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| the belief systems that once clearly defined how everyone was supposed to honor similar definitions of good/evil, right/wrong, & efficient/inefficient. |
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| states that language is not simply a way of voicing ideas, but is the very thing which shapes those ideas; different world views. |
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| linguistic relativity theory |
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| because of the nature of language, reality is relative & in some ways provisional; based on cultural factors. |
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| double reliance on language & social communication; society, self, mind. |
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| 20th century researchers. |
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| the relation of the perceiver to the perceived affects the perception; the looking becomes the looked at. |
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| Williams' definition of of culture. |
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| believing stuff that's bad for you. |
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| Gramsci's definition of ideology |
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| common sense; a system of traces without an inventory ("all the stuff you know that you don't know you know"). |
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| literal, dictionary definition. |
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| attempts to show that many messages can simultaneously mean what they both appear to mean & the opposite. |
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| political, fits into its surroundings, reflect its environment, refuses a single style of architecture, undercuts the value of metanarratives, comfortable, disagrees with technology. |
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| functionality of space, economies of scale, elimination of ornament, rational, efficient, cheap, boring. |
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| personal questions are actually social questions. |
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| theoretical assumptions about non-verbal communication |
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Definition
| invites contextual analysis. |
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| theoretical assumptions about non-verbal communication |
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Definition
| emphasizes relationship-defining messages. |
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| theoretical assumptions about non-verbal communication |
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Definition
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| theoretical assumptions about non-verbal communication |
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Definition
| typically more believable & persuasive than the verbal. |
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| theoretical assumptions about non-verbal communication |
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Definition
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| characteristic of inner speech |
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Definition
| cognitive information processing. |
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| characteristic of inner speech |
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Definition
| the development of the self. |
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| characteristic of inner speech |
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Definition
| the anticipation of dialogue. |
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| characteristic of inner speech |
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| level 1 of social communication. |
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| level 2 of social communication. |
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| level 3 of social communication. |
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| level 4 of social communication. |
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| Fiske; a sign is not defined by the object it describes, but by its relations with other signs; understood from what they are not. |
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Term
| generalized other/significant symbol/role taking |
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Definition
| over time, people develop a generalized sense of how people react to them; we create a general sense of how we are viewed through this. |
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Definition
| behavior was a product of environmental and social reinforcement. |
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| created for cultural identity. |
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| a behaviorist metaphor that suggests that the human mind's inner processes are not as important to know or study as the inputs and outputs. |
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