Free Essays on Nonverbal Communication

by means of facial expressions, eye contact, gestures, postures, physical appearance, and tones of voice. The concept of nonverbal communication is complex. It is almost impossible to know exactly what it includes, but the majority of our talking is done without speaking. No one can speak more than one word at a time, but nonverbal messages can be sent in multiple ways at the same time. The meaning of nonverbal messages differs between cultures (Morreale, Spitzberg, and Barge, Human Communication: Motivation, Knowledge, & Skills, 119), races, and sometimes gender (Burgoon and Saine, The Unspoken Dialogue: An Introduction to Nonverbal Communication, 130). Nonverbal and verbal communications sometimes contradict each other because people are sometimes unaware of the nonverbal messages that they send (Morreale, Spitzberg, and Barge, Human Communication: Motivation, Knowledge, & Skills, 119). The movement of the body makes up a language, in which certain movements have specific meanings. Kinesics focuses on how people communicate through movement and posture, gestures, and the face and eyes (Morreale, Spitzberg, and Barge, Human Communication: Motivation, Knowledge, & Skills, 124). Kinesics refers to all types of body movement, except for touch, that may act as nonverbal communication. Body movement and posture are known as body language. Gestures are large and small movements of the hands and arms that send messages. Gestures complement our speech, bridge our silences, send unspoken messages, or express our approval or disapproval (Lamb and Watson, Body Code: The Meaning in Movement, 1). Negative gestures like fidgeting lets others know that a speaker is... Free Essays on Nonverbal Communication Free Essays on Nonverbal Communication Nonverbal Communication Nonverbal communication and language are different. There has been some research claiming that humans used nonverbal communication before they developed a language. Nonverbal communication is the process of sending and receiving messages without using words by means of facial expressions, eye contact, gestures, postures, physical appearance, and tones of voice. The concept of nonverbal communication is complex. It is almost impossible to know exactly what it includes, but the majority of our talking is done without speaking. No one can speak more than one word at a time, but nonverbal messages can be sent in multiple ways at the same time. The meaning of nonverbal messages differs between cultures (Morreale, Spitzberg, and Barge, Human Communication: Motivation, Knowledge, & Skills, 119), races, and sometimes gender (Burgoon and Saine, The Unspoken Dialogue: An Introduction to Nonverbal Communication, 130). Nonverbal and verbal communications sometimes contradict each other because people are sometimes unaware of the nonverbal messages that they send (Morreale, Spitzberg, and Barge, Human Communication: Motivation, Knowledge, & Skills, 119). The movement of the body makes up a language, in which certain movements have specific meanings. Kinesics focuses on how people communicate through movement and posture, gestures, and the face and eyes (Morreale, Spitzberg, and Barge, Human Communication: Motivation, Knowledge, & Skills, 124). Kinesics refers to all types of body movement, except for touch, that may act as nonverbal communication. Body movement and posture are known as body language. Gestures are large and small movements of the hands and arms that send messages. Gestures complement our speech, bridge our silences, send unspoken messages, or express our approval or disapproval (Lamb and Watson, Body Code: The Meaning in Movement, 1). Negative gestures like fidgeting lets others know that a speaker is... Free Essays on Nonverbal Communication The location I chose to perform my violation of a cultural norm was in an elevator. I used the elevator that is located in my dormitory’s building. After trying to decide which cultural norm to experiment with, I came to the conclusion to invade someone else’s space. The plan I created was to move closer to someone, in the elevator, than the normal space required, while communicating with this person. It was real difficult to engage in this kind this behavior. I have never performed an action similar to this one. People assume that other people will respect and follow the normal rules to communication. It took all my power to make myself break one of those rules. I have to say, however, I was real anxious to see how the person was going to react. Having never performed this action before, I had no idea what to expect or how the person was going to act. The reaction of the person I performed my experiment on was one that I could have anticipated. When I first began to move closer to the person they performed no reaction. They showed no look that they acknowledge my changed behavior. After noticing this I decided to move even closer to the person. This time the person saw that I invade their space and took a small step back. Even though I didn’t know what to expect form this experiment, I had an idea that the initial reaction by the person would be to move back. I wasn’t satisfied with the person just moving back. I wanted the person to show a more defined reaction that would show they didn’t appreciate what I was doing. After the person stepped back, I took a step towards them once again. The person repeated the same movement they did before. I decided to take one more step forward and the person reacted verbally. The person, who had no idea who I was, asked me â€Å"what the heck I was doing.† At this point I could tell this person wasn’t pleased with me, and I decided to explain my experiment to them. The personï ¿ ½... Free Essays on Nonverbal Communication The usage of the eyes in nonverbal communication is a perpetual, trusted form of communication. As we communicate, we normally look into each others eyes trying to decode messages and enhance our ability to interact with the sender. This is one of the essential functions of the eyes, as a monitor of interaction. Environmental cues are a stimulus related function, which are sometimes out of our control of receiving and responding to. Eye contact however, enables us to have mutual communication in order to pickup other cues. By better executing proper communication cues you can see the â€Å"eye of the beholder†. Within interpersonal communication, being able to see beyond what the eyes are saying makes being able to accurately communicate possible. The eye is constantly communicating with the environment. Either by instinctively having a stimulus response or by intentionally directing vision, the eye serves as a mediator to the brain. The messages the eyes send to the brain bring about thought processes. For instance, when you see the stove is on and you avoid putting your hand on it or seeing a flash a lightning causing you to jump. As possibility the most necessary and frequent usage of the eye, it is not interpersonal. However, when foreseen by someone other than yourself that you are engaging in communication, whether intentional or not, it is. While the eyes may not be seen as a vital part of interpersonal communication, they are part of the face and a complimentary aspect of verbal communication. They can supportively coincide with or be contradictory to the overall communication taking place. Eye cues may even take the place of verbal communication as when staring harshly into someone’s eyes, or rolling th em in a disregarding manner. Understanding the messages you can send and understanding those that are received are essential to communication. The eyes are the most noticeable aspect of a person’s face. Whether...

Royal Aircraft Factory SE5 in World War I

Royal Aircraft Factory SE5 in World War I One of the most successful aircraft used by the British in World War I (1814-1918), the Royal Aircraft Factory S.E.5 entered service in early 1917. A reliable, stable gun platform, the type soon became the favored aircraft of many notable British aces. The S.E.5a remained in use through the end of the conflict and was retained by some air forces into the 1920s. Design In 1916, the Royal Flying Corps issued a call to the British aircraft industry to produce a fighter that was superior in all respects to any aircraft currently in use by the enemy. Answering this request were the Royal Aircraft Factory at Farnborough and Sopwith Aviation. While discussions began at Sopwith which led to the legendary Camel, R.A.F.s Henry P. Folland, John Kenworthy, and Major Frank W. Goodden began working on a design of their own. Dubbed the Scout Experimental 5, the new design utilized a new water-cooled 150-hp Hispano-Suiza engine. In devising the rest of the aircraft, the team at Farnborough crafted a tough, square-rigged, single seat fighter capable of enduring high speeds during dives. Increased durability was achieved through the use of a narrow, wire braced, box-girder fuselage which improved pilot vision while also ensuring a higher rate of survivability in crashes. The new type was initially powered by a  Hispano-Suiza 150 HP V8 engine. Construction of three prototypes began in the fall of 1916, and one flew for the first time on November 22. During testing, two of the three prototypes crashed, the first killing Major Goodden on January 28, 1917. Development As the aircraft was refined, it proved to possess high speed and maneuverability, but also had excellent lateral control at lower speeds due to its square wingtips. As with previous R.A.F. designed aircraft, such as the B.E. 2, F.E. 2, and R.E. 8, the S.E. 5 was inherently stable making it an ideal gun platform. To arm the aircraft, the designers mounted a synchronized Vickers machine gun to fire through the propeller. This was partnered with a top wing-mounted Lewis gun which was attached with a Foster mounting. The use of the Foster mount permitted pilots to attack enemies from below by angling the Lewis gun upwards and simplified the process of reloading and clearing jams from the gun. Royal Aircraft Factory S.E.5 - Specifications General: Length: 20 ft. 11 in.Wingspan: 26 ft. 7 in.Height: 9 ft. 6 in.Wing Area: 244 sq. ft.Empty Weight: 1,410 lbsLoaded Weight: 1,935 lbs.Crew: 1 Performance: Power Plant: 1 x Hispano-Suiza, 8 cylinders V, 200 HPRange: 300 milesMax Speed: 138 mphCeiling: 17,000 ft. Armament: 1 x 0.303 in. (7.7 mm) forward-firing Vickers machine gun1x .303 in. (7.7 mm) Lewis gun4x 18 kg Cooper bombs Operational History The S.E.5 began service with No. 56 Squadron in March 1917, and deployed to France the following month. Arriving during Bloody April, a month that saw Manfred von Richthofen claim 21 kills himself, the S.E.5 was one of the aircraft that aided in reclaiming the skies from the Germans. During its early career, pilots found that the S.E.5 was under-powered and voiced their complaints. Famed ace Albert Ball stated that the S.E.5 has turned out a dud. Quickly moving to address this issue, R.A.F. rolled out the S.E.5a in June 1917. Possessing a 200-hp Hispano-Suiza engine, the S.E.5a became the standard version of the aircraft with 5,265 produced. The improved version of the aircraft became a favorite of British pilots as it provided excellent high-altitude performance, good visibility, and was much easier to fly than the Sopwith Camel. Despite this, production of the S.E.5a lagged behind that of the Camel due to production difficulties with the Hispano-Suiza engine. These were not resolved until the introduction of the 200-hp Wolseley Viper (a high-compression version of the Hispano-Suiza) engine in late 1917. As a result, many squadrons slated to receive the new aircraft were forced to soldier on with older types. A Favorite of the Aces Large numbers of the S.E.5a did not reach the front until early 1918. At full deployment, the aircraft equipped 21 British and 2 American squadrons. The S.E.5a was the aircraft of choice of several famed aces such as Albert Ball, Billy Bishop, Edward Mannock, and James McCudden. Speaking of the S.E.5as impressive speed, McCudden noted that  It was very fine to be in a machine that was faster than the Huns, and to know that one could run away just as things got too hot. Serving until the end of the war, it was superior to the German Albatros series of fighters and was one of the few Allied aircraft that was not outclassed by the new Fokker D.VII in May 1918. Other Uses With the end of the war that fall, some S.E.5as were briefly retained by the Royal Air Force while the type continued to be used by Australia and Canada into the 1920s. Others found second lives in the commercial sector. In the 1920s and 1930s, Major Jack Savage retained a group of S.E.5as which were used to pioneer the concept of skywriting.   Others were modified and improved for use in air racing during the 1920s. Variants Production: During World War I, the S.E.5 was produced by Austin Motors (1,650), Air Navigation and Engineering Company (560), Martinsyde (258), the Royal Aircraft Factory (200), Vickers (2,164) and Wolseley Motor Company (431). All told, 5,265 S.E.5s were built, with all but 77 in the S.E.5a configuration. A contract for 1,000 S.E.5as was issued to the Curtiss Aeroplane and Motor Company in the United States, however only one was completed before the end of hostilities. As the conflict progressed, R.A.F. continued development of the type and unveiled the S.E.5b in April 1918.   The variant possessed a streamlined nose and spinner on the propeller as well as a retractable radiator. Other alterations included the use of single bay wings of unequal cord and span and a more streamlined fuselage. Retaining the armament of the S.E.5a, the new variant did not show significantly improved performance over the S.E.5a and was not selected for production. Testing later found that drag caused by the large upper wing offset the gains made by the sleeker fuselage.