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Pragmatic function--gestures that contribute to or constitute the acts or moves accomplished by utterances. performative function--gestures that show what sort of a move or speech act a speaker is engaging modal function--gestures that seem to operate on a given unit of verbal discourse and show how it is to interpreted. parsing function--when gestures contribute to the marking of various aspects of the structure of spoken discourse. kendon continues to stress the differences between these functions and the gestural form: "any given gestural form may, according to context, function now in one way, now in another" kendon, 2004, p. 225 ; . this is again an important point for our work as it highlights the importance of a contextual interpretation of perceived nonverbal behavior. scherer and wallbott 1985 ; differentiate four basic functions of nonverbal behavior: i ; semantic, ii ; syntactic, iii ; pragmatic and iv ; dialogic. the semantic function of nonverbal behavior is either signifying referents or through amplifying, contradicting, or modifying meaning realized by verbal contributions. at the syntactical level of nonverbal behavior, scherer and wallbott differentiate two functions: on one hand, nonverbal behavior is used for the segmentation of utterances e. g., eye contact or smiling to begin a conversation; change of body posture to indicate a change in the topic of the conversation ; . on the other hand, nonverbal behavior is used for the synchronization of displayed nonverbal behavior between participants. at the pragmatic level, nonverbal behavior reveals information about social identity, personal traits and psychological states scherer and wallbott, 1985 ; . additionally, nonverbal behavior is often used by the listener to provide backchannel feedback see section 3.3.4 ; . finally, the dialogic functions of nonverbal behavior contribute to the turn-taking system see section 3.3.2 ; . another question with respect to nonverbal behavior is to what extent it is obligatory for the understanding process of the total communicative situation. if we consider, for example, the gazing behavior of humans, it becomes clear that at least some aspects of nonverbal behavior are optional. even though eye gaze seems to reveal important information about the turn-taking process, it is not crucial for successful communication, i. e., telephone conversations. nevertheless, eye gaze does convey a lot of information as it helps to yield a turn speaker looks at the addressee at the end of a contribution ; , deny it listener looks away and does not return the look of the speaker ; , or display attention. for multiparty dialogue situations, vertegaal et al. 2001 ; show that gaze can be used as a predictor of conversational attention. in an experimental study with 7 four-person groups discussing current affairs in a face-to-face meeting, vertegaal et al. 2001 ; show that gaze can form a reliable source of input for a conversational system that needs to determine whether the user is speaking or listening to them. however, they also found considerable individual differences in gazing behavior among the subjects e. g., standard deviations in gaze time were from 19% up to 23% ; . another aspect that clearly influences the amount of gazing is the topic or task at hand and the communication situation itself. several studies revealed that there is also a strong decrease in gazing behavior if the task involves some visual stimuli. de ruiter 2003 ; has shown in an empirical study with a map-based task that subjects gazed only 2.9 times in interactions that lasted about 123 seconds on average. however, as de ruiter 2003 ; also. 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S h e see, stein, supra note 20, at 26 27 describing how casinos like the palms and the hard rock casino cater to younger crowds and noting the ubiquitous nightclubs attached to the casinos ; . 26 see, new york times bestseller list, past listings for may 2003, available at : hawes 2003 0305 #may%2011. a writer for harper's magazine, mcmanus began his book intending to write on the growing presence of women in professional poker, the general professional to play texas poker scene, and a then-ongoing murder trial of the owner of binion's horseshoe casino, which hosts the world series of poker every year. the topic of the book shifted, however, when mcmanus used his advance to earn an entry into the wsop's biggest event, the no-limit texas hold `em tournament. mcmanus made it to the final table, then an unusual feat for an amateur player. 27 james mcmanus, positively fifth street 322 farrar, straus, giroux 2003 ; . 28 see, jay lovinger, now's when to hold'em, available at : sports pn.go espn page2 story?page lovinger 040428 the first in a weekly column by the author describing his poker travails ; . 29 see, bob shemeligian, winning hand, las vegas mercury detailing ratings for espn ; . 30 see, shemeligian, supra note 29. 31 see, : bravotv celebritypokershowdown . 32 a 1998 university of chicago law school graduate, steve lipscomb, conceived of broadcasting the poker tournaments and insisted on inserting the cameras. see, wendeen eolis, lyle berman and steve lipscomb's confection: a poker tournament season on national television, available at : pokerpages articles archives wendeen-eolis03-prt2 . 33 my anecdotal experiences confirm this. in playing poker in las vegas over the past few years, i've seen much more interest in my last two trips, both in the beginning of 2004. i play in the same room -- at the mirage -- which has expanded in that time. the type of player has also shifted, with fewer locals and more tourists and inexperienced players in these games. 34 see, shemeligian, supra note 29. 35 see, 26th annual world series of poker, available at : conjelco wsop95 wrapup-wsop . 36 see, 31st annual world series of poker, available at : conjelco wsop2000 event27 . 37 see, world series of poker 2004, available at : thegoodgamblingguide spotlight wsop2004 wsop2004championshipresults . the entry fee for the tournament is a whopping , 000. however, many entrants gain their way into the tournament by playing and winning smaller "satellite" tournaments, which have smaller entry fees and award entries to the top finishers based on the number of participants. 38 this year's winner, a now-former ; patent attorney named greg raymer, took home , 000, 000. see, world series of poker, available at : thegoodgamblingguide spotlight wsop2004 wsop2004championshipresults . 39 see, partypoker, available at partypoker . as present, on a sunday afternoon, there are over 25, 000 players at partypoker, though an undetermined number of these players are betting play money. at present, over 35, 000 players are playing real money games online. see, pokerpulse, available at : pokerpulse #industrystats. 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So what is an actor to do? play stanley in that kind of no-holds-barred naturalist manner and be dismissed by the critics as "imitation brando?" or develop an equally viable, more stylistically complex approach to the role and risk disappointing audiences that cannot help remembering the movie kowalski as the gold standard against which all other kowalskis must fall short? at studio arena theatre in buffalo, new york [8 sept. to 13 oct. 2002], director jane page went for the complexity, even allowing her stanley kowalski a heroic quality. she wrote in her program essay: "stanley is the quintessential american hero of detective fiction and westerns, a rough selfmade man who claims his own domain." ted koch, who played stanley at studio arena, told an interviewer that this "dream role for an actor [.] comes with its problems" [huntington, 1 sept. 2002]. koch was tempted to watch the movie version, but decided not to: "i already have all those famous images of brando floating around in my head that are hard to shake." so koch tried to dismiss those images, and remember that now it was his turn to put his own stamp on the role. in his interpretation, stanley is not just "a coarse brute in a t-shirt wallowing in animal sexuality." stanley is a moderately successful salesman. in koch's view: "he's not always going to sit around with his pants undone and belly hanging out. this stanley can dress for success." stanley is jealous and resentful of anyone who interferes with his wife or friends. like any human being, he has a multi-faceted personality: "he can be cruel or jokey. he can make stella laugh, like when he reaches in blanche's trunk and pulls out pearls and says, "what is this sister of yours, a deep-sea diver?" he has a certain charm. but then with every scene another layer is added and by the end where this terrible thing happens you can see how he is so drawn to do it that he believes that he is--somehow--justified" [huntington, 1 sept. 2002]. interpreting stanley with a slightly more contemporary masculine sensibility did not mean that the studio arena production avoided naturalism entirely. indeed, the dominant visual element when stanley called up to "stell-ahhhhh!" was two big ugly garbage cans. page's major concession to naturalism was the rape itself, which she describes as "down and dirty." the sequence culminated with stanley throwing blanche against the to play texas poker table and "attacking her from behind, lifting her skirt and pinning her arms down, " thus taking it to a degree of violence considerably beyond the usual pulling back her head by the hair [page email]. the studio arena production also avoided making blanche "a fragile thing that flutters in from another universe." one reviewer observed that. 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23 taylor coleridge puts the common-sense view, "a million of men united by mutual confidence and free concourse of thoughts form one power, and this is as much a real thing as a steam engine".16 and an artificial body, such as a steam engine or robot, is as real as a natural physical body. hobbes' state is arguably constructed out of the bodies of people much as a house is built of boards. to be sure, the social contract is not as literally cohesive as nails or glue. but given the role of hobbes' natural laws in leading to the state, even the social contract may be a sort of physical cohesive. many people have noted the natural cohesiveness of states, and compared their life-growth-death cycle to that of physical organisms. also recall hobbes' physicalism: what else could the social contract ultimately be but some sort of physical nexus, on such a metaphysic? surely it consists of `mental motions' of contractual assent, motions which are ultimately physical. my reply is that "artifact" is only a refinement of what "fiction" should mean in hobbes' case. the refinement seems consistent with everything i have said. i might add that even if artificiality is associated with free choice, most of the artifacts we make result from fairly natural choices. indeed, free choice in the everyday sense is itself part of human nature. i will say more on nature and artifice shortly. one might still object that "artificial" means "fictitious" only if hobbes is a reductionist, only if states are not `emergent properties' of men, only if natural social laws cannot be logically deduced from individual laws together with suitable correlating definitions or bridge-laws. c.b. macpherson might be viewed as raising such an objection.
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