Artistic language in non-verbal communication

• Author: Elena Simona Indreica
• Position: D.P.P.D., Transilvania University Of Brasov
• Pages: 99-104

Page 99

1. The Communication through Image and Non-Verbal Communication

When communicating non-verbally, one uses not only mimics and gestures, but also the posture, clothes, colours and accessories, make-up, or hair styling. Being aware of this aspect, image counsellors transferred the elements of plastic language in the transformation of their clients' appearance, following the principles of plastic composition with the purpose of transmitting specific messages. Our attempt of transferring the hexadic model of lecturing a plastic image to the reading of the human body image involved in communication, even though only at a theoretical level, aimed to improve the techniques of decoding non-verbal messages.

Throughout this article I intend to outline general issues that are found in construction of various images that help in reading and understanding them; to show some characteristics of the visual-artistic composition and to transfer theoretical issues of structural-systemic composition to the possible pints of view for analyzing non-verbal messages; to propose a model for reading body image in non-verbal communication through artistic language elements.

Relations between teachers and students are particularly important for the educational process to run optimally, but in most cases, their complexity makes difficult the didactic communication. Concerns for the study of teachers-students relationship [11] have emerged from the need to find viable solutions to improve communication. In addition to noises (of internal and external nature) that distort the messages transmitted between the participants in the didactic communication, there is also recorded a deficit in the area of intersection between the teacher's repertoire and the student's, both at language level and in the context of the taught subject [7], [13] and at non-verbal level (information we receive in the nonverbal communication have a higher share than those from the area of verbal communication in achieving the overall significance of the act of communication) [6], [9].

We are in contact with the outside world through various senses - visual, auditory,Page 100olfactory, gustatory, tactile. All these channels transmit sensations from the environment which we come in contact with, process them and integrate them into information which is translated and expressed in different languages - verbal, non-verbal, visual, mathematical, musical, artistic. We get most of the information about the world through sight. In this century we are talking more and more about the power of image (induced by audio-visual means alongside with the news papers and magazines) which imposed the cultural power. There is now a real invasion of the visual throughout our lives, through magazines, newspapers, cinema, photos, video, television, cartoons, comics, dance, advertisements, shop windows, electronic games, etc. The importance of visual elements, mental images, imagination, fantasy, visual architecture in general can be found in numerous references, in the treaties of philosophy, psychology, physics (optics), theology, anthropology, pedagogy.

Although it may be believed that non- verbal language, among the variety of languages through which we communicate, is first manifested in human life when human beings need to communicate with their fellow, it would not be possible only through the primary image [12].

Daily, in our visual field, there are n images - from natural to processed or virtual ones. Their perceptual (visual) exploration involves exploratory, search, analysis, comparison actions. Perceptual experience [3] of the individual tends to organize itself in integrated assemblies according to a series of laws: the proximity law (the closest elements are perceived as belonging to the same form), the similarity law (objects similar in size, shape or color tend to form the same configuration or gestalt); the continuity law (elements facing the same direction tend to be organized in the same form), the symmetry law (figures that have one or two symmetrical axes are perceived more easily), the closure law (visual perception avoids as much as possible equivocal interpretations leading to incomplete routes, it tends to be trapped in a closed configuration, well defined; an incomplete figure strives to resemble a well-known one). Perception has not only an informational role, but also a role of guidance and regulation of...