#Nonverbal Response

[krasman]

GREAT STUFF! She looks like she's being sassy as hell to someone that cracked a joke about Mauling meaning something completely different when the context was playing in the bedroom.

I will humbly beg for you to draw Sienna Khan.

Best regards, but one man here

your wish is my command have your slay tiger girl

[yveltalreal]

For a little more context of what is occurring. And also because I found their conversation a little funny, BZZT! Only a little.

[An audio file is attached. Would you like to listen?]

Jaime: Guys, is this a bad time to admit that I’m no good at charades?

[An audible sigh can be heard from presumably Miguel.]

Flynn: I barely remember Houndspeak, I've no clue as to what he is saying...

Esper: [Quiet mumbling.] Why’s it one-handed....?

Miguel: I remember it perfectly so move aside Flynny boy.

Flynn: I–

[A sigh.] 

Flynn: Alright then.

Miguel: Okay okay. Where the fuck were you, Maple? Where did this happen?

[There is the sound of frantic movement and fabric rustling.]

Jaime: Okay so— She’s repeating signs…?

Miguel: She's saying– What? Maple, what the fuck do you mean– Why were you!?!?

Esper: [Deadpan.] I would also like to know why.

[The constant movement stops before starting again.]

Miguel: Okay uh– She's saying her and “Tree”, Aspen, were in... The Garden of Eden?

[A pause.]

Miguel: Breaking and entering to be exact.

[Maple makes a frustrated growling sound.]

Flynn: Wait– What is she saying exactly, the specific words?

Miguel: Uh, okay, the repeating sign basically means “safe place”. But she's used it in other ways before such as “heaven”. Then she says “tropical” and then “safe place” again which I assume means “paradise”? …Basically “Heaven Paradise” or “Safe Paradise”

Esper: I don't think this is Heaven, I think this is hell.

[Another pause.]

Flynn: Oh, Maple signed that that is correct.

Miguel: Awh, you do know something.

Victoria: Focus, Caldeira. Paradise. Dias means Aether Paradise.

Esper: She's nodding–

Miguel: [Confused.] Is that the, like, Science Place?

Victoria: The science place.

Jaime: Not the time, Victoria.

Miguel: I DON'T KNOW THIS SHIT OKAY–

[Ze sighs.]

Miguel: Okay. Maple, what happened there?

[The clothing rustling resumes.]

Miguel: Evil Gh– Frillish. Evil Frillish

Flynn: Ah– Can we have another descriptor?

[Maple sighs.]

Miguel: Evil Hole Frillish.

Esper: Did the “Evil Hole Frillish” do something to Aspen...?

Maple: Mhmm.

[More clothes rustle.]

Miguel: Evil Hole Frillish took a Tree into a Hole… No sign of uprooting so it's definitely about Aspen.

Z: NIHILEGO. SHE MEANS FUCKING NIHILEGO. A NIHILEGO.

[Silence falls upon the group.]

Miguel: THE THING IN THE CODE!?

Maple: Yeh.

Flynn: [Panicked.] Why– Wha– Why–

Jaime: …Z. You knew... You both knew. And you just let him?

Miguel: Wait what? What? Let Aspen do what?

Flynn: Go– Go into Aether Paradise. While it may be abandoned it would… it would still be locked down iron tight.

Miguel: A... And? Why's that a problem? If they could get in they could get in???

[A pause.]

Miguel: I don't see the issue?

Jaime: The issue is that they both knew that he was putting himself in harm’s way. Miguel, there is a reason that Aether Paradise is locked down tight and this is one of the reasons why!

Z: I didn’t want him to! I really didn’t, Jaime. I had a bad feeling about all of this but I tried. I tried to make this as safe as possible, Jaime. I— I didn’t think—

Jaime: Then why didn’t you try to stop him? Why didn’t either of you try to stop him?

Z: …Jaime, he was going to try regardless of whether we helped or not.

Miguel: It sounds like it was something he needed to do. What's done is done.

Victoria: What’s done is done.

Esper: [Barely audible.] Z... What happened...?"

Z: Aspen came to me asking for help breaking into Aether a few weeks ago. I told him I didn’t like the idea, but I know he probably would have gone with or without my help. Better to have me in his corner than not. But I told him that if I was going to help, he was not allowed to go in alone. So he asked Maple.

Maple: Yeh.

Flynn: And what happened in Aether?

Z: Well— Well we went through, like… Okay so I need to emphasize that there was a lot of planning involved and we mapped out an entire exploration path, alright? We had a whole thing planned out. Wait ‘till the cover of night, fly in on Decibel and Grampy, follow the path so I can disable the alarms and loop cameras, get what we needed, and get the fuck out. That was the plan.

So Aspen and Maple walked into Aether— I watched remotely through a camera— and everything was going according to plan. We were following the path. We got what we needed. We were about to leave. And then Aspen asked if we could double back for one more thing. And like… things had been going okay so far so… I told him to make it quick. So we doubled back to I— we started getting readings of dimensional instability. Tami started screaming. Something was wrong. We took this as our sign to get the fuck out of there. We were trying to leave, Jaime.

But then— fucking— god. Fuck. I thought that if… if we took precautions and we planned shit out… I thought maybe that we could…”

I don’t know why I thought I could stop anything bad from happening…

Miguel: Okay that's. A lot. That I am relatively confused on... But I think I get the gist.

Esper: ...Shite.

Flynn: We– We should call the authorities? Right...?

Miguel: Ha ha, closest I'm doing to that is calling Maple's mom.

[Maple makes a quiet "Weh?" noise.]

Z: Flynn, they’re gonna take forever to get here and even longer to figure out what to do.

Flynn: Well what the hell else are we meant to do? The sooner we call them the sooner they can do something. It's not we can go in after him–"

[Miguel starts laughing.]

Miguel: Or we couuullldddd!

[There was a pause.]

Jaime: Z, would it be possible to force open an Ultra Wormhole.

Flynn: [Incredulous.] We cannot go into Ultra Space.

Esper: ...I …I want to hear Z's answer.

Z: Well based on the files I found on the Aether Terminal, we’d kinda need to beat the shit out of a Cosmog or get a Solgaleo or a Lunala or—“

[Z stopped herself.]

Z: Wait.

[There was a pause.]

Z: Theoretically… If… If we…

[Silence.]

Z: Chat we fucking might.

Miguel: FUCK YEAH!!!

[subway-boss-jericho]

Aside from his cries, What kind of sounds does Ingo make now?

Lovely question! 🥺 :D

Steady Tracks Ingo, unfortunately, does not have a proper set of vocal chords to speak most of the sounds needed for English language. While this is still about his cry, his regular sounds that he can achieve just by speaking involve any combination of sounds from his existing cry. A-W-L-A B-O-A-H. This is obviously limiting, but gives him a decent vocal variety to work with. When speaking aloud, most sounds he makes are heavily guided by his instincts, and by extension rarely map to human word forms and sentence structure.

Outside of his cry! He can do other things!!

I am not going to reveal exactly how he can do this because I wanna write about it some time later down the line, but he can make a low, loud wind-instrument sound like a proper train whistle. He does this naturally, but can also do it purposefully as well. It is usually used (when intentional) to express joy or as a warning call. Due to the nature of how loud/harsh it can be on the ears, he tries to be careful when using it in casual settings or when people are particularly close by.

Additionally! Through means I again plan to elaborate on in further chapters, Ingo has abilities that allow him to produce seismic vibrations. Through the same sort of way he can use Earthquake, he can make various buzzing, rattling, and rumbling sounds. This does mean that he can purr and if anyone calls it that he will die On The Spot from sheer, overwhelming embarrassment. I think I meant to post this on its own at some point but I have a drawing I'm gonna put below as an example :> as a treat. Made this last year.

While yes, he does do this to express pleasure, comfort, or ease, it's one of his most versatile forms of verbal/nonverbal/(does it count as verbal if it's not ?? speaking)/auditory communication. He often uses low rumbles to signify nervousness, displeasure, assent, dissent, wariness, frustration, and many other emotions. It's extremely context-based, and is often one of the easiest default replies in response to anything. Higher or faster buzzing is rarer, and I don't have a specific example of intention to offer, but you can imagine it's used in very different contexts. However, I do think he uses higher-pitched buzzes in short bursts as a way to get others' attention or express imploring/goading/approval. Like a phone vibrating. Genuinely I think he's mimicking phone notification sounds, but I don't think he realizes why.

This is not necessarily intentional on his behalf, but when straining his voice he tends to make loud metallic screeching and scraping sounds. This is probably what Boom Burst sounds like, although that move can likely take on the properties of most of his vocal abilities. This is what it would sound like if, for any reason, he tried/needed to scream at the top of his register. Bad for all involved! Including himself!

And just so you all know, he sounds most human when he's laughing. :>

I think that's the majority of his auditory toolkit! Thank you for the super engaging question!

Steady Tracks Masterpost

[blueskittlesart]

no pressure at all, but i was wondering how you think Zelda would react to a mute/deaf link? i bet she originally thought he was conceited but had the gut punch realization that he couldn’t help it and that she had spent all this time judging him

struggling to figure out how to word this but i think this is.. essentially what happens in canon? canonically, link is selectively mute, which essentially just means that physically, he can technically speak. there's no physical problem with his vocal chords, hearing, etc that makes him mute, it's a mental block instead of a physical one. that doesn't mean that it's something he can control, though. I've heard it described as being like your vocal chords just "stop working" in certain situations, whether due to anxiety, trauma, overstimulation, or some other trigger. meaning you still physically can't talk, there's just no anatomical reason for the mutism. so whether he's deaf, physically mute, or selectively mute, i think zelda still has the gut-punch oh shit, he couldn't help it moment and that she DESERVES to have that gut-punch, because that realization that she'd been projecting her own insecurities onto him and refusing to take into account his situation is an important kickstarter to her personal growth and development. But i guess what i'm saying is i don't think her reactions would change very much if you change the way he's communicating with her. With selectively mute link, i do like to think that he eventually becomes comfortable enough around her that he's able to speak for short amounts of time and begins to communicate that way, as is implied in canon (but that's never actually outright stated, just that he "opened up" to her eventually, so it's possible he never actually TALKED to her at all and communicated some other way.) sign language, written language, however he decides to explain what's going on to her, he still was physically incapable of speaking to her before, and she still judged him heavily for it. so tldr yeah, i think no matter what form of mutism you want to give him, she always has to have that moment of shock and realization that she was pushing her own insecurities onto him and that she was downright CRUEL to him. it's one of the most important moments of her arc!

[satansfavoritestripper]

Signalling i was listening to the story, but my soul strayed between time and space and im having a hard time locating my vocal cords

[omegaphilosophia]

The Philosophy of the Face

The philosophy of the face delves into the significance of the face as both a physical and symbolic representation of identity, expression, ethics, and human interaction. The face holds profound philosophical meaning, often considered a site where individuality, sociality, and ethical responsibilities converge.

Key Themes in the Philosophy of the Face:

Identity and Subjectivity:

The face is the most recognizable and unique feature of a person, serving as a primary means of identifying and distinguishing individuals. Philosophically, the face represents individual subjectivity and personhood. It is often tied to the idea of selfhood and how we understand ourselves and others as distinct beings.

Thinkers such as Emmanuel Levinas have emphasized the face as a central aspect of ethical relations. For Levinas, encountering another’s face is a direct confrontation with their humanity, which demands responsibility and ethical consideration.

Expression and Emotion:

The face is the primary medium through which humans convey emotions such as joy, sadness, anger, and surprise. Philosophers of mind and emotion, like Charles Darwin in The Expression of the Emotions in Man and Animals, have studied how the face communicates internal states.

The face also plays a key role in nonverbal communication and body language. Merleau-Ponty, in his phenomenology of perception, views the face as part of our embodied experience, where internal states are manifested externally in the physical world.

The Face and Ethical Responsibility:

In Levinas’s philosophy, the face-to-face encounter is the foundation of ethical relations. The face of the other calls us to responsibility, evoking a moral imperative to recognize their vulnerability and dignity. This idea contrasts with objectifying others, where the person is reduced to a thing rather than recognized in their full humanity.

The face, in Levinas’s ethics, is unavoidably tied to vulnerability. Seeing another’s face can invoke a sense of empathy and care, demanding that we treat the other as more than just an object or a means to an end.

The Gaze and Power:

Jean-Paul Sartre, in his work on existentialism, discusses the concept of the gaze. The idea is that when someone looks at us, we become aware of ourselves as objects in their perception. The gaze of another can be experienced as oppressive or objectifying, leading to feelings of shame or discomfort.

The face is the focal point of the gaze, and philosophers like Michel Foucault have explored how visual power dynamics��like surveillance—operate through the act of looking. The face becomes a site of control and regulation in social contexts.

Facial Recognition and Social Interaction:

In social philosophy, the face is a crucial component of how we interact with and recognize others. Recognition theory, explored by philosophers like Axel Honneth, focuses on the importance of mutual recognition in shaping personal identity and self-esteem. The face plays a central role in these processes of acknowledgment and affirmation.

Social norms about facial expressions also shape interactions. For instance, in certain cultural contexts, smiling or maintaining eye contact is a form of politeness, while in others, it may signify dominance or intrusion.

The Mask and Concealment:

The face is often considered a symbol of authenticity, but the act of masking the face introduces questions about identity and deception. Masks, both literal and figurative, can conceal the true self, leading to philosophical inquiries about authenticity and self-presentation.

In postmodern philosophy, thinkers like Jacques Derrida and Gilles Deleuze question whether the face can ever fully reveal the self. Instead, the face may be seen as a surface, a construct that conceals as much as it reveals.

Facial Alteration and Technology:

With advances in plastic surgery, facial recognition technology, and artificial intelligence, the face has become a subject of technological and ethical debate. The ability to alter, enhance, or track faces raises questions about identity, privacy, and authenticity.

Transhumanist philosophers discuss the role of technology in altering human bodies, including the face, and what that means for personal identity. Facial modification challenges the idea that the face is a static, natural marker of identity.

The Face and Beauty:

The face is a primary site for judgments of beauty, and philosophers have long debated the nature of beauty and its relation to human worth. Aesthetic philosophy considers how facial symmetry, proportion, and expression contribute to perceptions of beauty.

Feminist philosophy critiques the societal emphasis on women’s faces as objects of beauty, exploring how cultural norms around appearance can lead to objectification and unrealistic standards that shape individual self-worth.

The Face in Art and Representation:

Throughout history, the face has been a central subject in art. Portraits, sculptures, and photographs focus on capturing the essence of a person through their facial features. Philosophers of art, such as Arthur Danto and Theodor Adorno, explore how the representation of the face in art reflects deeper truths about human existence.

The face in art can reveal vulnerability, character, and emotion, serving as a window into the subject’s inner life. Artists like Rembrandt and Picasso have used the face to explore deeper psychological and existential themes.

The Face and Memory:

The face plays a crucial role in how we remember and recognize others. Phenomenology and cognitive science explore the significance of the face in memory and the emotions tied to recognition.

Faces are tied to personal history and relationships. The memory of a face can evoke emotions, both positive and negative, shaping our interactions and relationships.

The philosophy of the face encompasses a wide range of issues related to identity, expression, ethics, and social interaction. The face is a powerful symbol of human individuality and vulnerability, playing a central role in communication, recognition, and ethical responsibility. Philosophers across various traditions explore the face as a site where personal and interpersonal meaning is created, raising important questions about how we understand ourselves and others in social and ethical contexts.

[mister13eyond]

.

[yourbleedingh3art]

[unproduciblesmackdown]

also was revisiting a little bmc bway interview ft. william last night & him saying his favorite part of the show was probably doing the agtikbi reprise scene on the couch at the party & mentioning the Nonverbal aspect of jeremy & christine's interacting / communicating there & a way of exploring/depicting Love & Affection in a way you don't always see everywhere and like aaaarghhhhh so true good lord that specific scene. and Again the bway obcr version Existing and being like that, it's just like. winded exhale yeah obsessed 5ever thank you all

[llycaons]

"...but Lan Zhan, everyone’s always watching the sword, no one watches the hands! Me and Whatever can’t be beat, obviously, but when I was a little younger, do you know how many fights I won with talismans?” “Element of surprise.” “Yeah! No one ever expects it!” “Then it is better looked down upon.” “Better looked…? Ohhh you mean..."

I'm sure i've already posted this exact excerpt but I still absolutely love how this author writes lwj's dialogue. it's actually concise, and he's actually saying something! he's contributing meaningfully to the conversation and giving a salient comment on wwx's talisman, and he's doing it in a way consistent with his canon characterization. that's actually really hard to find in fic. I continue to reread This love like a flood, a fire, a fear by natcat5

[heystephen]

i feel literally so evil for getting annoyed with my best friend sometimes like 🫠

[slutcore-starships]

.

[in-tenebris-et-in-solitudine]

Sometimes their behavior is the only answer you need..

[hey-op-just-kill-me]

So somethings just kinda hitting me now. It’s hella fucking easy to accommodate someone who is nonverbal and people just choose not to. Idk why it’s a strange concept for people that I just go days without talking sometimes and there’s no reason for it.

[omegaphilosophia]

Aspects of the Philosophy of Human Hands

The philosophy of the human hand explores the significance, symbolism, and philosophical implications of this remarkable anatomical feature. While hands primarily serve practical functions such as grasping, manipulating objects, and facilitating communication, they also carry profound symbolic and philosophical meanings across various cultures and philosophical traditions.

Some aspects of the philosophy of the human hand include:

Symbolism: Hands are rich in symbolism and cultural significance. They often represent agency, creativity, dexterity, and the ability to shape the world around us. In religious and spiritual contexts, hands may symbolize divine intervention, blessing, or healing.

Embodiment: The human hand is intimately connected to our experience of embodiment and tactile perception. Philosophers explore how our hands mediate our interaction with the physical world and shape our sensory experiences.

Toolmaking and Technology: The unique dexterity of human hands has enabled the development of tools, technology, and cultural artifacts throughout history. Philosophical inquiry into the human hand considers its role in the evolution of technology and its implications for human progress and civilization.

Expression and Communication: Hands play a crucial role in nonverbal communication, gesture, and expression. Philosophers examine how hand gestures convey meaning, emotions, and cultural norms, contributing to our understanding of language and communication.

Ethics and Responsibility: The human hand is often associated with acts of creation, labor, and craftsmanship. Philosophical reflections on the human hand may encompass ethical considerations related to work, responsibility, and the ethical use of one's hands in shaping the world.

Overall, the philosophy of the human hand provides a lens through which to explore fundamental questions about human nature, embodiment, culture, and the relationship between humans and their environment. By delving into the symbolism and practical significance of this unique appendage, philosophers deepen our understanding of what it means to be human.

[hosannan]

[ Decorations - Tinsel, garlands of popcorn-and-cranberries, and wreaths and cornucopias galore - what’s a party without decorations? Help the hosts with some last minute sprucing up, or make a decoration of your own to liven up your dorm. ]

It comes as little surprise to her that Nanna would volunteer herself to assist the event planners, go above and beyond expectations placed on the guests attending.

Sara kneels by a messy pile of trimmings and offers one end up to Nanna, eyeing the popcorn and small fruits adorning its length. She pinches a piece of popcorn between her fingers, wresting it free from the string.

"Isn't it wasteful to use food for this?"

"Oh, absolutely." Nanna doesn't miss a beat, as she strung new popcorn on the other end, to fill in for the pieces Sara plucked off. The motion was second nature to her, filling in what needed to be replaced, much like how Mareeta or Tanya would spoon away at her plate in the communes. Quietly humming, she drew more popcorn onto the string, prior to raising it up over her head to check how it would arc. "Hmm."

Gracefully, she pulled the trimmings of popcorn and cranberries across the room, fluid steps easing into a quiet, tip-toed dance of sorts. And still, she sewed more salty and sweet onto a line, headed directly into Sara's hands. For every pinch from one end came a slide on the other, until they worked under a strange, mutually understood clockwork.

Angling up onto a small stepping stool, she took two pins from her belt and rested one between her lips, humming all the same. The silence that fell between them was a well-loved, well-worn blanket. Pressing the pins in, rolling into the next arc of tinsel, humming a tune off the vinyl that had stopped half an hour ago.

That was how the holidays were with them.