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Sentography: Dynamic forms of communication of emotion and qualities
Cornput.Biol. Med.
PergamonPress 1973.Vol. 3, pp. 1W-130. Printedin Great Britain
Sentography: Dynamic Forms of Communication of Emotion and Qualities MANFRED
CLYNES
The Biocybernetic Institute, Palisades, N.Y. 10964, U.S.A. (Received 26 April 1973) Abstract-The new science of sentics (precise communication of emotion) enables controlled generation of phantasy emotion states. Sentic cycles are used for treatment of psychosomatic disorders and sentography is a quantitative tool for the measurement of sentic profiles. Biocybemetics Computer simulation Emotion communication Mental health Biology of emotion Art Communicative forms Biological control systems Mathematical analysis Emotion generation.
was developed during the last 4 years(1-6) as a method of measuring the dynamic forms of expression of emotion and qualities in a standardized manner. Part of the rationale making standardization possible in sentography is that although a given emotion may be expressed by alternative motor outputs such as a gesture of the arm, or leg, the tone of voice, and so on, the various output modalities contain a common expressive, dynamic programmed form, specific for a given emotion. If this is so, then we may standardize the mode of expression through the use of transient finger pressure applied by a single finger only. Such standardization has the advantage that it is not the usual means of expression employed by any culture, and for that reason it lends itself also to cross-cultural application. Over the last 3 or 4 years extensive data have been accumulated on the specific dynamic expressive forms of emotions as measured by this technique, in terms of vertical and horizontal vector components of dynamic pressure transients against time. These forms, called essentic forms, have proved to be stable and specific. A differential equation has been found describing the specific forms of the emotions so studied. At the present time we have established what amounts to a small “dictionary” of essentic forms. Communication between different individuals takes place (1) through mutually agreed arbitrary signs, such as words, and also more directly (2) through specifically and “spontaneously” produced spatio-temporal forms. The production of these forms (gestures, smiles, tone of voice, musical phrases, dance steps, etc.) commonly called “expressive”, takes place through specific programming of the central nervous system. Their perception too involves a symbiotic demodulation process of the nervous system, a symbiosis analogous to the separate functions of articulation and perceiving speech, but on a largely more primitive evolutionary level. These expressive forms are both cross and auto-communicative. Their communication process is also distinguished by its generative function: there occurs not only recognition but also generation of the specific states and qualities seeking expression, in both the expressor and the “expressee” or the perceiver. The generating function comprises both positive and negative feedback. It may act to establish a state, but also serves to discharge the intensity of a state, in another dynamic
SENTOGRAPHY
119
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MANFREDCLYNES
context. (In the specific context of sentic cycles it serves both to generate and then to dissipate the state.) The generating function gain is also under partial voluntary control. There are characteristic expressive forms for each distinct entity of emotion or quality. The entities of emotion, such as anger, joy, love, etc., differ from entities of sense perception such as red, green, sweet, bitter, etc., in that they are inherently linked to the motor output system of the nervous system. This connection is genetically programmed. Accordingly, an emotion entity comprises both the sentic state and its expression, as one system. Students of psychology have traditionally studied these two aspects separately. This artificial separation has retarded progress in the study of the system properties.“-‘l) Each expressive act has a clear beginning and end, and time course. Its dynamic form is preprogrammed by the brain before it starts. A brain algorithm (involving the cerebellum) determines its precise spatio-temporal form. Such a single expressive act is called an E-acton. Many different motor output modes are possible to express a particular emotion or quality, e.g. the arm, foot, tone of voice, facial movement, etc. For a given emotional expression, there is a common factor in all these possible modes. That factor is demodulated by the nervous system and sensed as the significant form. (Even a dog is sensitive to many of these forms.) The dynamic nature of these forms, called essentic forms, appears to be biologically and genetically determined-they are not arbitrary. Learning to use them is like learning other natural functions, for example, swallowing, walking. The forms are discovered by the individual as existing as part of his human nature. Cultural inhibitions may prevent him from discovering them to a varying extent. MEASUREMENT
OF ESSENTIC
FORM
In order to isolate and measure dynamic aspects of this common factor (the specific spatio-temporal form), expression is standardized by using the transient pressure of a single finger, in a standardized arm and body position* (Figs. 1 and 2). The techniques for measuring essentic forms, consist of the measurement of twodimensional vector forms in time, measured as vertical and horizontal components of transient finger pressure. Two transducers are mechanically mounted to measure horizontal and vertical components of pressure, without cross talk. This is accomplished by a mechanical arrangement designed to provide independent freedom in these two directions. The finger rests on a neutral surface. (The surface is chosen to be neutral to the touch so that it wil1 not be either irritable or excessively smooth.) The finger rest is designed to have a very slight give, (0.003 in. per lb approx.) small compared with the deformation of the finger, but enough to prevent the sensation of complete inflexibility. The arrangement allows the subject to accept the finger rest as a reasonably natural link in the communication chain, and it tends after some time to become unobtrusive and “incorporated”.t The position of the finger and arm is such that it can be kept without effort for long periods of time. The arm is not supported by arm rests, so as to allow the arm to participate freely in the action (without movement). The muscular exertion is sensed to extend from the trunk. The finger itself is not moved to any extent. The variation of pressure causes a *Note that the construction of the word expression itself, i.e. ex-pression is in accord with this paradigm: a fact we did not notice for several years! tThe Sentograph, made by Human Environments Research, Inc., Palisades, N.Y., is an instrument to measure essentic form, and also to average.
Sentography: dynamic forms of communication of emotion and qualities
121
No emotion Love I._/ ---
w. q..
-.: -J.,
,r-j-cc -y, ; .’
-Reverence
Hate ..G .,,,\_ I :’
: . t : : ,.
Anger
-7
Grief
_&_A---_-_JOY
v=
_---
--J---200gm
\ I
-
2 set
Sex
.!
-
FIG. 2. Sentograms of the essentic forms of emotions, upper trace for each emotion in the vertical component of transient pressure, lower trace the horizontal component (at twice the scale). Each form is measured as the average of fifty actons. Figures 2-4 are reprinted from Ref. (S), by permission of the publisher.)
variable deformation of the fingertip and, to that extent, an accompanying movement. The finger does not leave the finger rest at any time. The degrees of freedom are confined to vertical, and horizontal in the direction away or towards the body (by permitting additional degrees of freedom less precise and more idiosyncratic measurements are obtained). It is generally not felt as too restrictive, nor too free, to limit the expression to the described dimensionality. This, in itself, is a significant finding. For each sentic state, announced by a single word, e.g. “anger”, spoken without a marked attempt to express its quality, there is a sequence of initiating sound signals. These sounds are of the nature of a soft neutral tap and are made to be neither irritating nor startling in character. They are made to sound “non-mechanical” to reduce their obtrusiveness, somewhat like tapping wood. The type of randomness of these time signals is important to the effect produced. One must not be able to anticipate the signal. Listening for it induces alertness and attention and constitutes an aspect of communication in itself. The mean period between signals is different for each state. It is in the region of 4-6 set for states of anger, hate, sex and joy, and 7-10 set for grief, love and reverence. This corresponds to the different durations of the respective preprogrammed actons, and also to the speed of the repetitive generation of the urge to express (somewhat analogous to the generator potential of nerve firing or a relaxation oscillation period). The degree of randomness as a percentage of mean modulation is also a factor in the effectiveness of generation, each state having its own optimum value; generally a somewhat smaller percentage for the slower actons.
122
MANFREDCLYNES
The emotions measured in our procedure are anger, hate, grief, love, sex, joy, reverence; 30-40 expressions of each are measured and averaged (Figs. 3 and 4). Fear has been excluded since it cannot be measured and repeatedly expressed by this technique-fear involves withdrawal, and inhibition of expression. We had originally included fear as one of the states, but found that we could not get satisfactory results with it. Reverence is included as a less studied emotion-its inclusion is justified as an expression of relationship to the world at large, rather than to specific individuals. The sequence of emotions used has been found to be of importance in facilitating the generation of fantasy emotion, and to leave the subject feeling calmer and with increased psychic energy upon completion of the cycle. Aspects of sentic cycles are described in a later section of this paper. Figure 5 shows a tabulation of the consistency of essentic forms observed from different individuals. No emotion Vertical Horizontal
-:.
/---
+.‘_
,.v’
--.! f--_+----
FIG.
3. Sentograms of essentic form as vertical and horizontal components of finger pressure; also four groups of muscle potentials integrated and rectified with a time constant of 0.01 sec. Each group is the average of 50 actons. Muscle potentials are recorded from the forearm, upper arm, front shoulder, and back respectively. Groups represent repeated recording from the same individual showing the stability of the patterns. “No emotion” consists of a mechanical movement, such as used for typewriting. In “anger” there is a marked accentuation of the horizontal component indicating a tendency for the acton to be outward, away from the body. The type of anger illustrated here is more akin to irritability than to resentment. The “slow, burning” type of anger has a different pattern which is not illustrated here. The characteristic shape for “love” (not sexual) shows a longer curved action often with a slightly reversed horizontal component indicating a pulling inward or embracing mode of behavior. The muscle actions reflect the differences of the essentic form. The preprogrammed time of the acton for love is considerably longer. The characteristic form for sex shows a strong secondary thrust with emphasized late muscle activity. This secondary thrust is a characteristic of the purely sexual expression and is analogous to the vocalized expressive effect of the syllable urnh.
MATHEMATICAL
EQUATIONS
FOR ESSENTIC
FORM
The specific essentic forms determined experimentally may be described by a single generating differential equation, with parameter values determining the characteristic essentic forms of the emotions.
Sentography:
dynamic forms of communication
123
of emotion and qualities
FIG. 4. Typical sentograms of the essentic form of grief, joy, hate and reverence respectively. Note the strong outward (negative horizontal) component of hate, the late muscle acceleration in muscle 2 indicating a secondary thrust, a characteristic of passion. The response to grief has similarity to the love form, but is flatter and slightly outward. Muscular action of grief is related to an induced general lassitude and the subject does not actively lift the released pressure, the opposite ofjoy. In joy, there is rebound with overshoot, related to a floating sensation, a “jumping for joy” effect. Reverence has general similarity to love but, on a longer time scale. The preprogramming of the acton is extended in time. Respiration is slowed and the acton is preferably carried out on expiration. The latter is also true of hate and grief, but not of joy, which may be frequently done on inspiration.
rlrli
l
,JHatek
I
II
I
1
IAnger
I
a75
I
I
0.5
Peak
II
0.25
time
1
0
i
JoyII
1
0.25
Vertical x Horizon+a,
0.5
Amplitude
9-L I
Love
I
I
I
0.75
I.0
I.25
I I I.5
I_ I.75
+
ratio
FIG. 5. Values of peak time multiplied by Vertical/Horizontal Amplitude ratio for 30 subjects (age 20-47 years, 12 male, 12 female) showing separation without overlap for the 4 emotions, hate, anger, joy and love. This graph illustrates that it is easily possible to find simple measures which will discriminate specific emotion curves. However, this type of analysis does not do justice to the specific forms of the curves (i.e. the quality of the data). The parameters of the differential equation define the curve characteristics.
124
MANFREDCLYNES
Anger
Love
. .: /--\ /
-:L;
computer
. ;:’ ;i’
calculated Superimposed
-?;
;“i-\
)?’
Sex
Actual Computer calculated
U
Hate A ct ua
I
Computer calculated
I-I
0.25
set
FIG. 6. Measured and computed essentic forms.
Composite --J Vertical Pressure
‘\ J
,N----.
A -..
i
: B
:.,
%.
‘1
.:’
/
_:
/
+-+ 0.25 set FIG. 7. Components of computer essentic form simulation showing separate contribution of portions and B of transfer function. B represents effects on pressure of late acting muscle group.
A
Sentography:
dynamic forms of communication
of emotion and qualities
125
To develop the equation, we used analog computer simulation. Figures 6 and 7 show a comparison of actual and computed results. The differential equation whose solutions, for impulse function inputs, are the various essentic forms, is given in Laplace Transform notation as: U(s) =
.-%-
1 + T~s
W,(s) +
_-k&2_ W,(S). 1 +Tss
Where s is the Laplace variable, U(S) = 2+(t)] represents the essentic form; T,T,s are time constants and k, is a “passion” coefficient which is positive for hate and sex, and is zero for love, joy and reverence. The functions IV, (.v) = 9[w,(t)] is defined by W,(s) = b1
T,TJ,s (1 + T,s)(l + T&(1 +
Td
(lb)
Where b is a scale factor, I is the strength of the input impulse and Tl T2 and T3 are additional time constants. The function W,(s) = -EP[w~(~)]is given by w&) = fiw,(t) where !2 is the unidirectional
(lc)
rate sensitive operator defined by CLYNIZZP~~~~) as 1
when
d” > 0 Z’
t2=
(ld) 0
when
d” < 0 Z *
The input to this model is fixed as an impulse function. This appears to be the most natural form of input to use, and on a certain level corresponds in form to the concept of an “impulse” to express an emotion. The differential equations contain two parts. The second part is invoked for the “passionate” states. Characteristic of these states-it provides the late secondary muscular effort. It has the form of an unidirectionally rate-sensitive channel-as defined in previous publications for sensory communication channels. (12*13)Its action begins at a point near the maximum excursion of the first term of the equation and constitutes the secondary impetus present in passionate actons. The transfer function as given in equation (lb) is similar to the “human operator” transfer function. - T3S K (1 + T,ss;(l + T24 as determined for tracking tasks for example, with the addition of another time constant. Equation (la) includes an adaptive and a unidirectionally rate sensitive term. The adding of two separate channels is primarily utilized by the “passionate” states, and is an expression of a special late developing tension. The model is restricted to have meaning only for impulse inputs. The unidirectional ratesensitive feedback also implies that the model is non-linear. Its analog computer circuit is shown in Fig. 8, wherein the decision to express, or the act of “will”, is expressed by the input impulse function. The nonlinear aspect of the equation has no known analytic solution but is easily computed.
MANFRED CLYNES
126
FIG. 8. Analog
computer simulation circuit for realizing essentic forms for the expression of different emotions according to equation (1).
VECTOR
SPACE
The multidimensional vector space determining the separate emotions has a butterfly type configuration. In each multidimensional region a combination of certain vectors is possible, and of others not; according to a general division into positive and negative classes, e.g. joy belonging to the positive class will not mix with anger belonging to the negative class-grief will mix with either love or anger, etc. The positive or negative class is in accordance with the experimentally determined horizontal component of pressurestrongly away from the body, as in anger and hate, is negative-infolding towards the body (or only slightly outward) as in love, joy, belongs to the positive class. In the vector space, combinations are possible within each region, but not across. To proceed from one region to the other, one must traverse through the region of the origin. Recent results suggest that “mixed” emotions are expressed through a nonlinear combination of the component forms, in a partially collapsed sequential form, e.g. melancholy is expressed by beginning a love acton which after about & set delay changes into a grief or sadness acton.
COMMUNICATIVE
POWER
AS A FORM
FUNCTION
The theory that essentic form acts more powerfully the more closely it represents “true” form may be formulated by the following form function relationship: Communicative power P, = a(] where u = u(l) the pure essentic form zp = v(t) the actual essentic form h = a sensitivity constant t = time n = 3 at our present state of inquiry. a is the maximum attainable value e-2/u-” represents the effective impurity
e-Llu-“)
(2)
factor.
This formulation takes into account that communicative ideal shape is approximated; u--a is taken as jlu-vldt.
the
power increases
rapidly
as the
(3)
Sentography:
dynamic forms of communication
UNCERTAINTY PRINCIPLE OF EXPRESSIVE
of emotion and qualities
127
IN THE DYNAMICS EMOTION
If we consider that for expressing a specific emotion there exists a particular essentic form, and that we may describe this form through a mathematical equation, the following questions arise. Is this essentic form inherently linked to that particular emotion, so that any change in the form would imply a corresponding change in the emotion, or could a variation in the essentic form exist from person to person, say, without a necessary change in the emotional meaning? If the essentic form of love would be different in another being could it still correspond to love ? Would beings in another place in the universe experience love in the same essentic form? Do higher forms of emotion exist that we cannot imagine which may surpass love and what would their essentic forms be? We may, in considering the first question, formmate a principle of uncertainty which refers to small perturbations of essentic form. Within such small pertubations it is inherently not possible to decide to what extent the form as found in another individual has itself a different meaning, or whether a slightly different form as found in another individual may represent the same feeling. Experimental evidence tells us that this region of uncertainty is very slight, but we cannot tell theoretically whether it is due to a different representation of the same feeling or the representation of a slightly different feeling. This principle of uncertainty is an interesting aspect of these studies and we may define a small uncertainty coefficient 6 which would modify the ideal form u(t). While a small uncertainty exists, the major emphasis is on the very large degree of similarity indicating similar characteristics of human nature. The other questions are speculative in nature, but it is a merit of the theory that they can be asked. They should be considered in a context of time scales of experience. IDENTITY
AND
RECOGNITION
In nature we find two types of experiences, that reflect the interplay of order and randomness within the universe-those whose identity and properties are directly determined by the laws of the universe---(e.g. atoms, molecules, fundamental particles) and those, like a stone, whose individual identity and form is not directly deducible, but is the result of chance. Man’s nature is programmed through the DNA molecule, and the genetic code, which determines the shape of his kidney, seems also to determine the dynamic nature of his emotions. The natural forms of infinite variety, as they appear to be, constitute nevertheless a much smaller class than all possible forms, which are several orders of infinity greater. Our nervous data processing system in many respects is known to prefer the natural forms. The essentic forms of this paper is one example. The eye (as we have observed in our experiments with evoked potentials) is in general more responsive to gentle curves than to straight lines; the shapes of trees have an inherent affinity to the structure of our retinal data processing characteristics. What appears as the “harmony of nature” is also the harmony of our own nervous system organization. THE
SENTIC
PERSONAL
RELATIONSHIP
PROFILE:
PRP
Having found essentic forms specific for each emotion, it is now possible, as a second generation approach, to apply the method to the measurement of the personal relationship profiIe of an individual at a particular time, as a matrix of his highly distinctive sentic
128
MANFREDCLYNES
responses to a number of suggested persons with whom he has a relationship such as mother, father, wife, children, girlfriend, enemy, etc. Ten sentic responses, obtained a few seconds apart, are averaged for each repeatedly verbally suggested person. The sentic personality relationship profile provides a stable collection of sentograms giving a picture of the individual’s total relationship matrix and attitudes (Fig. 9). The
sentograms are interpretable in terms of the previously measured essentic forms of specific emotions. Visual comparison shows many specific emotion forms. Other stable forms observed in the sentogram profile may be recognized as compound and/or as emotion forms not previously measured in sentographic studies. Automated computer analysis of the personality relationship profile may be done, but is not usually necessary, since visual inspection is adequate and pehaps preferable. Recognition programs for compound forms are not linear.
w3
Fa -----.I-
S
Ni
Ma
Co
Ei
FIG. 9. Sentographic person idiolog profile. Sentic responses to person idiologs from one subject (male, 45 years old) on two different occasions. Sentograms shown are the average of 10 actons in response to such words as mother, father, etc. Each name is repeatedly pronounced a few seconds apart by the experimenter, ten times in succession. Note the characteristic shapes produced on two separate occasions (2 weeks apart). (Left and right columns, for each person idiolog.) These can be related to the emotion shapes previously measured, giving an indication of feelings toward that person. (Note, for example, the resemblance of the sentograms for father to the love sentogram. The Ni form indicates anger at President Nixon in this subject. W3 resembles the essentic form of sex.) Such a “sentographic profile” appears .to be a useful psychological test. Vertical and horizontal trace patterns show a resemblance to love, anger, hate, sex patterns, but also some compound stable forms. The nature of these is of special interest. They may be the expression of either a combination of sentic states measured already, or other sentic states that we have not yet measured, or both,
Sentography:
dynamic forms of communication
129
of emotion and qualities
The sentographic profile is stable-it appears to change only when the relationship changes. As a quantitative measure of an individual’s relationship matrix, the PRP has diagnostic and prognostic function, and indicates changes in relationships, in the course of treatment. It is also of value as a research tool, to investigate the spectrum of emotions and their essentic form. It is being used to chart the course of psychoanalysis. SENTIC CYCLES The sequence of emotions generated in the manner described earlier may be used as the basis for generating sentic cycles. Each cycle lasts approximately 30 min and comprises substantially the entire spectrum of emotions. * One or two cycles may be completed at a session. The experience is in itself unique. It tends to produce a normative effect, allowing the individual to be in touch with his emotions. It also gives him a perspective, as each emotion experienced also implies a different attitude and form of relatedness. The experience also has an effect on the subject’s sense of time, the subjective time being about one-third of the actual passed time. (Marked changes in the EEG are observed. Some of these are shown in Fig. 10.) A sustained calmness and increase in psychic energy is generally noted, and there often is improvement in the quality of sleep. (14*15) A group of psychoanalysts and psychiatrists working with 80 patients has also noted a marked increase in the recall of past memories, childhood experiences, focusing on the emotional quality of those experiences, and a marked increase in the reporting of dreams. Sentic cycles appear to speed up the process of psychoanalysis considerably. (16) The emotion generating function allows many subjects to experience feelings that they had never been able to acknowledge or “live out”.
I
I
I
I
I
1
FIG. 10. Very large slow waves observed in the left occipital lead only, during the phase of reverence. These remarkable waves persisted for over 1 min, and have a period of 4-5.5 xc per cycle and an amplitude of over 100 pV. Leads are, from top to bottom, left occipital, right occipital, left frontal, right frontal. Pulses on fourth trace are the soft clicks initiating the E-actons.
For most subjects the experience of sentic cycles is a “high”, anxiety is dissipated and hostile aggressiveness tends to disappear. Accordingly, sentic cycles have widespread use * Sentic Cycle Tapes are available from the Secretary, 10964, U.S.A.
American
Sentic Association,
Palisades,
N.Y.
130
MANFREDCLYNES
in society,(17*1e) such as for improved marital relations, in institutions, and for the general well being of individuals. A particularly interesting aspect of sentic cycles is that it appears to change what is regarded as important for the individual. The experience provides a new perspective in which the satisfactions desired and available appear in a new light, in the direction of greater enjoyment of being alive, as satisfying in itseIf. Sentic cycles have been experienced by approximately 1500 subjects at this time and over 90 per cent of the subjects have been able to experience some of the beneficial effects described in various degrees. There is no adaptation or habituation to the effect of sentic cycles although it is not recommended that it be done more frequently than once per day for most individuals, other than for therapeutic reasons. CONCLUSION Sentography permits objective measures of the precise dynamic forms of emotional communication, called essentic forms. These forms are active both in auto and crosscommunication. They form elements of artistic and personal communication of affects and qualities. The experience and use of these forms in personal relationships, and in the interrelation of man to his environment, is integral to man’s nature and his needs. REFERENCES 1. M. CLYNES,Sentics: Biocybernetics of emotion communication Ann. N. Y. Acud. Sci. 220 (in press). 2. M. CLYNES, Sentics. Doubleday, New York (in press). 3. M. CLYNES, Biocybernetics of space-time forms in the genesis and communication of emotion, AAAS Symposium on Biocybernetics of the Dynamic Communication of Emotion, Chicago (American Sentic Association, Palisades, N.Y.) 70 (1970). 4. M. CLYNES, Sentography: Dynamic measure of personal relationship profile, Proceedings of 25th ACEMB Conference (l-5 Oct. 1972). 5. M. CLYNES, Toward a view of man, Biomedical Engineering Systems, edited by M. CLYNESand J. H. MILSUM. McGraw-Hill, New York (1970). 6. M. CLYNES, Toward a theory of man, precision of essentic form in living communication, Information Processing in the Nervous System, edited by K. M. LEIBOVICand J. C. ECCLES, pp. 177-206. Springer, New York (1969). I. P. BLACK (ed.), Physiological Correlates of Emotion, pp. 373 (1970). 8. J. HILLMAN,Emotion, p. 317. Northwestern University Press, Evanston, 111.(1964). 9. S. SCHACTERand J. SINGER,Psychol. Rev. 69, 379-399 (1962). 10. P. EKMAN, E. R. SORENSONand W. V. FIRESEN, Pan-cultural elements of facial display of emotions Science. 164 (3875), 86-88 (1969). 11. C. DARWIN, The Expression of the Emotions in Man and Animals. Murray, London (1872). 12. M. CLYNES,Unidirectional rate sensitivity, a biocybernetic law of reflex and humoral systems as physiologic channels of controls and communcation. Ann. N. Y. Acad. Sci. 92 (3), 946-969 (1961). 13. M. CLYNES (ed.), Rein control, or unidirectional rate sensitivity: a fundamental dynamic and organizing function in biology (a symposium of 24 papers). Ann. N. Y. Acud. Sci. 156 (2), 627-968 (1969). 14. A. P. FRENCH and J. TUPIN, Psychometric investigation of sentic cycles, AAAS Symposium, Philadelphia, Penn. (29 Dec. 1971). 15. A. P. FRENCH, P. L. RUSSELLand J. P. TUPIN, Subjective changes with the sentic cycles of Clynes. Dis. Nero. Syst. 33 (9), 598-602 (Sept. 1972). 16. L. DAVIDSONet al., The Use of the Sentic Cycles in Psychoanalysis (in preparation). 17. P. BYERS,Sentics, rhythms, and a new view of man, AAAS Symposium on Sentics, Brain Function, and Sources of Human Values, Philadelphia (30 Dec. 1971). 18. B. B. GREENBIE,Sentics and biocybernetics in the search for an optimum human habitat, AAAS Symposium on Sentics, Brain Function and Human Values (Dec. 1971).
PergamonPress 1973.Vol. 3, pp. 1W-130. Printedin Great Britain
Sentography: Dynamic Forms of Communication of Emotion and Qualities MANFRED
CLYNES
The Biocybernetic Institute, Palisades, N.Y. 10964, U.S.A. (Received 26 April 1973) Abstract-The new science of sentics (precise communication of emotion) enables controlled generation of phantasy emotion states. Sentic cycles are used for treatment of psychosomatic disorders and sentography is a quantitative tool for the measurement of sentic profiles. Biocybemetics Computer simulation Emotion communication Mental health Biology of emotion Art Communicative forms Biological control systems Mathematical analysis Emotion generation.
was developed during the last 4 years(1-6) as a method of measuring the dynamic forms of expression of emotion and qualities in a standardized manner. Part of the rationale making standardization possible in sentography is that although a given emotion may be expressed by alternative motor outputs such as a gesture of the arm, or leg, the tone of voice, and so on, the various output modalities contain a common expressive, dynamic programmed form, specific for a given emotion. If this is so, then we may standardize the mode of expression through the use of transient finger pressure applied by a single finger only. Such standardization has the advantage that it is not the usual means of expression employed by any culture, and for that reason it lends itself also to cross-cultural application. Over the last 3 or 4 years extensive data have been accumulated on the specific dynamic expressive forms of emotions as measured by this technique, in terms of vertical and horizontal vector components of dynamic pressure transients against time. These forms, called essentic forms, have proved to be stable and specific. A differential equation has been found describing the specific forms of the emotions so studied. At the present time we have established what amounts to a small “dictionary” of essentic forms. Communication between different individuals takes place (1) through mutually agreed arbitrary signs, such as words, and also more directly (2) through specifically and “spontaneously” produced spatio-temporal forms. The production of these forms (gestures, smiles, tone of voice, musical phrases, dance steps, etc.) commonly called “expressive”, takes place through specific programming of the central nervous system. Their perception too involves a symbiotic demodulation process of the nervous system, a symbiosis analogous to the separate functions of articulation and perceiving speech, but on a largely more primitive evolutionary level. These expressive forms are both cross and auto-communicative. Their communication process is also distinguished by its generative function: there occurs not only recognition but also generation of the specific states and qualities seeking expression, in both the expressor and the “expressee” or the perceiver. The generating function comprises both positive and negative feedback. It may act to establish a state, but also serves to discharge the intensity of a state, in another dynamic
SENTOGRAPHY
119
120
MANFREDCLYNES
context. (In the specific context of sentic cycles it serves both to generate and then to dissipate the state.) The generating function gain is also under partial voluntary control. There are characteristic expressive forms for each distinct entity of emotion or quality. The entities of emotion, such as anger, joy, love, etc., differ from entities of sense perception such as red, green, sweet, bitter, etc., in that they are inherently linked to the motor output system of the nervous system. This connection is genetically programmed. Accordingly, an emotion entity comprises both the sentic state and its expression, as one system. Students of psychology have traditionally studied these two aspects separately. This artificial separation has retarded progress in the study of the system properties.“-‘l) Each expressive act has a clear beginning and end, and time course. Its dynamic form is preprogrammed by the brain before it starts. A brain algorithm (involving the cerebellum) determines its precise spatio-temporal form. Such a single expressive act is called an E-acton. Many different motor output modes are possible to express a particular emotion or quality, e.g. the arm, foot, tone of voice, facial movement, etc. For a given emotional expression, there is a common factor in all these possible modes. That factor is demodulated by the nervous system and sensed as the significant form. (Even a dog is sensitive to many of these forms.) The dynamic nature of these forms, called essentic forms, appears to be biologically and genetically determined-they are not arbitrary. Learning to use them is like learning other natural functions, for example, swallowing, walking. The forms are discovered by the individual as existing as part of his human nature. Cultural inhibitions may prevent him from discovering them to a varying extent. MEASUREMENT
OF ESSENTIC
FORM
In order to isolate and measure dynamic aspects of this common factor (the specific spatio-temporal form), expression is standardized by using the transient pressure of a single finger, in a standardized arm and body position* (Figs. 1 and 2). The techniques for measuring essentic forms, consist of the measurement of twodimensional vector forms in time, measured as vertical and horizontal components of transient finger pressure. Two transducers are mechanically mounted to measure horizontal and vertical components of pressure, without cross talk. This is accomplished by a mechanical arrangement designed to provide independent freedom in these two directions. The finger rests on a neutral surface. (The surface is chosen to be neutral to the touch so that it wil1 not be either irritable or excessively smooth.) The finger rest is designed to have a very slight give, (0.003 in. per lb approx.) small compared with the deformation of the finger, but enough to prevent the sensation of complete inflexibility. The arrangement allows the subject to accept the finger rest as a reasonably natural link in the communication chain, and it tends after some time to become unobtrusive and “incorporated”.t The position of the finger and arm is such that it can be kept without effort for long periods of time. The arm is not supported by arm rests, so as to allow the arm to participate freely in the action (without movement). The muscular exertion is sensed to extend from the trunk. The finger itself is not moved to any extent. The variation of pressure causes a *Note that the construction of the word expression itself, i.e. ex-pression is in accord with this paradigm: a fact we did not notice for several years! tThe Sentograph, made by Human Environments Research, Inc., Palisades, N.Y., is an instrument to measure essentic form, and also to average.
Sentography: dynamic forms of communication of emotion and qualities
121
No emotion Love I._/ ---
w. q..
-.: -J.,
,r-j-cc -y, ; .’
-Reverence
Hate ..G .,,,\_ I :’
: . t : : ,.
Anger
-7
Grief
_&_A---_-_JOY
v=
_---
--J---200gm
\ I
-
2 set
Sex
.!
-
FIG. 2. Sentograms of the essentic forms of emotions, upper trace for each emotion in the vertical component of transient pressure, lower trace the horizontal component (at twice the scale). Each form is measured as the average of fifty actons. Figures 2-4 are reprinted from Ref. (S), by permission of the publisher.)
variable deformation of the fingertip and, to that extent, an accompanying movement. The finger does not leave the finger rest at any time. The degrees of freedom are confined to vertical, and horizontal in the direction away or towards the body (by permitting additional degrees of freedom less precise and more idiosyncratic measurements are obtained). It is generally not felt as too restrictive, nor too free, to limit the expression to the described dimensionality. This, in itself, is a significant finding. For each sentic state, announced by a single word, e.g. “anger”, spoken without a marked attempt to express its quality, there is a sequence of initiating sound signals. These sounds are of the nature of a soft neutral tap and are made to be neither irritating nor startling in character. They are made to sound “non-mechanical” to reduce their obtrusiveness, somewhat like tapping wood. The type of randomness of these time signals is important to the effect produced. One must not be able to anticipate the signal. Listening for it induces alertness and attention and constitutes an aspect of communication in itself. The mean period between signals is different for each state. It is in the region of 4-6 set for states of anger, hate, sex and joy, and 7-10 set for grief, love and reverence. This corresponds to the different durations of the respective preprogrammed actons, and also to the speed of the repetitive generation of the urge to express (somewhat analogous to the generator potential of nerve firing or a relaxation oscillation period). The degree of randomness as a percentage of mean modulation is also a factor in the effectiveness of generation, each state having its own optimum value; generally a somewhat smaller percentage for the slower actons.
122
MANFREDCLYNES
The emotions measured in our procedure are anger, hate, grief, love, sex, joy, reverence; 30-40 expressions of each are measured and averaged (Figs. 3 and 4). Fear has been excluded since it cannot be measured and repeatedly expressed by this technique-fear involves withdrawal, and inhibition of expression. We had originally included fear as one of the states, but found that we could not get satisfactory results with it. Reverence is included as a less studied emotion-its inclusion is justified as an expression of relationship to the world at large, rather than to specific individuals. The sequence of emotions used has been found to be of importance in facilitating the generation of fantasy emotion, and to leave the subject feeling calmer and with increased psychic energy upon completion of the cycle. Aspects of sentic cycles are described in a later section of this paper. Figure 5 shows a tabulation of the consistency of essentic forms observed from different individuals. No emotion Vertical Horizontal
-:.
/---
+.‘_
,.v’
--.! f--_+----
FIG.
3. Sentograms of essentic form as vertical and horizontal components of finger pressure; also four groups of muscle potentials integrated and rectified with a time constant of 0.01 sec. Each group is the average of 50 actons. Muscle potentials are recorded from the forearm, upper arm, front shoulder, and back respectively. Groups represent repeated recording from the same individual showing the stability of the patterns. “No emotion” consists of a mechanical movement, such as used for typewriting. In “anger” there is a marked accentuation of the horizontal component indicating a tendency for the acton to be outward, away from the body. The type of anger illustrated here is more akin to irritability than to resentment. The “slow, burning” type of anger has a different pattern which is not illustrated here. The characteristic shape for “love” (not sexual) shows a longer curved action often with a slightly reversed horizontal component indicating a pulling inward or embracing mode of behavior. The muscle actions reflect the differences of the essentic form. The preprogrammed time of the acton for love is considerably longer. The characteristic form for sex shows a strong secondary thrust with emphasized late muscle activity. This secondary thrust is a characteristic of the purely sexual expression and is analogous to the vocalized expressive effect of the syllable urnh.
MATHEMATICAL
EQUATIONS
FOR ESSENTIC
FORM
The specific essentic forms determined experimentally may be described by a single generating differential equation, with parameter values determining the characteristic essentic forms of the emotions.
Sentography:
dynamic forms of communication
123
of emotion and qualities
FIG. 4. Typical sentograms of the essentic form of grief, joy, hate and reverence respectively. Note the strong outward (negative horizontal) component of hate, the late muscle acceleration in muscle 2 indicating a secondary thrust, a characteristic of passion. The response to grief has similarity to the love form, but is flatter and slightly outward. Muscular action of grief is related to an induced general lassitude and the subject does not actively lift the released pressure, the opposite ofjoy. In joy, there is rebound with overshoot, related to a floating sensation, a “jumping for joy” effect. Reverence has general similarity to love but, on a longer time scale. The preprogramming of the acton is extended in time. Respiration is slowed and the acton is preferably carried out on expiration. The latter is also true of hate and grief, but not of joy, which may be frequently done on inspiration.
rlrli
l
,JHatek
I
II
I
1
IAnger
I
a75
I
I
0.5
Peak
II
0.25
time
1
0
i
JoyII
1
0.25
Vertical x Horizon+a,
0.5
Amplitude
9-L I
Love
I
I
I
0.75
I.0
I.25
I I I.5
I_ I.75
+
ratio
FIG. 5. Values of peak time multiplied by Vertical/Horizontal Amplitude ratio for 30 subjects (age 20-47 years, 12 male, 12 female) showing separation without overlap for the 4 emotions, hate, anger, joy and love. This graph illustrates that it is easily possible to find simple measures which will discriminate specific emotion curves. However, this type of analysis does not do justice to the specific forms of the curves (i.e. the quality of the data). The parameters of the differential equation define the curve characteristics.
124
MANFREDCLYNES
Anger
Love
. .: /--\ /
-:L;
computer
. ;:’ ;i’
calculated Superimposed
-?;
;“i-\
)?’
Sex
Actual Computer calculated
U
Hate A ct ua
I
Computer calculated
I-I
0.25
set
FIG. 6. Measured and computed essentic forms.
Composite --J Vertical Pressure
‘\ J
,N----.
A -..
i
: B
:.,
%.
‘1
.:’
/
_:
/
+-+ 0.25 set FIG. 7. Components of computer essentic form simulation showing separate contribution of portions and B of transfer function. B represents effects on pressure of late acting muscle group.
A
Sentography:
dynamic forms of communication
of emotion and qualities
125
To develop the equation, we used analog computer simulation. Figures 6 and 7 show a comparison of actual and computed results. The differential equation whose solutions, for impulse function inputs, are the various essentic forms, is given in Laplace Transform notation as: U(s) =
.-%-
1 + T~s
W,(s) +
_-k&2_ W,(S). 1 +Tss
Where s is the Laplace variable, U(S) = 2+(t)] represents the essentic form; T,T,s are time constants and k, is a “passion” coefficient which is positive for hate and sex, and is zero for love, joy and reverence. The functions IV, (.v) = 9[w,(t)] is defined by W,(s) = b1
T,TJ,s (1 + T,s)(l + T&(1 +
Td
(lb)
Where b is a scale factor, I is the strength of the input impulse and Tl T2 and T3 are additional time constants. The function W,(s) = -EP[w~(~)]is given by w&) = fiw,(t) where !2 is the unidirectional
(lc)
rate sensitive operator defined by CLYNIZZP~~~~) as 1
when
d” > 0 Z’
t2=
(ld) 0
when
d” < 0 Z *
The input to this model is fixed as an impulse function. This appears to be the most natural form of input to use, and on a certain level corresponds in form to the concept of an “impulse” to express an emotion. The differential equations contain two parts. The second part is invoked for the “passionate” states. Characteristic of these states-it provides the late secondary muscular effort. It has the form of an unidirectionally rate-sensitive channel-as defined in previous publications for sensory communication channels. (12*13)Its action begins at a point near the maximum excursion of the first term of the equation and constitutes the secondary impetus present in passionate actons. The transfer function as given in equation (lb) is similar to the “human operator” transfer function. - T3S K (1 + T,ss;(l + T24 as determined for tracking tasks for example, with the addition of another time constant. Equation (la) includes an adaptive and a unidirectionally rate sensitive term. The adding of two separate channels is primarily utilized by the “passionate” states, and is an expression of a special late developing tension. The model is restricted to have meaning only for impulse inputs. The unidirectional ratesensitive feedback also implies that the model is non-linear. Its analog computer circuit is shown in Fig. 8, wherein the decision to express, or the act of “will”, is expressed by the input impulse function. The nonlinear aspect of the equation has no known analytic solution but is easily computed.
MANFRED CLYNES
126
FIG. 8. Analog
computer simulation circuit for realizing essentic forms for the expression of different emotions according to equation (1).
VECTOR
SPACE
The multidimensional vector space determining the separate emotions has a butterfly type configuration. In each multidimensional region a combination of certain vectors is possible, and of others not; according to a general division into positive and negative classes, e.g. joy belonging to the positive class will not mix with anger belonging to the negative class-grief will mix with either love or anger, etc. The positive or negative class is in accordance with the experimentally determined horizontal component of pressurestrongly away from the body, as in anger and hate, is negative-infolding towards the body (or only slightly outward) as in love, joy, belongs to the positive class. In the vector space, combinations are possible within each region, but not across. To proceed from one region to the other, one must traverse through the region of the origin. Recent results suggest that “mixed” emotions are expressed through a nonlinear combination of the component forms, in a partially collapsed sequential form, e.g. melancholy is expressed by beginning a love acton which after about & set delay changes into a grief or sadness acton.
COMMUNICATIVE
POWER
AS A FORM
FUNCTION
The theory that essentic form acts more powerfully the more closely it represents “true” form may be formulated by the following form function relationship: Communicative power P, = a(] where u = u(l) the pure essentic form zp = v(t) the actual essentic form h = a sensitivity constant t = time n = 3 at our present state of inquiry. a is the maximum attainable value e-2/u-” represents the effective impurity
e-Llu-“)
(2)
factor.
This formulation takes into account that communicative ideal shape is approximated; u--a is taken as jlu-vldt.
the
power increases
rapidly
as the
(3)
Sentography:
dynamic forms of communication
UNCERTAINTY PRINCIPLE OF EXPRESSIVE
of emotion and qualities
127
IN THE DYNAMICS EMOTION
If we consider that for expressing a specific emotion there exists a particular essentic form, and that we may describe this form through a mathematical equation, the following questions arise. Is this essentic form inherently linked to that particular emotion, so that any change in the form would imply a corresponding change in the emotion, or could a variation in the essentic form exist from person to person, say, without a necessary change in the emotional meaning? If the essentic form of love would be different in another being could it still correspond to love ? Would beings in another place in the universe experience love in the same essentic form? Do higher forms of emotion exist that we cannot imagine which may surpass love and what would their essentic forms be? We may, in considering the first question, formmate a principle of uncertainty which refers to small perturbations of essentic form. Within such small pertubations it is inherently not possible to decide to what extent the form as found in another individual has itself a different meaning, or whether a slightly different form as found in another individual may represent the same feeling. Experimental evidence tells us that this region of uncertainty is very slight, but we cannot tell theoretically whether it is due to a different representation of the same feeling or the representation of a slightly different feeling. This principle of uncertainty is an interesting aspect of these studies and we may define a small uncertainty coefficient 6 which would modify the ideal form u(t). While a small uncertainty exists, the major emphasis is on the very large degree of similarity indicating similar characteristics of human nature. The other questions are speculative in nature, but it is a merit of the theory that they can be asked. They should be considered in a context of time scales of experience. IDENTITY
AND
RECOGNITION
In nature we find two types of experiences, that reflect the interplay of order and randomness within the universe-those whose identity and properties are directly determined by the laws of the universe---(e.g. atoms, molecules, fundamental particles) and those, like a stone, whose individual identity and form is not directly deducible, but is the result of chance. Man’s nature is programmed through the DNA molecule, and the genetic code, which determines the shape of his kidney, seems also to determine the dynamic nature of his emotions. The natural forms of infinite variety, as they appear to be, constitute nevertheless a much smaller class than all possible forms, which are several orders of infinity greater. Our nervous data processing system in many respects is known to prefer the natural forms. The essentic forms of this paper is one example. The eye (as we have observed in our experiments with evoked potentials) is in general more responsive to gentle curves than to straight lines; the shapes of trees have an inherent affinity to the structure of our retinal data processing characteristics. What appears as the “harmony of nature” is also the harmony of our own nervous system organization. THE
SENTIC
PERSONAL
RELATIONSHIP
PROFILE:
PRP
Having found essentic forms specific for each emotion, it is now possible, as a second generation approach, to apply the method to the measurement of the personal relationship profiIe of an individual at a particular time, as a matrix of his highly distinctive sentic
128
MANFREDCLYNES
responses to a number of suggested persons with whom he has a relationship such as mother, father, wife, children, girlfriend, enemy, etc. Ten sentic responses, obtained a few seconds apart, are averaged for each repeatedly verbally suggested person. The sentic personality relationship profile provides a stable collection of sentograms giving a picture of the individual’s total relationship matrix and attitudes (Fig. 9). The
sentograms are interpretable in terms of the previously measured essentic forms of specific emotions. Visual comparison shows many specific emotion forms. Other stable forms observed in the sentogram profile may be recognized as compound and/or as emotion forms not previously measured in sentographic studies. Automated computer analysis of the personality relationship profile may be done, but is not usually necessary, since visual inspection is adequate and pehaps preferable. Recognition programs for compound forms are not linear.
w3
Fa -----.I-
S
Ni
Ma
Co
Ei
FIG. 9. Sentographic person idiolog profile. Sentic responses to person idiologs from one subject (male, 45 years old) on two different occasions. Sentograms shown are the average of 10 actons in response to such words as mother, father, etc. Each name is repeatedly pronounced a few seconds apart by the experimenter, ten times in succession. Note the characteristic shapes produced on two separate occasions (2 weeks apart). (Left and right columns, for each person idiolog.) These can be related to the emotion shapes previously measured, giving an indication of feelings toward that person. (Note, for example, the resemblance of the sentograms for father to the love sentogram. The Ni form indicates anger at President Nixon in this subject. W3 resembles the essentic form of sex.) Such a “sentographic profile” appears .to be a useful psychological test. Vertical and horizontal trace patterns show a resemblance to love, anger, hate, sex patterns, but also some compound stable forms. The nature of these is of special interest. They may be the expression of either a combination of sentic states measured already, or other sentic states that we have not yet measured, or both,
Sentography:
dynamic forms of communication
129
of emotion and qualities
The sentographic profile is stable-it appears to change only when the relationship changes. As a quantitative measure of an individual’s relationship matrix, the PRP has diagnostic and prognostic function, and indicates changes in relationships, in the course of treatment. It is also of value as a research tool, to investigate the spectrum of emotions and their essentic form. It is being used to chart the course of psychoanalysis. SENTIC CYCLES The sequence of emotions generated in the manner described earlier may be used as the basis for generating sentic cycles. Each cycle lasts approximately 30 min and comprises substantially the entire spectrum of emotions. * One or two cycles may be completed at a session. The experience is in itself unique. It tends to produce a normative effect, allowing the individual to be in touch with his emotions. It also gives him a perspective, as each emotion experienced also implies a different attitude and form of relatedness. The experience also has an effect on the subject’s sense of time, the subjective time being about one-third of the actual passed time. (Marked changes in the EEG are observed. Some of these are shown in Fig. 10.) A sustained calmness and increase in psychic energy is generally noted, and there often is improvement in the quality of sleep. (14*15) A group of psychoanalysts and psychiatrists working with 80 patients has also noted a marked increase in the recall of past memories, childhood experiences, focusing on the emotional quality of those experiences, and a marked increase in the reporting of dreams. Sentic cycles appear to speed up the process of psychoanalysis considerably. (16) The emotion generating function allows many subjects to experience feelings that they had never been able to acknowledge or “live out”.
I
I
I
I
I
1
FIG. 10. Very large slow waves observed in the left occipital lead only, during the phase of reverence. These remarkable waves persisted for over 1 min, and have a period of 4-5.5 xc per cycle and an amplitude of over 100 pV. Leads are, from top to bottom, left occipital, right occipital, left frontal, right frontal. Pulses on fourth trace are the soft clicks initiating the E-actons.
For most subjects the experience of sentic cycles is a “high”, anxiety is dissipated and hostile aggressiveness tends to disappear. Accordingly, sentic cycles have widespread use * Sentic Cycle Tapes are available from the Secretary, 10964, U.S.A.
American
Sentic Association,
Palisades,
N.Y.
130
MANFREDCLYNES
in society,(17*1e) such as for improved marital relations, in institutions, and for the general well being of individuals. A particularly interesting aspect of sentic cycles is that it appears to change what is regarded as important for the individual. The experience provides a new perspective in which the satisfactions desired and available appear in a new light, in the direction of greater enjoyment of being alive, as satisfying in itseIf. Sentic cycles have been experienced by approximately 1500 subjects at this time and over 90 per cent of the subjects have been able to experience some of the beneficial effects described in various degrees. There is no adaptation or habituation to the effect of sentic cycles although it is not recommended that it be done more frequently than once per day for most individuals, other than for therapeutic reasons. CONCLUSION Sentography permits objective measures of the precise dynamic forms of emotional communication, called essentic forms. These forms are active both in auto and crosscommunication. They form elements of artistic and personal communication of affects and qualities. The experience and use of these forms in personal relationships, and in the interrelation of man to his environment, is integral to man’s nature and his needs. REFERENCES 1. M. CLYNES,Sentics: Biocybernetics of emotion communication Ann. N. Y. Acud. Sci. 220 (in press). 2. M. CLYNES, Sentics. Doubleday, New York (in press). 3. M. CLYNES, Biocybernetics of space-time forms in the genesis and communication of emotion, AAAS Symposium on Biocybernetics of the Dynamic Communication of Emotion, Chicago (American Sentic Association, Palisades, N.Y.) 70 (1970). 4. M. CLYNES, Sentography: Dynamic measure of personal relationship profile, Proceedings of 25th ACEMB Conference (l-5 Oct. 1972). 5. M. CLYNES, Toward a view of man, Biomedical Engineering Systems, edited by M. CLYNESand J. H. MILSUM. McGraw-Hill, New York (1970). 6. M. CLYNES, Toward a theory of man, precision of essentic form in living communication, Information Processing in the Nervous System, edited by K. M. LEIBOVICand J. C. ECCLES, pp. 177-206. Springer, New York (1969). I. P. BLACK (ed.), Physiological Correlates of Emotion, pp. 373 (1970). 8. J. HILLMAN,Emotion, p. 317. Northwestern University Press, Evanston, 111.(1964). 9. S. SCHACTERand J. SINGER,Psychol. Rev. 69, 379-399 (1962). 10. P. EKMAN, E. R. SORENSONand W. V. FIRESEN, Pan-cultural elements of facial display of emotions Science. 164 (3875), 86-88 (1969). 11. C. DARWIN, The Expression of the Emotions in Man and Animals. Murray, London (1872). 12. M. CLYNES,Unidirectional rate sensitivity, a biocybernetic law of reflex and humoral systems as physiologic channels of controls and communcation. Ann. N. Y. Acad. Sci. 92 (3), 946-969 (1961). 13. M. CLYNES (ed.), Rein control, or unidirectional rate sensitivity: a fundamental dynamic and organizing function in biology (a symposium of 24 papers). Ann. N. Y. Acud. Sci. 156 (2), 627-968 (1969). 14. A. P. FRENCH and J. TUPIN, Psychometric investigation of sentic cycles, AAAS Symposium, Philadelphia, Penn. (29 Dec. 1971). 15. A. P. FRENCH, P. L. RUSSELLand J. P. TUPIN, Subjective changes with the sentic cycles of Clynes. Dis. Nero. Syst. 33 (9), 598-602 (Sept. 1972). 16. L. DAVIDSONet al., The Use of the Sentic Cycles in Psychoanalysis (in preparation). 17. P. BYERS,Sentics, rhythms, and a new view of man, AAAS Symposium on Sentics, Brain Function, and Sources of Human Values, Philadelphia (30 Dec. 1971). 18. B. B. GREENBIE,Sentics and biocybernetics in the search for an optimum human habitat, AAAS Symposium on Sentics, Brain Function and Human Values (Dec. 1971).