Monday, 26 September 2011
Monday, 19 September 2011
Another book making post
Since I'm going to be embroidering people onto my images rather than doing details, I'm going to have rather messy backs. For this reason I want to do French folds so that the backs of the pages are hidden. It's also going to make printing the pages really easy because I can just do them chronologically.
So I've been doing some research on this bounding and I found a handy site called The Design Student Resource which is pretty awesome, though I wish the 'how to's were a bit more in depth. Anyway, their French binding notes just say to fold the pages in half and use a spiral bind at the open end.
I hate spiral binds, because I think they're ugly, besides which they break really easily. The other bind the suggest is a Japanese stab binding, which I've found info on here. I think I might couple this with some kind of cover though.
ISH! LOOK HERE!
http://www.bookbindingteam.com/2009/01/japanese-stab-binding-tutorials.html
So I've been doing some research on this bounding and I found a handy site called The Design Student Resource which is pretty awesome, though I wish the 'how to's were a bit more in depth. Anyway, their French binding notes just say to fold the pages in half and use a spiral bind at the open end.
I hate spiral binds, because I think they're ugly, besides which they break really easily. The other bind the suggest is a Japanese stab binding, which I've found info on here. I think I might couple this with some kind of cover though.
ISH! LOOK HERE!
http://www.bookbindingteam.com/2009/01/japanese-stab-binding-tutorials.html
Oh Ecology
The Concise Oxford Dictionary, Ninth Edition, first edited by H.W. Fowler and F.G. Fowler (I wonder if they were husband and wife, sitting up in bed debating the wording of the definition for marsh mallow [n. a shrubby herbaceous plant, Althaea officinalis, the roots of which were formerly used to make marshmallow].) Ninth edition edited by Della Thompson. Clarendon Press. Oxford. First edition 1911 (maybe they were brothers instead?), ninth edition 1995, reprinted with corrections 1998.
Ecology n. 1 the branch of biology dealing with the relations of organisms to one another and their physical surroundings. 2 (in full human ecology) the study of the interaction of people with the environment. (...) [German Ökologie, from Greek oikos 'house'] pp.429
Okay, so I know that Wikipedia is not a reliable source to be lauded in essays, BUT I have only the featheriest idea as to what ecology is and how I'm going to relate it to my book which has rather taken off themeless, and trying to avoid reference to Wikipedia is why I haven't finished (or even really started) this post sooner. So bare with me.
Because of what I have going on with my project at the moment, I'm planning to focus on human ecology, which studies the relationship between humans and their environments.
Oooooo, this is interesting. There is a 'geological epoch' called Anthropocene, by the sounds of it this is an informal term, it's used in geological chronology to describe the creation of new ecosystems as a result of human activity. (No...this isn't really relevant.)
Okay, now I've reached something of an impasse because all the research I'm dredging up (Wiki wasn't even very helpful after all that) consists of definitions and history of human ecology, whereas I want come human ecology content instead. Must Try Harder.
More on this later.
Ecology n. 1 the branch of biology dealing with the relations of organisms to one another and their physical surroundings. 2 (in full human ecology) the study of the interaction of people with the environment. (...) [German Ökologie, from Greek oikos 'house'] pp.429
Okay, so I know that Wikipedia is not a reliable source to be lauded in essays, BUT I have only the featheriest idea as to what ecology is and how I'm going to relate it to my book which has rather taken off themeless, and trying to avoid reference to Wikipedia is why I haven't finished (or even really started) this post sooner. So bare with me.
Because of what I have going on with my project at the moment, I'm planning to focus on human ecology, which studies the relationship between humans and their environments.
Oooooo, this is interesting. There is a 'geological epoch' called Anthropocene, by the sounds of it this is an informal term, it's used in geological chronology to describe the creation of new ecosystems as a result of human activity. (No...this isn't really relevant.)
Okay, now I've reached something of an impasse because all the research I'm dredging up (Wiki wasn't even very helpful after all that) consists of definitions and history of human ecology, whereas I want come human ecology content instead. Must Try Harder.
A happy wee update
These are by Inge Jacobsen, I found them during my knitting project but they only managed to make it into my bibliography. You can look at more of her amazing things here. Jacobsen's work is a response the image saturation present in the world today. She uses high fashion, porn, and news paper imagery, along with embroidery, cutting, and weaving. In her artist statement Jacobsen says it takes about 50 hours to finish each Vogue cover. It makes disposable things such as magazines into one of a kind artworks, and makes obvious the object nature of images (object as in a thing to be held rather than as in objective, in case there's any confusion). Jacobsen draws a parallel here between the object-ness of the photographs and objectification of the women within them. On top of this is the status of cross stitch and embroidery as women's crafts. In conclusion, Jacobsen makes really intriguing pieces that I could look at for a very long time, which at the same time are heavily loaded with meaning and connections.
Tuesday, 6 September 2011
Oh, finally.
The analysis of Handwriting: Personalisty and Character.
Diane Simpson
A&C Black Publishers Ltd
London
1985
Form Level
light pressure: negative-- lethargic, neurotic, or feeble
positive-- sensitive and refined
Things to consider in determining form level:
Size of Writing
"For our purposes the norm will be a middle zone of 3mm" (34)
This section is concerned with the consistent size of the writing, small changes in size are to be expected. One must also account for the fact that writing size may vary dependent on the thickness of the pen.
Small--
Such writing seeks not to draw attention to itself. "People with writing like this often confine themselves to relatively few friendships." (34) Introverted, modest. self-motivated.
small legible writing: applied intelligence, 'very high executive ability', sound of judgement, with high academic achievement.
small illegible writing: sign of independence, writer wants to be considered an enigma and have others work to understand them, "often quite 'difficult' types" (34)
(I'm afraid some of my writing is probably small and illegible.
Medium--
"prepared to confrom to convention" (34)
Large--
'commands attention' most people will increase the size of their lettering when it is necessary to stress a particular point, therefore Simpson concludes that a person who always uses large lettering wants constant attention.
"deep longing to achieve recognition and admiration" (34)
Kind of sounds like illusions of grandure, as she states their ultimate ambition as being Nobel Prize kind of recognition.
Negative: obtrusive and boastful
Positive: "'larger than life' personality (...) entertaining companionship"
Mixed sizes--
Slight changes in sizes are normal, but one should pay attention to extreme shifts.
"Such changes in size denote marked mood swings, often of a childish nature." (35)
Inconsistent responses, tending towards immaturity.
This may have 'a certain charm' or be 'intensely irritating'.
No change in size--
Uniformity of size in a medium zone can indicate "self-discipline, lack of spomtaneity, rigidity of approach and excessive adherence to conformity". (35)
Speed of writing
Can vary from moment to moment (i.e. taking phone message or notes on a lecture will generally be at a greater speed than a letter) but generally fixed.
careful, slow thinker = careful, slow writer
spontaneous, quick thinker = sponatneous, quick writer
technique: trace a copy of the writing sample with an empty ball point pen to get a feel for how quickly the writer was writing, and gain a general understanding of their overall writing style. "Curved lines and easier to write than straight lines. A complete line is easier to write than a broken line. large writing is easier to form than smallwriting. Dots slow writing down so at speed they turn into dashes. (...) Very speedy writing almost invaribly has a right slant." (36)
Writing with a consistent pressure is generally quite slow, as pressure should fall into a firm and light rhythm with speed.
Keep in mind that communication is the overall object of writing, Simpson often compares written attributes as though they were relating to speech, this makes sense because we are all quite used to (whether consiously or not) forming judgements on people from the way they talk.
Consider very slowly written writing as an attempt at clarity, similar to speaking slowly to someone who you do not expect to understand you (i.e. patronising tone with children, someone considered dimwitted etc)
slow writing: calculation, self-consciousness
Zones
So! Writing can be divided into three zones upper (eg. the top of an 'h'), middle (the main body of most letters, eg. 'o'), and lower (e.g. the lower loop of a 'g').
(This part is a bit of a stretch)
Simpson suggests that we consider the zones like this:
upper--future (head and shoulders)
middle--present (torso)
lower--past (lower body)
So: considering distribution of letters
upper-- ambition, intellect, imagination, spirituality, fantasy
middle-- social life, everyday living, emotional expression, action
lower-- 'unconscious drives necessary for survival' (41), biological apetite, material requirements, memory.
Look for the dominance of a particular zone or zone, this is a matter of size, distribution, pressure, or exaggerated elaboration. An equal distribution implies inner equilibrium in the writer. "at ease with themselves and are capable of encountering and dealing with most situations with aplomb." (41)
Dominant upper zone--
intelligent, ambitious, lacking common sense, practicality and/or powers of organisation. Extreme dominance implies excessive fantasy in ambitions.
Diminished upper zone--
lack imagination, little concern for the intellectual, motivated by the practical.
High form leve: sociable, self-reliant. Low from level: materialistic, self-serving agendas.
Dominant middle zone--
"Writing with a dominant middle zone is often described as childish writing and, indeed, a reluctance to focus on anything that does not directly impinge upon personal circumstances..." (42)
self-involved, strong-willed, self-reliant.
Diminished middle zone--
modest (possibly in a bad way?)
high form level: able to put one's own "immediate personal needs and desires to one side to achieve better and more far-reaching goals." (42)
Creative but avoid attention, 'preference for doing rather than being'. Very independent, good judgement.
Dominant lower zone--
Survivors. "usually able to utilize down-to-earth organisation and instinctive 'gut' feelings to achieve their goals." (42)
Stamina.
Diminished lower zone--
Unusual for this to occur. Simpson considers the possibility in being a new feature in the persons writing and of it arising out of a drastic change, trauma, etc.
However, as a permanent feature: 'dearth of successful planning', 'irresponsibility towards security'.
Lots of ideas, companionable, irresponsible, unsettling.
Baseline
The line (visible or not) on which the writing sits. Serves as a divide between conscious and unconscious. "The conscious mind will cause the baseline to lift while the unconscious will cause it to fall." (44)
Extremely straight baseline--
(example looks like a ruler was put on the baseline, the bottoms of the letters are flat). Suggests discipline to the point of suppressing natural form..
Slightly flexible baseline--
'composed but responsive', if maintained throughout: emotionally stable. Orderliness, perseverance, reasonable self-discipline.
Undulating baseline--
'strongly responsive to outside influence'. moody, nervous energy, flexibility of approach.
Erratic baseline--
"there is an indecision in responses and a certain instability of persona." (45)
Generally a temporary feature indication heavy stress, however a consistenly erratic baseline is negative, "Such wirited tend to stray between reality and unreality with abandon and, what is more, without really being aware of the change." (45)
Ascening baseline--
ascending aspirations, eagerness, if this is present in the first couple of lines it is a sign of writing with good intentions
Descending baseline--
Unwell, tired, or depressed, OR low on strength or spirit: negative determination. In case of the latter, look out for indications of resentment, criticism etc.
Individual words or short phrases rise--
consider the context, may inidcate particularly positive feelings towards the word or phrase.
Individual words or short phrases fall--
Could mean the reverse of the former.
Lines fall then rise--
(looks a little like a smile) Loss of interest or stamina, noticed by writer who adjusts to fix this. Temporary: fatigue. Constant: attempt to overcome negative drives, own worst critic.
Lines rise then fall--
(like a sad face) the basic theme is that up is good and down is bad, so a sentence that goes up then down expresses and then loses enthusiasm.
Rising steps--
(I like how this one looks)
"The writer is endeavouring to hold his exuberance in check." (47)
Falling steps--
The reverse of the above.
Slant
"Horizontal movement may be taken asa measure of social development and can point to the manner in which a writer tackles day-to-day situations. Communication, emotional expression, sociability, behaviour and choice of objects are all manifest in this horizontal plane." (49)
"...indicative of the outer being." (49)
"The slant of the writing will always point towards a writer's inclination for or against an issue." (49)
Right slant-- is 'for' because it is sloping towards the end of the sentence, adding the speed at which the sentence is written. This is similar to leaning forward in a conversation, eager/impatient/excited to hear more.
Left slant-- 'against' because it is sloping back on itself, hampering progress. "Desire to cling hold of the past...reluctance to face the future" (50)
right slant with leftward movements-- shows inner conflicts (about the future).
Left slant with rightward movements-- "manifestation of positive impulses in an overall negative inclined manoeuvre... glimmers of hope" (50)
'Non-slant' (upright letters)-- "writers refusal to be swayed into revealing his inclinations...the more rigidly he stays upright, the stronger his desire for independence." (50)
'grossly fluctuating slant'-- erratic reaction, moving from pos to neg, etc
Measuring slant----
protractor! "The slant of writing is best determined by the measurement of the down strokes in the middle and upper zones. If measureing the angle a loop takes, draw a line from the highest point to where the lines cross at the bottom." (51)
place the protractor on what would be the ruled lines if the page were ruled (like refill).
So from here, ninety degrees with the line is 1, then 15 degress to the left is minus two (and so on moving in 15 degrees incraments, -3, -4), 15 degrees to the right of 1 is +2 (and so on moving in 15 degrees incriments, +3, +4).
Vertical (1)--
'Head tends to rule the heart.' (53) Rarely loses control, independent, can appear indifferent, dry humour.
Slight right slant (+2)--
head usually rules heart, responsive to others needs. "Often called the 'normal' slant, this writing reveals an individual's willingness to move away from the norm to achieve his own ends." (53)
Marked right slant (+3)--
Can't hide emotions, compassionate, can get carried away, lively companion. "Essentially future orientated, they are anxious to progress and give vent to their feelings along the way." (53)
Extreme slant (+4)--
Intense reactions, impatient, passionate, impulsive, aggressively motivated. "They may become deeply inspired or buoyantly forward thinking; on the other hand they may become just as deeply wounded or wretchedly deflated. This pace is often too fast to keep up for long and may well be a temporary phenomenon or a prelude to an empty 'shell." (53)
slightly reclined slant (-2)--
seem outgoing but feel inadequate, feel they are different, perhaps with a special gift, out of touch with own anxieties, don't take remedial action until forced to. "They may be harbouring a rather immature reliance upon ideas based around their mother figures and, at the sametime, may regard the father figure in a somewhat negative light." (54)
Markedly reclined slant (-3)--
'The enigmas' (54). self-centered, no deep relationships, live in the past, appear friendly, but difficult to understand.
Extreme reclined slant (-4)--
"They identify very, very closely with the past and their mother figure--so closely in fact that their own development has been, to a large extent, suppressed." (54) Appear friendly but are emotionally aloof.
Mixed slant--
subject to mood swings, strongly affected by change, undisciplined, unstable, 'unwilling to settle to any one course of behaviour' (54). As a temporary feature, the writer may be faced with an 'unwelcome decision'.
Pressure
nib: more pressure = wider stroke
ballpoint/ pencil: '' '' = deeper indent
felt/soft tip/ pencil: '' '' = increased depth of ink colour, pressure on a very soft tip might also increase stroke width.
Difficult to guage from a copy. "Not only is the pressure in any one pen stroke of interest but also how well the writer is able to maintain or restrain the force used" (56)
Light pressure--
avoiding attention, physical weakness (generally starts stronger and fades), sensitive, weak will-power, easily dominated. High form level: high ideals, creative good taste, general fastidiousness.
Medium pressure--
'Absolute sameness is abnormal' but pressure that is neither extremely light nor extremely heavy is very positive.
Heavy pressure--
Strong-willed, assertive, energetic.
heavy pressure + high form level = assertive and in control.
Heavy pressure + low form level = fearful, feels inadequate, irritable, irrational.
Etremely heavy pressure (similar to shouting):
most pressure in vertical: anxious to stand by principles, self-centred, opinionated, over-ambitious, anrgy and desire to express this, sensually preoccupied.
most pressure in horizontal: "there is reason for concern. The writer is revealing a disparity between his inner drives and his ability to utilise them. Outwardly demonstrative, these people may indulge in verbal haranguing of opponents" (57) Believe their anger to be outwardly provoked rather than stemming from within. When evident in sudden bursts, may indicate paranoia.
Oh gosh this is a long post. SIGH!
Spacing
'The page equates with the writer's actual environment. The spaces between letters are an indication of an individual's interversion or extroversion. The space left between words reveal the distance the writer keeps between himself and ther people. The spaces between the lines of writing meaure the gult between the wirter and the expression of his emotions.' (59)
Margins--
All wide margins:
High level of aesthetic taste, thinks their surroundings are important, aloof, "often endeavour to surround themselves with a cocoon of material comfort" (60).
No margins:
Need to save space on page, "desire to eliminate barriers between himself and the outside world. He may be effusive in speech and obtrusive in manner, and could have a fear or dislike of empty spaces, including the contemplation of the ultimate empty space--death. "(60)
Wide left-hand margin:
eager to move away fromm beginning, hish awareness of culture, eager to face future
Uneven Left-hand margin:
rule braker, lack of inner harmony, erratic behaviour
Left margine widening:
increased impatience to proceed, overly optimistic, leaves things unfinished
Left margin narrowing:
attempt to control a tendency towards the former, "realisation of need to adhere to a fixed framework" (61)
Narrow margins on both sides:
lack of reserve, lack of consideration towards others
wide right-hand margin:
attempts to avoid moving forwards, fear of the future or great self-discipline
Uneven right-hand margin:
A reasonable level variation is to be expected to due to variations in word length.
Ambivalent attitude to progress, 'alternating between spontaneity and self-discipline' (63), impulsiveness, unpredictable, erratic time-keeping/lack of planning/attention to progress.
Even right-hand margin:
splitting or cramping the final words to achieve this consistency indicates taking convenience/speed over best practise.
Can indicate good self-discipline and planning if splitting and cramping don't appear, such planning leads to a blocking of spontaneous expression.
Great self-control or precise sense of timing, musicians etc.
Right-hand margin widening:
wish to finish quickly
Right-hand margin narrowing:
enthusiasm for communication
Wide upper margin:
respect of formality and tradition
Narrow upper margin:
Favours informality and directness of approach, indifferenc etowards tradition, extremely narrow: blunt, obtrusive stance, could indicate an eagerness to communicate, or be considered as rude.
Wide lower magin:
Ran out of important points and didn't bother with chitchat. Aloof, decisive, doesn't waste time, abrupt.
Narrow lower margin:
finished because the paper finished, rather than the communication. Sentimental, effusive, depressed, mean.
Spacing between lines-
"The amount of space left is a guide to a writer's clarity of thought and also measures the amount of interplay he desires between himself and his general environment." (65)
Wide spaces:
avoids close contact with most people, inflated view of self or has been hurt by closeness. Often found in the writing of the very rich or famous.
Narrow spaces between lines:
usually an attempt at speed. Nervous energy, muddled thoughts/ideas. A passing feature: burst of enthusiasm. Consistent feature: mixed up thoughts.
Variable spaces between lines:
inconsistency in social life, swings from friendly to hostile, subjectives, confused, changeable, self-centred.
ridgidly regular spacing between lines:
immensely controlled, stopping spontaneity, afraid of relaxing/losing control.
spacing between words--
"The average space between words should be about the width of a small letter 'w'." (67) The size of the space is expected to vary. "the space between words symbolises the distance the writer wishes to keep between himself and society." (67)
Very narrow spaces between words:
Craves compaionship, relies on close relationships, fears loneliness.
Extremely narrow space = selfish in demands for attention.
Very wide spaces between words:
desires isolation
Extremely variable spacing between words:
unusual feature. Signifies insecurity within relationships, desire for company, fear of trust.
Spacing within words--
Letter width:
"A single letter form represents, in many ways, the writer's view of himself. A tight, narrow formation indicates a self-conscious, rather ungenerous attitude towards his own needs and desires; whereas a relaxed, broad letter form reveals that the wirter is relaxed and generous in relation to his own requirements." (68)
Connection stroke width:
the gap between the letters is indicative of the way the writer relates to people.
close together = introverted
widely spaced = extroverted
Letter width combined with connection stroke width--
wide letters, wide connection:
outgoing
wide letter, narrow connection:
at ease with self but self-centred and demanding
Narrow letter, wide connection:
appears relaxed and outgonig, is self conscious and self-critical
Narrow letter, narrow connection:
introverted, discontented, unhappy
Connections and Letter Shapes
"Fluidity of writing reflects the smooth flow of the writer's thinking processes, mental abilities and personal presentation." (70)
Connected writing--
majority of letters joined. logical and goal-orientated, plan and finish things. Big-picture people, may miss details, may appear inconsiderate, bored without goals.
Whole word connection = pre-planned stratergy, difficult to distract. Often highly intellegent.
Disconnected writing--
(the fewer connections, the more this applies). Disconnection slows writing.
Small picture people, intuative, swayed by emotions, open to impression, subjective, easily distracted, justify own actions, avoid criticising sleves. "Often creative andsometimes possessing an amazinf depth of insight they can, nevertheless, be irritatingly inconsistent and devastatingly insecure." (72).
Printed lower case writing--
often used by people who had trouble learning to write, or who think their readers will have trouble reading.
Otherwise: loners, rebellious, anti-social, ambitious, competitive, introverted, allof and critical within relationships.
(Consistently) writing in capitals--
indicative of extreme self-centredness, immaturity, 'inability to adapt behaviour to a given occasion'.
Erratic combination of writing and printing--
anxious, confused and inconsistent behaviour, unstable, emotional turmoil.
A printed word or phrase in an otherwise cursive sentence--
negative impact on that particular word, sarcasm.
Discontected cursive writing--
have trouble making friends, friendly but socially awkward, can appear mean, repetitive behaviour, unable to adapt behaviour to situation, have trouble empathising.
Artistic printing--
cultivated to be especially ledgible and aestheticly pleasing, happens with artists, architects, engineers, etc
Letter connections and shapes--
'Copybook and connections and letters are made up of four basic shapes:'
Garland (valley curves)
Arcade (mountain curves)
Angle (zigzag)
Thread (slight wiggle in line)
Garland connections and shapes--
open, responsive, rarely competitive or aggressive, maintain status quo, sentimental
Shallow garland:
takes easiest route, impulsive, thoughtless, easy-going, to a fault.
Extremely deep garlands:
subservient
Arcade connections and shapes--
guarded, determined, not good with change, love intrigue
Shallow arcades:
wish to cover tracks, evasive, cautious, austeir.
Extremely high or exaggerated arcades:
(similar to theatrical gesture) draws attentiopn away from reality, show off, inferiority complex
Angled connections and shapes--
logical, precise, idealistic, accurate and determined, inflexible, controlling
Extremely angular:
combined with heavy pressure: angry. Hostile.
Erratic angularity:
If a word or phrase is emphasised in this way there is an aggressive emphasis on it.
Thread connections and shape--
a result of speed writing, often sacrifices legability in attempt to keep pace with brain. Still legible = sensitive and creative, intuitive, intensely observant, connected to the Arts, resist being labelled, consider selves 'free spirits'
illegible = openly reveals inability to communicate knowledge/desires, difficult to understand, capricious, impatient, and disorganised, eccentric, "they manage to go entirely their own way but their lack of foresight may well result in their getting lost." (77)
Threads at word endings:
(if still legible) = good at negotiating/mediating, astute, "a sign of a high level of applied intelligence" (77)
Threads at the end of a writing sample:
if it is a sign of deteriation shows lack of interest and wish to finish. Easily bored, lazy.
Threads in the middle of words:
"These writers are striving to maintain an outward appearance of competence but their inner resources are being stretched to the limit. If maintained for any real length of time, the outer veneer is very likely to crumble." (78)
Threads at the beginning of words:
Hesitant. "There is a strong likelihood of mental aberration of some description." (78)
Erratic or occasional threads:
creative, impressional thought processes, original thinker, hard to 'pin down', inconsistent, capricious, indecisive.
Beginnings and Endings
Specific Letter Formations
Here Simpson warns us to avoid ridicule from sceptics by not placing too much emphasis on this area.
'i' dots and 't' crosses, lower case 'd's, and 'g' 'y' loops are important to pay attention to.
The 'i' dot (I believe it is called a tittle)--
dotting 'i's and crossing 't's breaks the flow of writing, and is often done after the word is completed.
pressure lighter than stem: fastidious, sensitive, weak, unassertive
pressure heavier than stem: emphatic, obtrusive
left of stem: (an over-compensation) cautious, shy, fearful
right of stem: anticipates next action, impulsive
high placement: imaginative.
with light pressure: spiritual
placement average height: favours method, order, discipline
placement low: good concentration and memory
placement below top of stem: fearful, cautious, repressed
no dot: careless, preoccupied, absent-minded
acute accent (flick up) : lively, original
grave accent (flick down): "well honed critical sense" (86)
sharpened accent (triangle with heavier end to the left): sarcastic
clubbed accent (triangle with heavier end to the right): emphatic, aggressive
shapely (example looks like ~): lively humor, sense of fun
circle (or other drawn shape): time devoted to desired appearance.
high form level: artistic
low form level: trying to be different
't' bars--
bar lighter than stem: sensitive, withdrawn, shy
bar heavier than stem: domineering, energetic, strong willed
heavy becoming light: sharp witted, sarcastic
light becoming heavy: aggressive
short bar: restrained, lacks drive
average length: balanced, controlled
long: energetic, resolved to progress
rising angle: enthusiastic, driven, rising spirits
falling: despondent, resigned, weak
falling with heavy preassure: destructive, aggressive, negative ambition
position: denotes writer's drive towards goals
top or above stem: ambition 'over the top'
left: over-compensates, cautious
right: enthusiastic, driven, forward-thinking
uncrossed: same as undoted 'i'
shape of bar:
triangle: obstinate, determined, outspoken
looped: pride in achievements, materialistic
knotted: determined, accurate, logical, persistent
hill: repressed passions
valley: masochistic, evasive
waved: sense of fun, gaiety, social
whipstart: inventive, joker, impersonator
shape of stem:
vertical line without crossing: absent-minded, preoccupied, "if consistent, has difficulty in communication" (90)
looped with crossing: "needs emotional support, enjoys flatery"
looped wihtout crossing: undisciplined over-reaction
The Signature and the Personal Pronoun 'I'
Both represent self.
Signature: public self
I: private self
I'm not going to discuss this section because, because my writing samples are all copies of official signs, none of them include 'I's or signatures.
Honesty and Dishonesty
Because no one is purely honest or dishonest there are a large number of things too look out for that can hint at dishonesty, Simpson suggests that at least 7 of these traits must be present in order to label a writer as dishonest. I'm just going to put highlights.
Plural, markedly different styles of writing: different personalities
Uber adorned writing: grandiose aspirations
illegible due to simplication or complication: deceptive
extremely light pressure: easily influenced
threaded middles to words: inner deviousness
illegible: unable or unwilling to communicate clearly
"Unusual starting strokes: tendency to initiate action in an odd way." (112)
"Tangled spacing to detriment of legibility: actions are unnecessarily complicated." (113)
"End strokes drawn to left in an emphasised, prolonged and deliberate way-- resentment towards past, often stemming from negative experience during formative years." (114)
"Very erratic baseline: adopts behaviour very easily and without forethought." (114)
"Combination of narrow upper margin, angular formations, counter strokes, and uneven rhythm: anti-social." (115)
"Individual letters replaced by invented 'letter' forms: invented information replaces the truth." (115)
Diane Simpson
A&C Black Publishers Ltd
London
1985
Form Level
The form level of wirting is the means by which the analyst deduces whether a specific writing feature should be regarded in a negative or positive light. (pp. 31)For instance:
light pressure: negative-- lethargic, neurotic, or feeble
positive-- sensitive and refined
Things to consider in determining form level:
easy legibility, maintained speed, pleasing aethetic qualities and regular rhythm. (pp. 31)(Here Simpson draws a comparison with speech, discussing our reaction to or judgement of people with good and poor form level in their speech... the idea that aethetically pleasing communication skills have some indication whether one's attributes should be read in a positive light makes me very nervous for what my handwriting might be saying about me in it's chicken scratched scrawl.)
Size of Writing
"For our purposes the norm will be a middle zone of 3mm" (34)
This section is concerned with the consistent size of the writing, small changes in size are to be expected. One must also account for the fact that writing size may vary dependent on the thickness of the pen.
Small--
Such writing seeks not to draw attention to itself. "People with writing like this often confine themselves to relatively few friendships." (34) Introverted, modest. self-motivated.
small legible writing: applied intelligence, 'very high executive ability', sound of judgement, with high academic achievement.
small illegible writing: sign of independence, writer wants to be considered an enigma and have others work to understand them, "often quite 'difficult' types" (34)
(I'm afraid some of my writing is probably small and illegible.
Medium--
"prepared to confrom to convention" (34)
Large--
'commands attention' most people will increase the size of their lettering when it is necessary to stress a particular point, therefore Simpson concludes that a person who always uses large lettering wants constant attention.
"deep longing to achieve recognition and admiration" (34)
Kind of sounds like illusions of grandure, as she states their ultimate ambition as being Nobel Prize kind of recognition.
Negative: obtrusive and boastful
Positive: "'larger than life' personality (...) entertaining companionship"
Mixed sizes--
Slight changes in sizes are normal, but one should pay attention to extreme shifts.
"Such changes in size denote marked mood swings, often of a childish nature." (35)
Inconsistent responses, tending towards immaturity.
This may have 'a certain charm' or be 'intensely irritating'.
No change in size--
Uniformity of size in a medium zone can indicate "self-discipline, lack of spomtaneity, rigidity of approach and excessive adherence to conformity". (35)
Speed of writing
Can vary from moment to moment (i.e. taking phone message or notes on a lecture will generally be at a greater speed than a letter) but generally fixed.
careful, slow thinker = careful, slow writer
spontaneous, quick thinker = sponatneous, quick writer
technique: trace a copy of the writing sample with an empty ball point pen to get a feel for how quickly the writer was writing, and gain a general understanding of their overall writing style. "Curved lines and easier to write than straight lines. A complete line is easier to write than a broken line. large writing is easier to form than smallwriting. Dots slow writing down so at speed they turn into dashes. (...) Very speedy writing almost invaribly has a right slant." (36)
Writing with a consistent pressure is generally quite slow, as pressure should fall into a firm and light rhythm with speed.
Keep in mind that communication is the overall object of writing, Simpson often compares written attributes as though they were relating to speech, this makes sense because we are all quite used to (whether consiously or not) forming judgements on people from the way they talk.
Consider very slowly written writing as an attempt at clarity, similar to speaking slowly to someone who you do not expect to understand you (i.e. patronising tone with children, someone considered dimwitted etc)
slow writing: calculation, self-consciousness
Zones
So! Writing can be divided into three zones upper (eg. the top of an 'h'), middle (the main body of most letters, eg. 'o'), and lower (e.g. the lower loop of a 'g').
(This part is a bit of a stretch)
Simpson suggests that we consider the zones like this:
upper--future (head and shoulders)
middle--present (torso)
lower--past (lower body)
So: considering distribution of letters
upper-- ambition, intellect, imagination, spirituality, fantasy
middle-- social life, everyday living, emotional expression, action
lower-- 'unconscious drives necessary for survival' (41), biological apetite, material requirements, memory.
Look for the dominance of a particular zone or zone, this is a matter of size, distribution, pressure, or exaggerated elaboration. An equal distribution implies inner equilibrium in the writer. "at ease with themselves and are capable of encountering and dealing with most situations with aplomb." (41)
Dominant upper zone--
intelligent, ambitious, lacking common sense, practicality and/or powers of organisation. Extreme dominance implies excessive fantasy in ambitions.
Diminished upper zone--
lack imagination, little concern for the intellectual, motivated by the practical.
High form leve: sociable, self-reliant. Low from level: materialistic, self-serving agendas.
Dominant middle zone--
"Writing with a dominant middle zone is often described as childish writing and, indeed, a reluctance to focus on anything that does not directly impinge upon personal circumstances..." (42)
self-involved, strong-willed, self-reliant.
Diminished middle zone--
modest (possibly in a bad way?)
high form level: able to put one's own "immediate personal needs and desires to one side to achieve better and more far-reaching goals." (42)
Creative but avoid attention, 'preference for doing rather than being'. Very independent, good judgement.
Dominant lower zone--
Survivors. "usually able to utilize down-to-earth organisation and instinctive 'gut' feelings to achieve their goals." (42)
Stamina.
Diminished lower zone--
Unusual for this to occur. Simpson considers the possibility in being a new feature in the persons writing and of it arising out of a drastic change, trauma, etc.
However, as a permanent feature: 'dearth of successful planning', 'irresponsibility towards security'.
Lots of ideas, companionable, irresponsible, unsettling.
Baseline
The line (visible or not) on which the writing sits. Serves as a divide between conscious and unconscious. "The conscious mind will cause the baseline to lift while the unconscious will cause it to fall." (44)
Extremely straight baseline--
(example looks like a ruler was put on the baseline, the bottoms of the letters are flat). Suggests discipline to the point of suppressing natural form..
Slightly flexible baseline--
'composed but responsive', if maintained throughout: emotionally stable. Orderliness, perseverance, reasonable self-discipline.
Undulating baseline--
'strongly responsive to outside influence'. moody, nervous energy, flexibility of approach.
Erratic baseline--
"there is an indecision in responses and a certain instability of persona." (45)
Generally a temporary feature indication heavy stress, however a consistenly erratic baseline is negative, "Such wirited tend to stray between reality and unreality with abandon and, what is more, without really being aware of the change." (45)
Ascening baseline--
ascending aspirations, eagerness, if this is present in the first couple of lines it is a sign of writing with good intentions
Descending baseline--
Unwell, tired, or depressed, OR low on strength or spirit: negative determination. In case of the latter, look out for indications of resentment, criticism etc.
Individual words or short phrases rise--
consider the context, may inidcate particularly positive feelings towards the word or phrase.
Individual words or short phrases fall--
Could mean the reverse of the former.
Lines fall then rise--
(looks a little like a smile) Loss of interest or stamina, noticed by writer who adjusts to fix this. Temporary: fatigue. Constant: attempt to overcome negative drives, own worst critic.
Lines rise then fall--
(like a sad face) the basic theme is that up is good and down is bad, so a sentence that goes up then down expresses and then loses enthusiasm.
Rising steps--
(I like how this one looks)
"The writer is endeavouring to hold his exuberance in check." (47)
Falling steps--
The reverse of the above.
Slant
"Horizontal movement may be taken asa measure of social development and can point to the manner in which a writer tackles day-to-day situations. Communication, emotional expression, sociability, behaviour and choice of objects are all manifest in this horizontal plane." (49)
"...indicative of the outer being." (49)
"The slant of the writing will always point towards a writer's inclination for or against an issue." (49)
Right slant-- is 'for' because it is sloping towards the end of the sentence, adding the speed at which the sentence is written. This is similar to leaning forward in a conversation, eager/impatient/excited to hear more.
Left slant-- 'against' because it is sloping back on itself, hampering progress. "Desire to cling hold of the past...reluctance to face the future" (50)
right slant with leftward movements-- shows inner conflicts (about the future).
Left slant with rightward movements-- "manifestation of positive impulses in an overall negative inclined manoeuvre... glimmers of hope" (50)
'Non-slant' (upright letters)-- "writers refusal to be swayed into revealing his inclinations...the more rigidly he stays upright, the stronger his desire for independence." (50)
'grossly fluctuating slant'-- erratic reaction, moving from pos to neg, etc
Measuring slant----
protractor! "The slant of writing is best determined by the measurement of the down strokes in the middle and upper zones. If measureing the angle a loop takes, draw a line from the highest point to where the lines cross at the bottom." (51)
place the protractor on what would be the ruled lines if the page were ruled (like refill).
So from here, ninety degrees with the line is 1, then 15 degress to the left is minus two (and so on moving in 15 degrees incraments, -3, -4), 15 degrees to the right of 1 is +2 (and so on moving in 15 degrees incriments, +3, +4).
Vertical (1)--
'Head tends to rule the heart.' (53) Rarely loses control, independent, can appear indifferent, dry humour.
Slight right slant (+2)--
head usually rules heart, responsive to others needs. "Often called the 'normal' slant, this writing reveals an individual's willingness to move away from the norm to achieve his own ends." (53)
Marked right slant (+3)--
Can't hide emotions, compassionate, can get carried away, lively companion. "Essentially future orientated, they are anxious to progress and give vent to their feelings along the way." (53)
Extreme slant (+4)--
Intense reactions, impatient, passionate, impulsive, aggressively motivated. "They may become deeply inspired or buoyantly forward thinking; on the other hand they may become just as deeply wounded or wretchedly deflated. This pace is often too fast to keep up for long and may well be a temporary phenomenon or a prelude to an empty 'shell." (53)
slightly reclined slant (-2)--
seem outgoing but feel inadequate, feel they are different, perhaps with a special gift, out of touch with own anxieties, don't take remedial action until forced to. "They may be harbouring a rather immature reliance upon ideas based around their mother figures and, at the sametime, may regard the father figure in a somewhat negative light." (54)
Markedly reclined slant (-3)--
'The enigmas' (54). self-centered, no deep relationships, live in the past, appear friendly, but difficult to understand.
Extreme reclined slant (-4)--
"They identify very, very closely with the past and their mother figure--so closely in fact that their own development has been, to a large extent, suppressed." (54) Appear friendly but are emotionally aloof.
Mixed slant--
subject to mood swings, strongly affected by change, undisciplined, unstable, 'unwilling to settle to any one course of behaviour' (54). As a temporary feature, the writer may be faced with an 'unwelcome decision'.
Pressure
nib: more pressure = wider stroke
ballpoint/ pencil: '' '' = deeper indent
felt/soft tip/ pencil: '' '' = increased depth of ink colour, pressure on a very soft tip might also increase stroke width.
Difficult to guage from a copy. "Not only is the pressure in any one pen stroke of interest but also how well the writer is able to maintain or restrain the force used" (56)
Light pressure--
avoiding attention, physical weakness (generally starts stronger and fades), sensitive, weak will-power, easily dominated. High form level: high ideals, creative good taste, general fastidiousness.
Medium pressure--
'Absolute sameness is abnormal' but pressure that is neither extremely light nor extremely heavy is very positive.
Heavy pressure--
Strong-willed, assertive, energetic.
heavy pressure + high form level = assertive and in control.
Heavy pressure + low form level = fearful, feels inadequate, irritable, irrational.
Etremely heavy pressure (similar to shouting):
most pressure in vertical: anxious to stand by principles, self-centred, opinionated, over-ambitious, anrgy and desire to express this, sensually preoccupied.
most pressure in horizontal: "there is reason for concern. The writer is revealing a disparity between his inner drives and his ability to utilise them. Outwardly demonstrative, these people may indulge in verbal haranguing of opponents" (57) Believe their anger to be outwardly provoked rather than stemming from within. When evident in sudden bursts, may indicate paranoia.
Oh gosh this is a long post. SIGH!
Spacing
'The page equates with the writer's actual environment. The spaces between letters are an indication of an individual's interversion or extroversion. The space left between words reveal the distance the writer keeps between himself and ther people. The spaces between the lines of writing meaure the gult between the wirter and the expression of his emotions.' (59)
Margins--
All wide margins:
High level of aesthetic taste, thinks their surroundings are important, aloof, "often endeavour to surround themselves with a cocoon of material comfort" (60).
No margins:
Need to save space on page, "desire to eliminate barriers between himself and the outside world. He may be effusive in speech and obtrusive in manner, and could have a fear or dislike of empty spaces, including the contemplation of the ultimate empty space--death. "(60)
Wide left-hand margin:
eager to move away fromm beginning, hish awareness of culture, eager to face future
Uneven Left-hand margin:
rule braker, lack of inner harmony, erratic behaviour
Left margine widening:
increased impatience to proceed, overly optimistic, leaves things unfinished
Left margin narrowing:
attempt to control a tendency towards the former, "realisation of need to adhere to a fixed framework" (61)
Narrow margins on both sides:
lack of reserve, lack of consideration towards others
wide right-hand margin:
attempts to avoid moving forwards, fear of the future or great self-discipline
Uneven right-hand margin:
A reasonable level variation is to be expected to due to variations in word length.
Ambivalent attitude to progress, 'alternating between spontaneity and self-discipline' (63), impulsiveness, unpredictable, erratic time-keeping/lack of planning/attention to progress.
Even right-hand margin:
splitting or cramping the final words to achieve this consistency indicates taking convenience/speed over best practise.
Can indicate good self-discipline and planning if splitting and cramping don't appear, such planning leads to a blocking of spontaneous expression.
Great self-control or precise sense of timing, musicians etc.
Right-hand margin widening:
wish to finish quickly
Right-hand margin narrowing:
enthusiasm for communication
Wide upper margin:
respect of formality and tradition
Narrow upper margin:
Favours informality and directness of approach, indifferenc etowards tradition, extremely narrow: blunt, obtrusive stance, could indicate an eagerness to communicate, or be considered as rude.
Wide lower magin:
Ran out of important points and didn't bother with chitchat. Aloof, decisive, doesn't waste time, abrupt.
Narrow lower margin:
finished because the paper finished, rather than the communication. Sentimental, effusive, depressed, mean.
Spacing between lines-
"The amount of space left is a guide to a writer's clarity of thought and also measures the amount of interplay he desires between himself and his general environment." (65)
Wide spaces:
avoids close contact with most people, inflated view of self or has been hurt by closeness. Often found in the writing of the very rich or famous.
Narrow spaces between lines:
usually an attempt at speed. Nervous energy, muddled thoughts/ideas. A passing feature: burst of enthusiasm. Consistent feature: mixed up thoughts.
Variable spaces between lines:
inconsistency in social life, swings from friendly to hostile, subjectives, confused, changeable, self-centred.
ridgidly regular spacing between lines:
immensely controlled, stopping spontaneity, afraid of relaxing/losing control.
spacing between words--
"The average space between words should be about the width of a small letter 'w'." (67) The size of the space is expected to vary. "the space between words symbolises the distance the writer wishes to keep between himself and society." (67)
Very narrow spaces between words:
Craves compaionship, relies on close relationships, fears loneliness.
Extremely narrow space = selfish in demands for attention.
Very wide spaces between words:
desires isolation
Extremely variable spacing between words:
unusual feature. Signifies insecurity within relationships, desire for company, fear of trust.
Spacing within words--
Letter width:
"A single letter form represents, in many ways, the writer's view of himself. A tight, narrow formation indicates a self-conscious, rather ungenerous attitude towards his own needs and desires; whereas a relaxed, broad letter form reveals that the wirter is relaxed and generous in relation to his own requirements." (68)
Connection stroke width:
the gap between the letters is indicative of the way the writer relates to people.
close together = introverted
widely spaced = extroverted
Letter width combined with connection stroke width--
wide letters, wide connection:
outgoing
wide letter, narrow connection:
at ease with self but self-centred and demanding
Narrow letter, wide connection:
appears relaxed and outgonig, is self conscious and self-critical
Narrow letter, narrow connection:
introverted, discontented, unhappy
Connections and Letter Shapes
"Fluidity of writing reflects the smooth flow of the writer's thinking processes, mental abilities and personal presentation." (70)
Connected writing--
majority of letters joined. logical and goal-orientated, plan and finish things. Big-picture people, may miss details, may appear inconsiderate, bored without goals.
Whole word connection = pre-planned stratergy, difficult to distract. Often highly intellegent.
Disconnected writing--
(the fewer connections, the more this applies). Disconnection slows writing.
Small picture people, intuative, swayed by emotions, open to impression, subjective, easily distracted, justify own actions, avoid criticising sleves. "Often creative andsometimes possessing an amazinf depth of insight they can, nevertheless, be irritatingly inconsistent and devastatingly insecure." (72).
Printed lower case writing--
often used by people who had trouble learning to write, or who think their readers will have trouble reading.
Otherwise: loners, rebellious, anti-social, ambitious, competitive, introverted, allof and critical within relationships.
(Consistently) writing in capitals--
indicative of extreme self-centredness, immaturity, 'inability to adapt behaviour to a given occasion'.
Erratic combination of writing and printing--
anxious, confused and inconsistent behaviour, unstable, emotional turmoil.
A printed word or phrase in an otherwise cursive sentence--
negative impact on that particular word, sarcasm.
Discontected cursive writing--
have trouble making friends, friendly but socially awkward, can appear mean, repetitive behaviour, unable to adapt behaviour to situation, have trouble empathising.
Artistic printing--
cultivated to be especially ledgible and aestheticly pleasing, happens with artists, architects, engineers, etc
Letter connections and shapes--
'Copybook and connections and letters are made up of four basic shapes:'
Garland (valley curves)
Arcade (mountain curves)
Angle (zigzag)
Thread (slight wiggle in line)
Garland connections and shapes--
open, responsive, rarely competitive or aggressive, maintain status quo, sentimental
Shallow garland:
takes easiest route, impulsive, thoughtless, easy-going, to a fault.
Extremely deep garlands:
subservient
Arcade connections and shapes--
guarded, determined, not good with change, love intrigue
Shallow arcades:
wish to cover tracks, evasive, cautious, austeir.
Extremely high or exaggerated arcades:
(similar to theatrical gesture) draws attentiopn away from reality, show off, inferiority complex
Angled connections and shapes--
logical, precise, idealistic, accurate and determined, inflexible, controlling
Extremely angular:
combined with heavy pressure: angry. Hostile.
Erratic angularity:
If a word or phrase is emphasised in this way there is an aggressive emphasis on it.
Thread connections and shape--
a result of speed writing, often sacrifices legability in attempt to keep pace with brain. Still legible = sensitive and creative, intuitive, intensely observant, connected to the Arts, resist being labelled, consider selves 'free spirits'
illegible = openly reveals inability to communicate knowledge/desires, difficult to understand, capricious, impatient, and disorganised, eccentric, "they manage to go entirely their own way but their lack of foresight may well result in their getting lost." (77)
Threads at word endings:
(if still legible) = good at negotiating/mediating, astute, "a sign of a high level of applied intelligence" (77)
Threads at the end of a writing sample:
if it is a sign of deteriation shows lack of interest and wish to finish. Easily bored, lazy.
Threads in the middle of words:
"These writers are striving to maintain an outward appearance of competence but their inner resources are being stretched to the limit. If maintained for any real length of time, the outer veneer is very likely to crumble." (78)
Threads at the beginning of words:
Hesitant. "There is a strong likelihood of mental aberration of some description." (78)
Erratic or occasional threads:
creative, impressional thought processes, original thinker, hard to 'pin down', inconsistent, capricious, indecisive.
Beginnings and Endings
Specific Letter Formations
Here Simpson warns us to avoid ridicule from sceptics by not placing too much emphasis on this area.
'i' dots and 't' crosses, lower case 'd's, and 'g' 'y' loops are important to pay attention to.
The 'i' dot (I believe it is called a tittle)--
dotting 'i's and crossing 't's breaks the flow of writing, and is often done after the word is completed.
pressure lighter than stem: fastidious, sensitive, weak, unassertive
pressure heavier than stem: emphatic, obtrusive
left of stem: (an over-compensation) cautious, shy, fearful
right of stem: anticipates next action, impulsive
high placement: imaginative.
with light pressure: spiritual
placement average height: favours method, order, discipline
placement low: good concentration and memory
placement below top of stem: fearful, cautious, repressed
no dot: careless, preoccupied, absent-minded
acute accent (flick up) : lively, original
grave accent (flick down): "well honed critical sense" (86)
sharpened accent (triangle with heavier end to the left): sarcastic
clubbed accent (triangle with heavier end to the right): emphatic, aggressive
shapely (example looks like ~): lively humor, sense of fun
circle (or other drawn shape): time devoted to desired appearance.
high form level: artistic
low form level: trying to be different
't' bars--
bar lighter than stem: sensitive, withdrawn, shy
bar heavier than stem: domineering, energetic, strong willed
heavy becoming light: sharp witted, sarcastic
light becoming heavy: aggressive
short bar: restrained, lacks drive
average length: balanced, controlled
long: energetic, resolved to progress
rising angle: enthusiastic, driven, rising spirits
falling: despondent, resigned, weak
falling with heavy preassure: destructive, aggressive, negative ambition
position: denotes writer's drive towards goals
top or above stem: ambition 'over the top'
left: over-compensates, cautious
right: enthusiastic, driven, forward-thinking
uncrossed: same as undoted 'i'
shape of bar:
triangle: obstinate, determined, outspoken
looped: pride in achievements, materialistic
knotted: determined, accurate, logical, persistent
hill: repressed passions
valley: masochistic, evasive
waved: sense of fun, gaiety, social
whipstart: inventive, joker, impersonator
shape of stem:
vertical line without crossing: absent-minded, preoccupied, "if consistent, has difficulty in communication" (90)
looped with crossing: "needs emotional support, enjoys flatery"
looped wihtout crossing: undisciplined over-reaction
The Signature and the Personal Pronoun 'I'
Both represent self.
Signature: public self
I: private self
I'm not going to discuss this section because, because my writing samples are all copies of official signs, none of them include 'I's or signatures.
Honesty and Dishonesty
Because no one is purely honest or dishonest there are a large number of things too look out for that can hint at dishonesty, Simpson suggests that at least 7 of these traits must be present in order to label a writer as dishonest. I'm just going to put highlights.
Plural, markedly different styles of writing: different personalities
Uber adorned writing: grandiose aspirations
illegible due to simplication or complication: deceptive
extremely light pressure: easily influenced
threaded middles to words: inner deviousness
illegible: unable or unwilling to communicate clearly
"Unusual starting strokes: tendency to initiate action in an odd way." (112)
"Tangled spacing to detriment of legibility: actions are unnecessarily complicated." (113)
"End strokes drawn to left in an emphasised, prolonged and deliberate way-- resentment towards past, often stemming from negative experience during formative years." (114)
"Very erratic baseline: adopts behaviour very easily and without forethought." (114)
"Combination of narrow upper margin, angular formations, counter strokes, and uneven rhythm: anti-social." (115)
"Individual letters replaced by invented 'letter' forms: invented information replaces the truth." (115)
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