Famous "Alcohol/L2 pronunciation study" mystery solved: Here's (NOT) looking at you, kid!

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If you have done some formal study of second language pronunciation teaching and learning, you have almost certainly ran across the 1972 "Alcohol" study done by Guiora and colleagues. Explanations as to exactly why drinking about an ounce and half of alcohol seemed to improve subjects' ability to imitate an audio recording of Thai sentences have run from Guiora's theoretical construct of "enhanced ego permeability" to simply "muscle relaxation" (Brown 2006 and elsewhere.) If you have followed this blog some you are aware of the critical importance of limiting visual field distraction to effectiveness of haptic pronunciation teaching techniques. (That observation is backed up by any number of studies in general "haptic" learning that demonstrate how visual modality consistently overrides auditory and tactile engagement.)

In Guiora's study, subjects sat facing an experimenter who operated the tape recorder. I have long wondered what would have happened had the imitation phase been done in a lab, rather than face to  face. (In a 1980 attempt to replicate the alcohol study later--in which I was on the research team, the attractive "social presence" of one of the (female) experimenters appeared to demonstrate the added impact of a face on the effect.)

A new study by Gorka, Fitzgerald, King, and Phan at University of Illinois at Chicago College of Medicine, reported by Science Daily, Alcohol attenuates amygdala–frontal cortex connectivity during processing social signals in heavy social drinkers, suggests another, related explanation for the improved performance of subjects on the imitation task: desensitization to "threatening" features in the visual field in front of them. In the current study, "heavy social drinkers." given an appropriate size drink, were significantly slower in reacting to pictures of "threatening" facial expressions. The bottom line: the alcohol served to somewhat disconnect the connection between the (emotion-related) amygdala and the pre-frontal (visual) cortex.

There are many ways to functionally do the same thing in pronunciation instruction, restricting the emotional/social/visual impact on learner's attention. The field (pronunciation teaching) has figured out how to deal with the social and emotion milieu reasonably well but generally does not focus on the potentially disruptive effect of what is going on, on an ongoing basis,  in the visual field. In our work, that is essential--a given. SEE what I mean?

Apologies to Bogart for the take off on his famous line from Casablanca in the post title.

Vigilance decrement during pronunciation work?

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I knew there had to be a scientific term for why students lose interest in pronunciation work occasionally . . . and a cure! The term is used in relation to yet another study that discovered that gum chewing can be good for things "cognitive." In this case, in the study by Morgan, Johnson and Miles of Cardiff University, summarized by Science Daily, it was found that "Gummies" were able to persist longer on an audio recognition task than the "gum-less." The Gum-less started out stronger but were overtaken and passed by the Gummies near the end. And the reason that the Gummies did better? They were more immune to "vigilance decrement" during the task. I have yet to read a cogent explanation as to WHY gum works the way it does. (If you know of that research, please link it here.)

Because of surgery a few years ago cutting out a saliva gland, I have to chew gum to function effectively. I had never done gum before and very much dislike it now, but I do have some "haptic' felt sense of what they are talking about, how it combats "vigilance decrementia." It at least gives me something to do during interminable harangues during faculty meetings.

My guess, however, is that it has something to do with keeping the wiring that goes from the brain to the articulatory equipment energized, in effect working in the opposite direction, very much like haptic technology drives feedback back to the brain through the hands. Not sure I'm in for having students do gum during work that is basically oral production-oriented, but next time your class has to just sit and do nothing but listen, give it a try. "Gum up the work a bit, eh!"


Journal reference (compliments of Science Daily): Kate Morgan, Andrew J. Johnson and Christopher Miles. Chewing gum moderates the vigilance decrement.British Journal of Psychology, 8 MAR 2013. 

Washing your hands (of/during) pronunciation teaching

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This one is too much fun to pass up. Three (female) researchers, Lapinski of Michigan State University, Maloney of University of Pennsylvania, Braz of Westchester University, and Shulman of North Central College did this study at Michigan State University of male hand washing behaviour in campus men's restrooms. What they found was that if you put up a good poster showing a guy how to and accompanying note that 4 or 5 of them do wash their hands . . . and then watch them after they read the sign . . . you find that hand washing goes up nearly 10%. (The summary in Science Daily doesn't indicate the gender of the wash room observers, actually. That certainly COULD be a factor here!) They then go on to extoll the potential benefits to public health. Interesting.

In several previous posts there have been references to hand sensitivity in haptic work. (I often use an aromatic mint-based hand cream, especially in working with small groups or individuals--and almost always in training workshops.) Clearly, in our work being able to attend closely to the felt sense of the haptic anchor (hands touching each other or some part of the body on a stress syllable)--for about 3 seconds according to research-- is highly advantageous. I have tried any number of "treatments" over the years from lotions to lofa. All seem to work, at least temporarily. (Speaking of "temporarily," check out this recent article by Asher on why TPR works and why Rosetta Stone may not for long.)

Need a hand in keeping your pronunciation work "awash" with attention and engagement? You might try a poster . . . or just go check to make sure that at least the boys have washed their hands before class. 

Pronunciation change readiness: Meditate amygdala affect collar? Better pronunciation should "faller!"

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This one is a bit of a stretch . . . stick with me. The impact of affect and emotion on pronunciation, both acquisition and production, is reasonably well understood--but how to manage it is not. One of the principles or assumptions has been that management of emotion should go on simultaneously with instruction, that a learner's affective state (relatively out of consciousness) tends to be pretty fragile and easily disrupted. (That certainly seems to be the case with one's "haptic state," at least. A number of studies have been reported on the blog pointing to the importance of attention management during haptic work.)

In new research by Desbordes and colleagues at Boston University, summarized by Science Daily, on the lasting impact of meditation training, it has been demonstrated that the effect of mediating amygdala responsiveness--through two types of standard meditation work--may persist for some time, the "physical" changes to the brain being clearly evident in increased mass and activity, or lack of, in the targeted area.

What that means for us, in principle, is that some kind of brain "training" (or maybe analogous neuro-therapeutic treatment) could have real promise for enhancing pronunciation change. The key here is that what is done (a) impacts general emotional responsiveness, and (2) may well be unrelated to what is considered "normal" classroom instruction, as long as it assists the learner in achieving a more "amiable (and less hyper-reactive) amygdala." Now if that immediately strikes you as utter nonsense . . . you, yourself, may be a good candidate for a little mindful, "amygdala tune up"!

Mindful, embodied (less-stressful) monitored speaking!

For some learners, monitoring their spontaneous speech can be very problematic, interfering with fluency . . .  or ability to think! In many schools of singing instruction, kinaesthetic monitoring is standard practice. I have done a few blogposts on kinaesthetic monitoring and mindfulness. When you combine embodiment theory with mindfulness, not unlike what is suggested by Stressreductionatwork.com below, you get an interesting heuristic that in various forms or adaptations  can be useful in our work: (italics, mine)

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"As you speak, keep your main focus on your body sensations, while focusing on what you are saying secondarily. Notice the breath as it enters your body, and be aware of it as it leaves. Notice the touch points of the body — your sit bones and shoulders on the chair, your feet on the floor, your hands in your lap. Don’t be as concerned about what exactly it is you need to say or how people will perceive you as you say it. Your words will be just as comprehensible as before, but they’ll be more in tune with your inner presence, integrity and authenticity. One way of visualizing this is that as you speak, let the words come more from your body and less from your head."

Those are typical mindfulness-type suggestions, attention-management strategies. The debilitating effect of stress on pronunciation in various contexts is well-established. Experience has shown that the "felt sense" that embodied mindfulness techniques create can be helpful, especially for the chronically stressed and uptight in dealing with their self-monitoring (or not over-monitoring) of their pronunciation. Try it out first at your next contentious committee meeting, post-election political discussion or intimate gourmet dinner. 

Treasuring listening: near-ear training for pronunciation work

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Good TED talk by Julian Treasure. For enhanced interpersonal listening he ends with the acronym RASA (Receive, Appreciate, Summarize, Ask), your basic attending skills--and even world peace! What is worth "listening to," however, is how he gets there, what he terms "savouring, mixing and listening positioning." In essence, "savouring" is focusing for a period of time either on one sound in your environment---or silence--for a couple of minutes; "mixing" is focusing briefly on the sounds in your environment, one after another for maybe half a minute each; "positioning" is the process of intentionally listening with a purpose or conceptual "filter" in mind (for example, to very consciously, listen empathetically or critically or sympathetically.) Now i'm not quite sure how you do the third (positioning) in our work, but the first two forms of auditory attention management, savouring and mixing, are intriguing. Those appear to be apt, applicable analogs for what is involved in "training the body first" to attend to the felt sense of movement and somatic resonance (good vibrations in the vocal track and upper body.) I have not systematically worked with such pre-pre-listening such as that described by Treasure but it sounds like a perfect fit. First chance I get I'll "embody" some of it in an upcoming EHIEP session and report back. Hear, hear! 

Pronunciation improvement: analyze or empathize?

Just not at the same time, according to new research on the interplay between analytic and emotional processing in the brain (Summarized by Science Daily) by Jack and colleagues at Case Western Reserve. One of the conclusions: "Empathetic and analytic thinking are, at least to some extent, mutually exclusive in the brain." Turns out, both types of processing occur in the same "channel," in the same neurological network, so to speak. (An earlier post, The change-the-channel fallacy, addressed some similar questions in relation to basic pronunciation change, and why, for example, oral repetition as a strategy to correct an "incorrect" articulation may not be effective in many cases.) That also explains, in part, how meta-cognitive (analysis, monitoring, reflection, planning) activity can compete with embodiment (affect, movement, felt-sense of articulation and vocal resonance) for the attention of the learner. It's sort of analogous to just not having enough "band width" to handle all the messaging.

Or it would be something like trying to listen to Fraser and Dornyei simultaneously . . . Fraser in your right ear; Dorneyi, in your left--which would be a terrific idea for a symposium, by the way. (Dornyei's new website is a gold mine of free downloads, by the way--as is Fraser's.) 

The music of haptic pronunciation teaching

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The research on the impact of music on exercise is extensive. (The empirical evidence as to how music may influence general verbal learning, at least in laboratory studies, is not as clear cut, however.) A nice downloadable summary article by Foster, Pocari and Anders on the ACE.org website cites one well known researcher in the field as follows:

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"Over the past 20 years of research, Karageorghis (London’s Brunel University School of Sport and Education) has identified three primary things about music that could possibly influence exercise performance: 1) the tendency to move in time with synchronous sounds (e.g., tapping your toe in time with music or the beat of a drum); 2) the tendency of music to increase arousal (e.g., the desire to move rather than to sit); and 3) the tendency for music to distract the exerciser from discomfort that might be related to exercise."

In developing the EHIEP system over the years I have used music from various perspectives. Recent research I have reviewed, such as that noted above, has convinced me to go back to a more systematic use of both background and movement-synchronized tracks with most of the training. One problem has been either creating or finding commercially available tracks that fit both the mood and time structure of the instruction. Now have that figured out. Am creating new (garage band-like) tracks to accompany all videos. In some cases, you can still use pop, country or rock songs, or at least the performance track without lyrics.  By popular demand--and just to give you a sense of the "mood" of the practice videos, here a few links that "work": Warm up, Matrix anchoring, Vowels (review only), TaiChi fluency, and Conversational Rhythm Fight Club.

Making scents of haptic-integrated pronunciation teaching

Image: Mary Kay Cosmetics

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As noted in an earlier blogpost, I have discovered that having students rub in a little "Mary Kay - Mint Bliss" into their hands before we start seems to jump start things well. Now we have some evidence as to why that may work. In research summarized by Science Daily, Yeshurun, Lapid, Dudai, and Sobel, of the Weizmann Institute of Science, in Rehovot, Israel, report on the impact of associating a scent with a visual schema of some kind. What they discovered was that one's "first encounter" with a scent in that context persists strongly, even when other scents are later experienced in the same context. As learners tell me, the "message" of Mint Bliss is something like: stimulating, relaxing and energizing--not far off from what it says on the tube, in fact! (Yesterday, in fact, in the bag of free "goodies" at the TESL Canada conference was a little bottle of Aveda's " Botanical Kinetics" hand lotion.) Specifically, the impact of creating that kind of initial impression of what haptic-integrating is about can be striking and memorable, one that does seem to persist as the new research suggests. Does that make scents--something that you should consider when you "rub your hands together" in anticipation of pronunciation work? 

Better online? Video modelling for line dancing and pronunciation

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Video modelling is used extensively in many education and training contexts. The previous post sketched out reasons for using a video model to teach EHIEP techniques, rather than doing it yourself, "in person." (Even a video model of yourself on the screen is generally  better than you "live!" You can also, of course, get training videos from the "EHIEP Store" when it opens in Spring 2013!) For a number of reasons, the use of that procedure is also highly effective with autism. (See this summary by Twyman on "Autism Community" blog of a recent dissertation,  "The Use of Video Prompting on the Acquisition, Maintenance, and Generalization of a Line Dance by Adolescents with Autism Spectrum Disorders," by Gies at Ohio State University. In that study, the basic protocol was structured as follows:

a. View video segment   AND   b. Attempt to imitate
c. Error correction   AND   d. Reinforcement
e. Maintenance checks   AND   f. Generalization checks

Those phases could as well describe an EHIEP training protocol and follow up. (a) and (b) represent the initial introduction and training of a technique on video. (c) and (d) happen when a target sound is either presented or corrected in class. (e) is generally done as homework; (f) represents the (inevitable) recognition of change by either instructor or student. Notice "b" -- attempt to imitate. That is for many about all it takes, not mastery of the pedagogical movement patterns or the target sound initially. Don't take my word for it.  Ask Brad Paisley. 

The bread and butter of pronunciation use and homework: units of change and practice

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There is virtually no systematic published research on what goes on outside of class when learners practice their L2 pronunciation assignments  or work on their own. (There was a blogpost earlier based on a study by three linguists who talked about their own self-directed pronunciation strategies and practice but the concept of what size of unit or speech string was the focus was not specifically adressed.) A very interesting study by Christiansen and Bod at Cornell, summarized by Science Daily, "How hierarchical is language use? brings into question the idea that language production relies on a seemingly multi-layered deep structure, analogous to that proposed 50 years ago by Chomsky and friends. Specifically:

" . . . language is actually based on simpler sequential structures, like clusters of beads on a string . . . What we're suggesting is that the language system deals with words by grouping them into little clumps that are then associated with meaning," he said. Sentences are made up of such word clumps, or "constructions," that are understood when arranged in a particular order. For example, the word sequence "bread and butter" might be represented as a construction, whereas the reverse sequence of words ("butter and bread") would likely not."

Any number of models of language use and instruction rely on a similar core constructs, relatively "shallow" structure and meaning "circuits" involved in moment by moment language production. EHIEP, for example, is based on the idea of using only noun and verb  phrase "length" units as vehicles of pronunciation change focus--not word-length or longer than phrase-length sequences.

Not doing enough pronunciation work? You may be doing too much . . .

Screening learners in pronunciation instruction

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In a couple of earlier posts, the question of the potential impact of field dependence on haptic-integration work was considered. The same concept as been researched extensively in several field: understanding individual variability in attention management, being more or less affected by environmental distractions, whether visual, auditory or some other potential sensory "background interference or clutter." Kwallek of the University of Texas, in describing the same personality style as it plays out in interior design, makes an interesting observation on the effect of red-coloured walls in working spaces:

"Studies have found that some individuals are more easily distracted by irrelevant stimuli, leading to decrement in performance. Other individuals actually improved their performance on task when irrelevant stimuli were introduced. These differences may be associated with an inability to automatically screen out less important stimulation. Individuals who are most adept at screening out the less relevant stimuli of their environments are referred to as high screeners, while individuals who typically cannot screen out incoming stimuli are referred to as low screeners."

Multiple modality engagement (See recent posts referring to FBIs--full-body interdictions!) should work to the benefit of both high and low "screeners." For low screeners, background interference is immediately curtailed; for high screeners, who may at first be stimulated to better performance by "red" walls, have also probably some advantage initially in haptic work, it heightens attention to the resonance of sound and inherent body movement involved in producing speech, both of which enable change and anchoring. (The backside of the screening style, however, is that low screeners also tend to be more at ease in interpersonal engagement.) Try wearing a red dress or red T-shirt next time you do an FBI and report back . . .

Paying attention to pronunciation - II (the FBI approach)

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Following up on the previous post, it appears that a little non-attention is perfectly normal--in fact, essential. In a study by Constantino, Pinggera, Paranamana, Kashino, and Chait of the UCL Ear Institute, summarized by Science Daily, "Detection of appearing and disappearing objects in complex acoustic scenes," it is demonstrated how the brain prefers to attend to novel sounds and may often not even notice the absence of sounds in the background. That explains, in part, why an experienced instructor can often hear one "deviant" sound segment being produced by one student in a class of 30. The question is, why should we occasionally bother to stop and briefly do a choral (full-body) interdiction (FBI) for just one "problem?" By "FBI" I mean having students do the pedagogical movement pattern (PMP), which generally includes articulating the sound along a upper body movement/gesture of some kind. For the 29 who have an acceptable version of the sound already, the PMP serves to momentarily reestablish (for the required 3 seconds!) what we might call "somatic speech awareness," where sound production can generally be monitored in speaking without seriously interfering with things like . . . thinking, while at the same time, for some, defusing anxiety and promoting relaxation. And the beauty of that is, of course, you probably won't hear the that one "error" again either! 

Accurate mirroring in (haptic-integrated) pronunciation teaching

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Mirroring, having learners move along with a model, is a common technique in pronunciation teaching, especially at more advanced levels such as this by Goodwin at UCLA. There are any number of applications of the concept, for various purposes. In EHIEP work, mirroring figures in prominently from the beginning. As noted in previous posts, some highly visual learners find imprecise modelling by the speaker being mirrored to be very disconcerting. For example, one pedagogical movement pattern (PMP) involves moving the left hand across the visual field in an ascending motion as a rising intonation contour is spoken. For sometime we have been looking at the possibility of using avatars that would perform perfectly precise PMPs in new versions of the haptic videos to compensate for the fact that a human model (namely me on the current videos) cannot possibly be consistent enough to satisfy the few most radically visual learners. Research by Thomaz at Georgia State University seems to suggest that the only way to do that with robotic models--would be to build in "human-like" variability of motion into the repetitions of PMPs in training. In other words, the slight differences in the track of the gestural patterns is essential to creating a sufficiently engaging model to effectively keep subjects' attention. Rats. Better go back to figuring out both how to be more "humanly" precise in modelling PMPs and developing techniques that will assist the "visually-challenged" in loosening up a bit. Figuring out exactly what acceptable deviations from ideal PMPs are is, in principle, doable, of course. Just a matter of studio time and field testing. Keep in touch. 

Washing your hands of pronunciation teaching

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Your students think doing pronunciation work is wrong, find it threatening or just too messy? Have them wash their hands before class. Earlier posts have linked to research related to the benefits of attending to the state of the hands before haptic-integrated work, including my (regular) use of Mary Kay "Mint Bliss" on the hands before having learners work through instructional haptic videos. According to 2008 research by Schnail, reported in Science Daily, "When we exercise moral judgment, we believe we are making a conscious, rational decision, but this research shows that we are subconsciously influenced by how clean or ‘pure’ we feel." For example, "if the jury member had washes [sic] their hands prior to delivering their verdict, they may judge the crime less harshly." In the study reported, undergraduates responded in a similar fashion after washing their hands in a controlled game of "right and wrong." The same principle, as reported earlier as well, also applies in haptic research with various textures influencing unconscious perception and emotional response. Now will that work as well when done before an upcoming half hour of mind-numbing minimal pair drills or before student evaluations are handed out at the end of an especially bad course? Could be . . . Worst case, it'll just be a wash . . . 

Short-term and long-term pronunciation change

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How often do you have learners who can do the "right," temporarily improved pronunciation of 'th', for example, but can't do it next day? According to a 2011 study by Schweighofer and colleagues at the University of Southern California, to the extent that the change was motor-based, that may make sense, depending on what else was being focused on during the classroom session and how things were sequenced during the lesson. Ironically, woking on a sound in several "passes," rather than just bearing down on practice the sound in isolation may be a much more effective approach. ". . . if your brain can rely on your short-term motor memory to handle memorizing a single motor task, then it will do so, failing to engage your long-term memory in the process. If you deny your brain that option by continually switching from learning one task to the other, your long-term memory will kick in instead. It will take longer to learn both, but you won't forget them later." That is an intriguing comment. It suggests something about the roll of repetition, integration and attention management--particularly in haptic-integrated work, which relies heavily on awareness of movement and somatic resonance in the upper body. Here's the question: When you decide to work on the articulation and integration of a consonant, let's say, 'th,' in what order do you first lead them through the various parameters of articulation of that sound: (a) lip configuration (b) tongue movement and positioning, (c) jaw movement/teeth opening, (d) aspiration, (e) voicing, (f) resonance and, of course (g) timing? Then, in what phonological and usage contexts do you next situate the "corrected" segmental for anchoring and practice? That is the essence of clinical pronunciation: management of real-time engagement and interaction. Take your local speech pathologist and aerobics instructor out for lunch. 

Pronunciation coaching

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Coaching is big. In many ways, the model of the pronunciation-integrating teaching (PIT) is that of a coach, as defined by the International Coaching Federation: "Coaching is partnering with clients in a thought-provoking and creative process that inspires them to maximize their personal and professional potential." To get a better sense of what coaching is really about, especially as it relates to physical training, I went to one of my favorite coaches, Tom Landry legendary coach of the Dallas Cowboys. EHIEP work tends to be more "coaching" related than more traditional instructor roles. Here are a few quotes from Coach Landry, with the obvious EHIEP application of the principle involved:  

• "A coach is someone who tells you what you don't want to hear, who has you see what you don't want to see, so you can be who you have always known you could be." Providing realistic assessment, along with achievable goals that learners can grasp, is critical. 
• "Setting a goal is not the main thing. It is deciding how you will go about achieving it and staying with that plan." Exercise persistence depends primarily on a plan that produces consistent evidence of incremental progress.
• "I don't believe in team motivation. I believe in getting a team prepared so it knows it will have the necessary confidence when it steps on a field and be prepared to play a good game." Developing confidence in class and in homework practice, outside of authentic conversation, is both achievable and essential. 
• "The secret to winning is constant, consistent management." Management of the pedagogical  process, attention within the visual field and expression of emotion is, indeed, the secret. 

And also from Coach Landry, "Right after the game, say as little as possible." Same principle applies before and during as well. I'll leave it at that . . . 

Perfect form in pronunciation teaching

(Note: Stress is on the 2nd syllable of the first word in the title of this post!) Probably the best way to "grasp" (to use our favorite haptic metaphor) the place of form in both learning and memory is to use your favorite sport or musical performance "instrument," the one you have some extended experience with, the one you learned or seriously worked at from scratch. Mine, as you may have guessed, is running. This 2004 article from Runners World on perfect running form, with a "touch" of analogical extension could apply equally to any physical art (See recent post on pronunciation work as art form.) The categories of attention management are:

Photo credit: Runners World

• "Head Tilt . . . ahead naturally . . . scan the horizon . . . Don't allow your chin to jut out."
• "Shoulders . . . should be low and loose . . . remain level "
• "Arms (and hands) . . . When you feel your fists clenching or your forearms tensing, drop your arms to your sides and shake them out for a few seconds . . ."
• "Torso . . . If you start to slouch . . . take a deep breath and feel yourself naturally straighten . . . "
• "Hips are your center of gravity, . . . think of your pelvis as a bowl filled with marbles, then try not to spill the marbles by tilting the bowl." (Losing your "marbles" lately?)
• "Legs/Stride . . . your feet should land directly underneath your body . . . your knee should be slightly flexed. . . " 
• "Ankles/Feet . . . Keep your ankle flexed . . . roll onto your toes . . . feet should not slap loudly . . . springy and quiet." (I love those last two descriptors!!!) 

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One of the "challenges" for us haptic-integrating instructors, of course, is presenting a"visual speaking" model such that our body rhythm and posture present an appropriate model for students, not just in anchoring but in all classroom engagement and discourse. No need to be perfect, of course, but we should always be working on perfecting it, along with our students. Check with your mirror or your latest moving video of yourself in the classroom. 

Bold and shy pronunciation learners

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Was "hunting" for some research on personality styles of learners and came on this: "In Elk Hunting, Success Depends On the Animal's Personality,"summarized by ScienceDaily, by a team of researchers at the University of Alberta. They discovered two basic types: bold runners and shy hiders. (Note: This is about elk being hunted, not the converse!) As you might suspect, the latter type lived significantly longer. Ironically (or maybe not), we see something of the same in haptic-integrated pronunciation work. Strong extroverts, although initially often better at picking up pedagogical movement patterns, do not seem to have much if any advantage in anchoring pronunciation change--in fact, the contrary seems to be the case. As noted in some earlier posts, attention management is often more "manageable" for those whose body language is not as uninhibited and "gesticular." For example, a highly expressive Italian who makes wonderfully wide-ranging and fluid use of gesture while speaking in his L1, may actually have a great deal of difficulty in consistently anchoring sounds in the visual field, making hands touch consistently, in a very controlled manner, at designated positions. And like the ill-fated bold elk, although they get off to a great start and feel very much at ease with "dashing around out in the open," they may not last long . . . Always a good idea to hunt them down early and rein(in the)deers! 

Vivid, emotionally-enhanced pronunciation instruction?

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Here's another one for the "Well-duh . . . " file. Researchers at the University of Toronto have just: " . . . discovered that we see things that are emotionally arousing with greater clarity than those that are more mundane," Furthermore, " . . . how vividly we perceive something in the first place predicts how vividly we will remember it later on . . . " They even have a term for it: emotionally enhanced vividness. There is a new acronym for us: Emotionally-enhanced, vivid pronunciation! (EVP) That topic has been addressed on the blog from several different perspectives. Now we have "empirical" evidence. Wow. Actually, there is something there worth mention, the use of the word "clarity" in that context--as long as you keep the terms "arousing" and "clarity" together. In other words, conceptual clarity must always be coupled with controlled emotional engagement--and even enthusiasm! Research has also repeatedly established that arousal, by itself, can also serve just as well to encode in memory all sorts of baggage that later interferes with efficient recall of specific targets in instruction--or life, in general. Emotion and attention management are key to our work, and pronunciation instruction, in general. For more memorable (and arousing!) lessons, try a little more (haptic-integrated) EVP.