One who hesitates is NOT lost (when repeating new words to remember them better by)

                                                   

(Credit: Clker.com)

Actually, the study (Summarized by Neurosciencenews.com) Repeating New Words Out Loud Isn’t Always the Best Way to Learn Them, by Kapnoula et al. Basque Center on Cognition, Brain and Language (BCBL) is, more or less, a neuroscientific validation of a principle established decades (and decades ago) by experienced language teachers: sometimes pausing for a instant before you repeat the new word (or piles of words) is the better way to learn and remember it. 

The research does, however, point indirectly to an important development in the field in the last few decades: learning new words out of context, even if the meaning is provided in some form, is a very delicate and complex process, best case. Simply put, subjects in one condition either (a) repeated a new  English-looking, nonsense word (e.g., penivasher) immediately or (b) paused slightly and then repeated the word out loud. With a 4-second pause, their memory for the latter words the next day was significantly better than the former. From the study:

“When a person repeats a word immediately after hearing it, cognitive resources are dedicated to preparing the production of the word and, as a result, these resources cannot be used to deeply encode that word. In contrast, if production is delayed for a few seconds, this overlap is avoided, allowing deeper learning and encoding to take place.”

Ok. That makes sense. But then we have this: 

“Understanding these cognitive mechanisms can teach us how to use repetition more efficiently in educational contexts. For example, teachers can encourage students to repeat a new word the first time they hear it, but after this first exposure, the learning processes should focus more on listening rather than on production,” 

What? Why do I suspect that the researchers have never taught or been taught language--or if they have, poorly, at that?

 " . . . repeat it (once) but after this first exposure, the learning process should focus on listening rather than production . . .?" 

Imagine in just what teaching system/context would that apply. Granted, if all you are working with are new words IN ISOLATION (without associated meaning), where the goal is just reading or listening comprehension for some reason--maybe passing an L2 reading test, not speaking, that figures. But if the new words are actual L2 words, encountered in a rich, memorable context and high frequency collocation--the general M.O. of contemporary language methodology--then radically switching away from productive, out loud repetition/use of words in learning is  . . . well . . . arcane, to put it mildly. 

This may be a case where researchers take what is actually a very nice study and pretty much fanta-(or over)-size its potential application, or don't spend enough time on the concluding paragraph. (I'd pause a bit before assuming it is but the latter . . . )

Now if you do want to experience full-body, memorable engagement/repetition of new words--without hesitation--go to: www.actonhaptic/kinetik 

Keep in touch.

Bill

Source: Wait long and prosper! Delaying production alleviates its detrimental effect on word learning. Kapnoula, C. & Sameul, A. 2023 Language, Cognition, and Neuroscience.
https://doi.org/10.1080/23273798.2022.2144917

Free, half of the new 10-week KINETIK Fluency and Pronunciation Course!

Join us beginning February 15th for the course. (The PROMO poster is posted below.) Works like this:

• Every Wednesday morning I'll post the link to the recorded lesson here on the blog.
• This is part of a course being offered on Zoom by the MATESOL at Trinity Western University.
• Each video is approximately 35 minutes in length. 
• Included is 
• Training on one technique for teaching/learning a key pronunciation sound or process (Most of the time it involves standing up, moving along with me as your body learns the gestural patterns involved.)
• Homework assignment (about 30-minuts per day recommended)
• Links to (free) practice on the web

• The other half of the course, which includes all materials and a weekly, live feedback and Q&A session on Zoom, is restricted access to those who subscribe for the course ($500 CAD). If you'd like the full deal: william.acton@twu.ca.

KINETIK and Haptic Pronunciation Teaching at TESOL 2023 in Portland!

Haptic Pronunciation Teaching at the upcoming TESOL 2023 Convention in Portland, March 21~24th!

Doing two presentations:

• A pre-convention Institute with Angelina VanDyke. Tuesday afternoon, 1-5, Talking (and analyzing) Pragmatics with Students: Meta-pragmatics and Embodied Prosody. (That is an extra, paid event, $150USD-- well worth the price of admission, of course!) 
• A workshop with Eileen McWilliams, "Prosodic Pas de deux: Teaching Conversational Discourse Orientation," Thursday, 23 March, 15:00-16:45 (At least one of the cleverest session titles ever!) 

I'll be there promoting the amazing KINETIK Method (www.actonhaptic.com/kinetik/) Always open for a breakfast, lunch, dinner or later with hapticians and other lovers of "haptic." I plan to be in the networking area next to the publishers' booths, both mid-morning and mid-afternoon for an hour or so.

Have decided to self-publish an eBook based on the KINETIK Method, working title: Bill Acton's Haptic Global English Pronunciation Program. Will have excerpts available by then which I'll have with me and will be linking here on the blog and on the website. 

If you are a runner, join us each morning for 6-8km "haptic jog" around 6!

Email at: wracton@gmail.com for more info.

See you there! 

Getting in the right mood for enhancing your work (and even pronunciation!)

You "up" for a little meta-theory? 

Fascinating study, open source, published in Frontiers in Communication by Lai, Berkum and Hagoort: Negative affect increases reanalysis of conflicts between discourse context and world knowledge. Here is the researchers' conclusion: 

"These results suggest that mood does not influence all processes involved in discourse processing. Specifically, mood does not influence lexical-semantic retrieval (N400), but it does influence elaborative processes for sense making (P600) during discourse processing."

Not quite sure how to feel about this fascinating research at this moment . . . but it should interesting from some perspective, regardless of your general mood or affect as you read about it. In essence, what the research establishes, not surprisingly, is that if you are in a rotten mood at the moment you might be better at deconstructing what follows, identifying the fudging, etc. (As it turns out, the fact that I had just gotten back from a great run on my first read of the research report may have been "colored" by all those endorphins!)

The complete structure of the study is a bit complex to unpack (but you can here, however, or check out the Neuroscience.com summary). Basically, subjects attempted to identify different features of a narrative/story working within two conditions, one more emotionally "negative;" the other, considerably less so. In effect, mood did not appear to impact their ability to focus in on details but it did influence their success at arriving at an integrated understanding or interpretation of the overall narrative or discourse. 

Does that make sense? Of course . . .  So does the application of that work to pronunciation teaching! (Actually, it almost explains a number of things and people in this field, but I'll stick to pronunciation teaching!) 

There are number of pairs of binary (or false) conceptual distinctions that are of more or less utility to us as we sit down to work on a problem as heuristics or mnemonics at best where mood (in several senses) may figure in prominently, whether the mind set of the analyst at the moment or the degree to which mood (affect/emotion et al) is subsumed in  concepts involving attention to or focus on: 

• digital vs analogical 
• accuracy vs fluency
• segmentals vs supra-segmentals
• structure vs meaning or function
• sentence-level vs discourse-level context
• experiential vs cognitive/pre-frontal engagement
• affect vs metacognitive 
• particle vs wave/field analysis
• individual vs group engagement and learning
• local vs global constructs
• visual vs auditory
• learner autonomy vs learner indoctrination 
• critical vs inquiry-based thought
• conscious vs unconscious processing
• left vs right hemisphere-like processing

And how do or should those relate to (KINETIK) pronunciation teaching and learning? Not much, if at all. What contemporary neuroscience reveals very convincingly is that overemphasis on any of those earlier, simple binary distinctions, many of them but remnants or artifacts of earlier "science,"  especially in combination, can be fatal.

Ideas don't die . . . but people (and students) do. 

Bill

Citation: Lai VT, van Berkum J and Hagoort P (2022) Negative affect increases reanalysis of conflicts between discourse context and world knowledge. Front. Commun. 7:910482. doi: 10.3389/fcomm.2022.910482

Spring 23 KINETIK Courses!

Spring 2023 KINETIK courses now scheduled. 

KINETIK Method: a full-body/haptic approach to both pronunciation teaching and enhancing memory for course content. (Haptic: employing movement/gesture and touch)

English Fluency and Pronunciation Course

• For nonnative English speaking students, adults of upper intermediate level and above
• For those who need to improve their speaking fluency and pronunciation of English.
• Especially designed for those who do not have the opportunity to speak English often enough, or have pronunciation problems that are difficult to change.

• 11 weeks in length, 75 minutes per week, plus optional, 60-minute review session

 begins on January 26^th, 2023.

Thursdays, 5:00~6:15 p.m. – Live Class--on campus (or by viewing the class video later)

 Homework: 15-20 minutes per day for best results. 

Wednesdays, 5:00-6:00 p.m. -- Optional homework practice review on Zoom (or by viewing the class videos later)

• Instructor: Bill Acton, MATESOL Department, Trinity Western University 
• For additional information: william.acton@twu.ca
• Certificate is awarded for 80% attendance. Books and recorded practice videos are provided.

• Course fee: $500 CAD for on campus course. ($200 CAD for access to the 11 class videos only)

***

KINETIK Method Instructor Certificate Course: 12 weeks, Online, beginning 1/30

• Objectives
• Basics of haptic pronunciation teaching
• Techniques for enhancing memory for course content
• Enhanced (instructor's) classroom speaking model and pedagogical presence 
• Weekly schedule
• 30-minute training (recorded, available Monday)
• ~60 minutes of "homework" (pre-reading and practice)
• 60-minute live seminar on Zoom (arranged according to participants' schedules, usually on Saturday evening, PST)
• $600 USD, materials provided
• Certificate provided upon successful completion
• Full-refund (no questions asked) up to Week 4
• Preliminary Zoom interview required (contact: wracton@gmail.com)

If you are an instructor, considering having your students take EFPC, contact me and I'll be happy to discuss the course with you. With sufficient enrolment, both courses can be offered for just one school.

Ben Bruno's "10 Commandments of physical training" applied to pronunciation teaching!

Ben Bruno, personal trainer to the stars, has a super set of principles for training that could as well be a guide to (haptic) pronunciation teaching. Use the following as something of a test for your method about either: 

Here they are: (the boldfacing and extrapolations are mine!)

1. Thou shalt not train through pain.

    💪 Pronunciation work works when at least you can focus just on it for bit. 

2. Think of strength training as your entrée and cardio as the side dish. Both have their place but divvy your time and energy accordingly. 

    💪 At least for a time, attention to accurate, good form must supersede being fluent. 

3. The hard exercises that you hate doing are generally the ones that work the best. Sorry. 

    💪 Repetition, especially where a new physical patterning is being established, may not be mentally stimulating but it can be key to establishing the anchoring and access for a new sound or word. 

4. You can always make a mistake not to train, but at some point you just have to make time for it. Or be weak and out of shape. 

    💪 For most learners, consistent, relatively long term practice is key. And, like physical training, a new sound or pattern is not acquired unless do, indeed, "use it or lose it" if there is not sufficient consistent practice. 

5. Thou shalt train thy legs. 

    💪 The "legs" of pronunciation work is at least the rest of the body from the neck down, but in haptic work, the entire mind-body nexus. 

6. Mobility work is boring. Do it anyway.

    💪 The analogs here are (a) warming up or stretching, and (b) general fluency exercises where the body moves "fluently," along with speaking, for example. 

7. Remember that outside the gym, no one cares what you did for your workout, or about your diet. Keep it to yourself

    💪 Unless you are working with somebody, like a partner or instructor, your progress and goals are critical and only you can judge how things are going, certainly not a non-informed bystander. 

8. Similarly, nobody cares how much you lift. Drop the ego, drop the weight, and do it right. Form matters. 

    💪 Two principles there, dropping the ego . . . and form (See Principle #2)

9. Train the muscles  you can't see in the mirror (glutes, hamstrings, back, etc.) more than the muscles that you can see (pecs, biceps, etc.). It's good for you, and just because you can't see them, everyone else still can.

    💪 In other words, the rest of the body, especially the quality and resonance of your voice, overall relaxation and breathing techniques

10. Don't overcomplicate things. Always be learning, but at some point you have to put down the books and pick up the weights. 

    💪 The  bottom line: The process requires extensive "performance" without overthink or even conscious processing of the meaning of what is being spoken out loud for success. 

Ben's 10 has improved my approach to both kinds of training already--since both are so interrelated anyway. In fact, it will form something of the foundation for a new project I'm working on. 

Keep in touch!

Bill

Context, AI voice technology, haiku and (pronunciation) teaching

Two studies just published and summarized by ScienceDaily.com together illustrate how critical context is to understanding and (pronunciation) teaching. One is on the impact of voice technology; the other, on AI-assisted or created Haiku. 

In the first, How voice technology influences what we reveal about ourselves, by Melzner, Bonezzi, and Meyvis, published originally in the Journal of Marketing Research, it was revealed that customers, not surprisingly, will reveal more about themselves, directly or indirectly when responding by speaking to automated systems, rather than interacting on the keyboard with text messaging. Some of that "revelation" is actually paralinguistic (voice characteristics such as pitch and pacing) and background sounds. In other words . . . context. 

In the Haiku study, Basho in the machine: Humans find attributes of beauty and discomfort in algorithmic haiku, by Ueda at Kyoto University Institute for the Future of Human and Society, discovered, basically, that subjects rated haiku created by humans collaborating with AI higher, in general, than Haiku created just by AI or humans, but, if they suspected the engagement of AI in the process, the ratings went down. (Exactly how subjects were prompted to check for that is not indicated, but just the very suggestion of possible AI "meddling" had to have a pervasive effect, undermining the validity of the study, potentially skewing the perceptions and expectations of the subjects . . . )

(Full disclosure, having lived in Japan for a decade, I came away with a great appreciation for haiku, such that it gradually became both my preferred genre for reading pleasure and poetic expression.) 

How does this all tie together with pronunciation teaching? In both studies, context is critical. In fact, haiku only works when the context is either provided in advance and often explained in great detail OR where the subjects have grown up in . . . well . . .Japan, where the form is encountered from infancy. Great haiku as an art form, itself, generally recreates context (or possible contexts) in the mind of the devotee/reader. In both cases, comprehension is grounded in context, not in the form, itself. 

So it is with pronunciation teaching as well. It is possible to work with pronunciation out of explicit context and the sounds or patterns be later available in spontaneous language use, but the treatment has to have almost "haiku-like" in salience for the learner. On the other hand, the immediate context of let's say attention to a consonant, as in the AI voice study, is encoded along with the targeted sound, e.g., the voice characteristics, including stress and disruptive performance markers of student and model, the room ambience, and the neurology and biomes of learners and instructors all--and all either enabling or disabling recall later. 

In other words, unless context, in several senses, is working for  you or being proactively generated in pronunciation work, the odds are not with you. For that reason, in part, the KINETIK method approach and others like it are designed to consistently embed pronunciation in regular, good course content or personally memorable, engaging narrative of some kind, where the chances of the focus of the work being remembered should be at least better, or at least with less clutter. 

O AI, eh? Aye!
O the story is long but . . . 
The tail is longer

Sources: 

American Marketing Association. (2022, November 30). How voice technology influences what we reveal about ourselves. ScienceDaily. Retrieved December 20, 2022 from www.sciencedaily.com/releases/2022/11/221130114606.htm

Kyoto University. (2022, December 2). Basho in the machine: Humans find attributes of beauty and discomfort in algorithmic haiku. ScienceDaily. Retrieved December 20, 2022 from www.sciencedaily.com/releases/2022/12/221201122920.htm

Bite your chopstick, knave! (How restricting imitation might enhance empathy but not pronunciation teaching!)

This piece from Neurosciencenews.com (or as we tend to call it: New-Old-Science) on empathy and imitation, using chopsticks, is just too much fun to let pass. The study  by Matsuda et al at Hokaido University, titled “Imitation inhibition and facial expression recognition: Imitation-inhibition training inhibits the impact of interference with facial mimicry”, was basically getting at something similar to the "startle reflex," that is responding (sometimes) too fast emotionally. That is a common feature of PTSD, the body processing things way ahead of the conscious mind; you respond, in effect, without thinking. At some level, empathy is also like that. 

In the study, the treatment group was trained to "respond more slowly" to images on a screen by having to perform an action with fingers requiring some processing time. The "pièce de résistance," however, was that in the test phase, both the treatment and control groups were required to bite down on a chopstick which (quote) " . . .  inhibited their ability to mimic facial expressions." With that add on filter, the chopstick, the treatment group was better/faster at recognizing facial expressions than the control group. Now exactly why the chopstick was necessary is not explained, but it was apparently needed to cancel out initial, unconscious facial/physical imitation that would have complicated things. 

The conclusion: "These results suggest that imitation-inhibition training increases self-reported empathy and allows for a similar level of recognition of others’ emotional states, regardless of discrepancies between the condition of self and others."

Wow . . . 

So . . . suppressing initial emotional response, in this case realized in facial imitation, enhances empathy partially defined as being able to recognize emotions in others. That is certainly an aspect of the metacognitive dimension of empathy, or maybe empathy, Japanese style? I have lived there; could be, in fact!

But what might that same suppression of imitative "mirroring" do during learning, of pronunciation, let's say . . . I can tell you, actually. 

That is a near perfect metaphor or analogy for instruction that either formally or informally restricts body response and engagement, which is far too often the case. Imitation today has a bad name in the field, in part, seen as being essentially simplistic, noncognitive. Consequently, that is how it is treated or applied, dismissed as being not meaningful enough or superficial. And without holistic body engagement in the first place, that is . . . well . . . accurate. 

The implicit restrictions today on spontaneous body response, to a large extent the result of  conscious/cognitive bias and media (versus face-to-face interaction) involvement in the field--at least in  adult education--work against us, the learner and learning. 

The "chopstick chomp" at least has entertainment value . . . and being able to read other's emotions, detached from your body and your own has got to be a good thing, occasionally.  

So try the "Chopstick Chomp" with your friends playing a game that normally involves some emotional juice, or with your class sometime. I have. The effect is sometimes "dramatic;" sometimes, not. 

There, of course, is a better way to do pronunciation!

Keep in touch!

Bill

Original Research: Closed access.
“Imitation inhibition and facial expression recognition: Imitation-inhibition training inhibits the impact of interference with facial mimicry” by Naoyoshi Matsuda et al. Cognitive Studies: Bulletin of the Japanese Cognitive Science Society

More than a touch less stress in pronunciation teaching!

Maybe the biggest problem with pronunciation teaching (other than time, training and "bokoos" of counter-productive techniques) is  . . . well . . .  stress, one of the most, if nor THE most consistently reported factors affecting instruction from both teachers and students. Likewise, approaches to "de-stressing" the classroom almost always entail doing something with body, such as in "mindfulness," which is essentially, consciously focusing on something other than the brain in achieving relaxation and various kinds of attention. 

A just recently published study by Lu and ten other researchers at MIT, Somatosensory cortical signature of facial nociception and vibrotactile touch–induced analgesia, "touches on" the potentially powerful role of touch in mediating the effect of stress. (Let me translate that!) Touching, the face in this instance--by mice, moderates the impact of stress, touch-mediated analgesia. 

Now granted, generalizing from a study done on mice to the potential role of touch in pronunciation teaching is a bit of a stretch. Not so much actually. All pronunciation work involves touch, albeit generally without conscious, systematic attention, for example, clapping hands to holding objects used to

• embody phonological concepts, such as rubber bands with vowel lengthening 
• fingers touching the larynx for vowel voicing 
• focusing learners attention of touch between articulators in the mouth

Haptic pronunciation teaching in its latest iteration, The KINETIK Method, involves extensive use of gesture-plus-touch in all phases of the system. Research has long established the stress reducing nature of body movement and breathing, in general, but the contribution of touch, either in conjunction with gesture or in isolation, has not been researched in this field. In haptic work we have know for decades that touch contributes substantially to the process but it has been almost impossible to set up or successively carry out a study to exploring just to what extent that is the case. 

This study makes a fundamental contribution to our understanding of the underlying "wiring" between touch and emotion and stress. In particular, it confirms the importance of use of touch with gesture in anchoring rhythm and stress in instruction. For more on that see these recent blog posts: 

• This one on touch and link to sounds
• This one on the PTSD parallel .  . . 
• Your standard KINETIK course

As we always say: Keep in touch!!!

Source:

SCIENCE ADVANCES 16 Nov 2022, Vol 8, Issue 46
DOI: 10.1126/sciadv.abn6530

Mi Coursa; Su Coursa! (NEW KINETIK "GE-T-UP" course!)

GE-T-UP - Gesture-enhanced-teaching-up-take (pronounced: Get-T-up! as in "Giddup!") Custom-made, "memorable" pronunciation course, using your course content. 

• Enhanced memory for course content, especially vocabulary and story. 
• Improved speaking clarity and pronunciation

Here's how it works. Basically, you share with us one or more brief excerpts in the form of stories or written dialogues from any speaking, listening or reading course that you'll be teaching. We'll provide you with a video-recorded KINETIK lesson for your students. There are potentially 10 possible lessons, presented (basically) in this order, but it can be further customized for your class: 

• Rhythm 1 (syllables and stress)
• Fluency 1 (basic)
• Vowels 1 and 2 (tailored to your students' L1s)
• Consonants 1 and 2 (tailored to your students' L1s)
• Intonation 1 and 2
• Rhythm 2 (spontaneous speaking)
• Fluency 2 (spontaneous speaking)

Here's what those lessons look like:

• Students view and move along with a 15 to 20-minute training video
• Video begins with brief training in a GE-T-UP haptic movement, tone and touch technique (MT3)
• That technique is then used in an augmented embodied oral reading (AEOR) of the text from "Su coursa" that you provided. (We may have to add some additional text, along with annotation as to how to gesture along with the text as it is spoken.)
• The homework assignment is explained and practiced.
• Students practice the 5-minute haptic exercises in the homework assignment (ideally) 4 times per week
• Student work with the lesson is always better if they have earlier already been engaged with the text from your class earlier. The lesson also helps students remember that content as well! 
• (Ideally) teachers also use the GETUP MT3 in class anytime from then on to:
• Help students remember vocabulary or new terms or phrases
• Help students improve their pronunciation (and remember it!)

The cost per custom-made module begins at about $200, depending on how many we do together.  If you'd like a (free) estimate and demonstration video made with your material from "Su Coursa," get in touch: wracton@gmail.com

(If you are new into the impact of gesture on memory, check out this piece from the Scientific American last year.)

Spring 2023 we will also be again offering the online 12-week haptic basic pronunciation course through Trinity Western University, and along with that, a 12-week KINETIK Teacher Training course. If you'd like to offer either one of those through your school or some other venue . . . get in touch, of course!

Content with your pronunciation teaching? Au contraire!

"con-'tent or 'con-tent?" take your pick there! (The correct answer is the latter; however, if you are not really the former, then maybe the latter is the answer!) Upcoming presentation at the JALT 2022 Conference (online) with Steve Caine. "Content-based pronunciation instruction: embodied oral reading." 

Oral reading, in some venues and classrooms, still gets a bad rap. Unreservedly so. It is widely used successfully in language learning and beyond. Especially in Japan. When(Japanese) students, for example, are trained to be super memorizers and practiced oral readers in their educational culture almost from birth, despite some of the obvious, potential drawbacks of the practice, remembering the content of an oral reading for most should be a piece of cake , relatively speaking. I have still been unable to find a good comparative study from that perspective, but, after a decade or so teaching in Japan, the relative advantage is quite striking. (If you know of one, please get in touch so I can touch this up!)

The presentation, on the 13th experientially explores the centerpiece of the KINETIK Method: the embodied oral reading, using gesture and touch to enhance memory for content, expressiveness and clarity (pronunciation). The basic idea: All pronunciation work, although important as a secondary objective, should emerge from course content work where memory encoding and access, and expressiveness are the priority. 

See you online or in Fukuoka on the 13th!

Bill

"Breathtaking" running and (haptic pronunciation) teaching!

Caveat emptor: Being a runner, I tend to find research "on the run" first which I "test" during my morning 5k and then often gets applied to (haptic) pronunciation teaching and beyond. Here is a great piece unpacking the role of breathing from several perspectives: Breath Tools: A Synthesis of Evidence-Based Breathing Strategies to Enhance Human Running, by Harbour et al.,published in Frontiers in Physiology summarized by Neurosciencenews.com. If your running or teaching needs an immediate boost, there is a great place to  . . . run to! 

息 Breathing, in many species, including us, has been shown to have a myriad of functions and potential benefits, one of them, the coordination of breathing with gesture related to utterance of sounds as in stressed or emphasized words. In principle, anytime we require a gesture to be synchronized with a sound, taking a breath either fully or in shallow manner prior to the gesture is almost inevitable and unavoidable. 

息 In Pouw and Fuchs (2022).“Origins of vocal-entangled gesture,” we see the inseparable linkage and 
"co-development" over time evident between language, thought and gesture. From a functional perspective their perspective that at any moment in time when a thought, word or gesture is realized, all three had in effect emanated from the same point of origin in the brain and remain very much connected neurophysiologically (and conceptually.) In other words, to affect one dimension is to touch or move the other two (including breathing)--our human, ad hoc analytic systems and intuitions not withstanding. 

息 In KINETIK and haptic pronunciation teaching, in many contexts, we focus learners attention on the breath and general upper torso movement accompanying the breath, as the diaphragm drops, drawing the air in and chest up toward the shoulders, expands. (The shoulders do NOT rise, but remain relaxed.) One purpose is, of course, to capture the learners attention and focus on the task, but, of course, other systems are affected and engaged accordingly. Memory for what is in focus improves, gestures become better defined and synchronized with the words or processes involved, and, consistently, learners become better at alternating between high focus and "relaxed alertness." It is almost, well . . . breathtaking, moment by moment. 

Source: 

Harbour E, Stöggl T, Schwameder H and Finkenzeller T (2022) Breath Tools: A Synthesis of Evidence-Based Breathing Strategies to Enhance Human Running. Front. Physiol. 13:813243. doi: 10.3389/fphys.2022.813243

Pouw. W. and Fuchs, S. (2022).“Origins of vocal-entangled gesture” Neuroscience and Biobehavioral Reviews, Volume 141, October 2022, 104836 https://doi.org/10.1016/j.neubiorev.2022.104836

Flicking off unstressed (and less stressed) vowels in English!

Some vowels just get no respect (or much attention in teaching!)--but they should! 

If you are in Des Moines, Washington this Saturday, come to the 2022 WAESOL conference for our workshop, "Stressing and teaching unstressed and secondarily-stressed vowels in English." This is something of an update and reprise of a workshop I did in 2014. Since then the relevance of working with "backgrounded" vowels has become much more evident in the field, e.g., Szigetvár (2021).

There are many occasions when having students work on an unstressed vowel briefly, such as the 'e' in the word 'the' as in the noun phrase, 'in the circus.' Although for some, just being able to hear the vowel quality in that vowel is sufficient for their purposes--many can almost immediately begin using it in speaking. For others, especially those who are highly "auditory-kinesthetic" (such as myself) experience actually producing the sound may be enormously helpful if not essential. 

The "flicking off" refers to the near-haptic, dismissal-like gesture used in anchoring unstressed vowels, something of quick thumb "flick" in the direction of the vowel in a version of the IPA chart used in the KINETIK Method. It is termed "near-haptic" in that the thumb does not actually touch the other hand, as is case in all the usual "Movement, tone and touch techniques" (MT3s) in the KINETIK method. 

If you can't join us, the video will be available on the other side. 

Keep in touch!

Bill

PTSD: Pronunciation Teaching Somatically (Experienced and) Delivered

Learning and teaching pronunciation does not have to be traumatic, although for some it just may be! There is, however, a great deal to be learned from body-based treatments of PTSD and related traumas that apply to our field--especially in terms of directionality, what comes first, methodologically, in therapy or teaching. 

Not sure how I missed this extraordinary (and extensive) review last year, (2021) "Somatic experiencing – effectiveness and key factors of a body-oriented trauma therapy: a scoping literature review, " by Kuhfuss, Maldei, Hetmanek and Baumann of University of Tier. 

Excerpts from the abstract and conclusion: 

• "The body-oriented therapeutic approach Somatic Experiencing® (SE) treats post-traumatic symptoms by changing the interoceptive and proprioceptive sensations associated with the traumatic experience. Findings provide preliminary evidence for positive effects of SE on PTSD-related symptoms."
• "Moreover, initial evidence suggests that SE has a positive impact on affective and somatic symptoms and measures of well-being in both traumatized and non-traumatized samples. Practitioners and clients identified resource-orientation and use of touch as method-specific key factors of SE."
• "It provides promising findings indicating that SE might be effective in reducing traumatic stress, affective disorders, and somatic symptoms and in improving life quality . . . SE seems to be characterized in particular by its cross-cultural applicability and its combinability with other therapeutic procedures."

SE therapy, in essence, targets the specific body sensations associated with trauma, "from the body up," so to speak. For example, past trauma may be triggered, experienced throughout the (See the matrix at somatictherapy.com) body, e.g., eyes, hands, feet arms, skin tone, blood pressure, breathing muscles, all of which can be managed and moderated consciously with training. The effect, in part, is to change the emotional loading of the past experience and ultimately its ongoing impact on spontaneous, real time functioning. 

So how does that translate into pronunciation teaching? One obvious connection is that if the learner is provided with a rich, physically engaging experience in the body synchronized with a sound or a sound pattern, the chance of the sound being remembered should be enhanced greatly. (Wow . . . all that earlier "physicality" in teaching sounds may have been on to something, when it came to anchoring a sound in memory!) 

The KINETIK method, like many other highly somatic or kinesthetic approaches is based on 

• Lessac's notion of "training the body first," early attention to and emphasis on body engagement
• Observed Experiential Integration therapy (especially effective in treating PTSD)
• and extensive use of haptic techniques (gesture + touch) from Haptic Pronunciation Teaching

What is the relatively radical key here is that the method, itself, places great importance on the directionality overcoming barriers to learning by using body awareness, in some sense like Mindfulness training, while directly connecting the "feeling" to the concept or event--rather than the converse. 

Are you headed in the right direction as well? 

Source;

Kuhfuß M, Maldei T, Hetmanek A, Baumann N. Somatic experiencing - effectiveness and key factors of a body-oriented trauma therapy: a scoping literature review. Eur J Psychotraumatol. 2021 Jul 12;12(1):1929023. doi: 10.1080/20008198.2021.1929023. PMID: 34290845; PMCID: PMC8276649.

What comes next in pronunciation teaching! (Why being in touch is so important!)

An intriguing new study by researchers at East Anglia University, Aix-Marseille University and Maastricht University, summarized by Neurosciencenews.com: How the Sounds We Hear Help Us Predict How Things Feel,  (title and actual empirical findings to be revealed later, with no link to the actual study, itself, other than a note that it will appear in Cerebral Cortex)

I am, nonetheless, delighted to take their word for it since I LOVE the conclusions and find them "touching!" Apparently they have uncovered yet another "new" type of connection between sound and touch or tactile processing. The key finding from the summary:  

“ . . . research shows that parts of our brains, which were thought to only respond when we touch objects, are also involved when we listen to specific sounds associated with touching objects. (Italics, mine.) This supports the idea that a key role of these brain areas is to predict what we might experience next, from whatever sensory stream is currently available.”

Across this unique, recently discovered circuit, for example, when we hear a sound, like that of a single consonant, the brain in principle simultaneously connects it with the physical sensations (touch, vocal resonance, micro-movements involved in producing it) associated with articulating it. If the focus is a word, on the other hand, we assume that other multiple, analogous circuits come into play that link to other dimensions. But the "touch" circuit has those unique properties. 

So what might that mean in the classroom, especially pronunciation and effectiveness? (I'll get to haptic pronunciation later, of course!) For one thing, (NO SURPRISE HERE!) a sound may be associated with the somatic (body) sensations in the vocal tract but not necessarily with a the concept, or phoneme, the phonological complex/nexus and the graphemic representation, itself. It is as if the sound points at the body, not the "brain" as a whole. 

 

On the other "hand," any number of other words could have have virtually identical "points of impact" on the body, associated with the same vowel "sound." The same may apply to a word articulated simultaneously with a gesture, or any experience associated with a sound, one heard or self-generated. That circuit connects the auditory image to at least the "body," but not necessarily one concept. 

Then what is the "workaround" for bringing together the multisensory event termed a "word," or for  example, assuming that it has been learned truly "multi-sensorialy," that is with as many senses as possible, or at least a "quorum level," vividly or intensely engaged as possible? 

In a sense, the "answer" is in the question: consistent, rich multisensory engagement. There are an almost infinite number of ways to accomplish that, of course, but haptic pronunciation teaching, based on touch-anchored speech-synchronized gesture attempts to do that, systematically. In principle, any sound, word or sound process can be experienced as a nexus involving: 

• the physical sensation of articulating the sound/process
• the auditory features of the sound (acoustic)
• a concept (in the case of a word or, in come cases, patterns of pitch movement)
• a gesture that involves hands touching with each other or the body, in some manner that mimics either the nature of the sensations involved in articulation or the "shape" of the concept itself, such as hands rising on a rising pitch or intonation, or hands positioned high in the visual field to represent a "high" vowel.  

According to the study, the use of haptic, touch-anchored gesture should strengthen considerably the connection between the concept associated with the gesture and the sound by "pointing" to the body-sensations involved in articulating the sound.

 And, of course, from our perspective, KINETIK (method) is what is coming next! 

 Source: https://neurosciencenews.com/auditory-tactile-processing-21279/

Killing (Pronunciation) Learning 16*: Move (with) it or Lose it!

Cilker.com

Fascinating new research--with intriguing implications: "Hand constraint reduces brain activity and affects the speed of verbal responses on semantic tasks,“ by Onishi, Tobita and Makioka of Osaka Metropolitan University, one that gives the metaphor to "sit on your hands," neuroscientific validation . . .almost!

In the study, subjects sat at computers and had to make judgments as to the relative size of different objects on the screen. In one condition, subjects viewing objects that entailed the use of the hands, such as a broom, were not allowed move their hands as they responded. That significantly slowed down brain processing, compared to responding to objects, such as a house, which do not involve as direct hand engagement or learning experience, where the restraint on their hand movement had no discernable effect. 

From the perspective of embodied cognition theory that makes sense, where, in principle, all learning . . and thought is inexorably bound together with the entire body in multiple dimensions. Some of that interconnectedness derives from when something is learned; some, from the primal notion that all experience is embodied, that is grounded in what the body is doing either in saving to memory or memory access. 

Assuming that general principle holds--and I am absolutely convinced that it does from about 50 years in the field of pronunciation teaching--how does impact our understanding of the function of body movement in the classroom? For one, requiring students to sit near motionless, especially in language learning, let alone elementary school classrooms, is a killer, best case. Just being able to move around a little, keeping loose and responding easily and with all your body (and being) means something, literally. That is something we all know intuitively, of course, but what the study shows is that at some level a body constraint is a "thought" constraint as well. 

In (haptic) pronunciation teaching, virtually all basic instruction is based on gesture-synchronized speech, where all speech production can be accompanied by gesture, and body awareness of constant motion and synchrony between body and speech rhythm develop throughout the process. The hands and arms play prominently in the method. For more on that: www.actonhaptic.com

Do a video of your class (any class) sometime. Is it moving? It should be . . . 

*This is number 16 in the series of blogposts highlighting factors or variables that can seriously interfere with learning and teaching pronunciation. 

Source:
Onishi, S., Tobita, K. & Makioka, S. Hand constraint reduces brain activity and affects the speed of verbal responses on semantic tasks. Sci Rep 12, 13545 (2022). https://doi.org/10.1038/s41598-022-17702-1

A "Scanpath" down Memory (for pronunciation) Lane: The Eyes have it!

"Eye catching" new study on the function of eye scanning movements in memory creation and access, Eye-movement replay supports episodic remembering, by Johansson, Nystrom, Dewhurst and Johansson in the recent Proceedings of the Royal Society of Biological Sciences. (Also summarized informally in Neurosciencenews.com). The general concept is that eye movement patterns ("scanpaths") that accompany creation of a memory are virtually the same as those used in recalling features of the memory later. 

From the abstract:

Our findings provide direct evidence that such scanpaths are replayed to assemble and reconstruct spatio-temporal relations as we remember and further suggest that distinct scanpath properties differentially contribute depending on the nature of the goal-relevant memory.

In other words, at some level the eyes, at least in episodic memory creation, as part of the overall visuo-spatial processing system of the brain, move in minute scan patterns of millisecond duration, which are not only accessible in recall of that event/episode, but are integral to it. How that relates to internal "events" inside the brain is not entirely clear, of course, but the research again confirms the correlation between path and event-in-time. As the research literature review in the research report relates, those eye movements and related phenomena have been the object of research and various therapeutic applications for over 70 years. 

And how does this relate to remembering or learning pronunciation? The key idea is what constitutes an "episode" in this context " . . . that the sequential replay of eye movements serves to facilitate pure episodic reconstruction in the absence of visual input." (from the article) According to that model, when a gesture is used, for example, associated with a new sound or perhaps an intonation contour, the two are "stored" together in a sense. Either may, in principle, then prompt recall of the other. If the pair are practiced together, the components of the two, the sound, itself, the kinesthetic "track" of the gesture, the "trail" in the visual field can be further joined and strengthened. 

That is, in effect, the basis of the KINETIK Method, as well having gotten its early inspiration from what is known as Observed Experiential Integration Therapy.  

From about 30 years of experience in working with gesture and sound change, the connection between what we call the "movement, tone and touch technique," the MT3, the complex of sound and gesture (and touch), when mapped onto a sound or word or phrase or clause or passage, is incredibly powerful. At times the eyes are actually tracking a gesture across the visual field; at others, the MT3 is out of direct line of sight, but, as the research reveals the "episode" is still embodied, in part, by one or more eye movements that are associated with it. How to exploit those complexes effectively is the question, of course. To learn more about how that works, go to www.actonhaptic.com/kinetik. 

Source: 
Eye-movement replay supports episodic remembering
Roger Johansson, Marcus Nyström,Richard Dewhurst and
Mikael Johansson
Published:15 June 2022 https://doi.org/10.1098/rspb.2022.0964

Proceedings of the Royal Society of Biological Sciences

Now we are REALLY talking (with students about pragmatics with meta-pragmatics!)

More big news! Our latest research report, our second, "Role-play and dialogic meta-pragmatics in developing and assessing pragmatic competence," is now officially in press with Pedagogical Linguistics, coming out later this fall, hopefully! Here is the abstract: 

Role-play as a bridging and integrating practice in language teaching and development of pragmatic competence in learners is well-established. In an EAP classroom (Van Dyke & Acton, 2021) explored the impact of one fluency protocol, Cooperative Attending Skills Training, by which students were trained to listen attentively to shared personal stories, working toward more sophisticated strategies of conversational interaction. That system included dialogic, pragmatics-focused, spontaneous analysis and instructor-student discussion of interactional discourse features. With that experience, further modeling and conceptual input, participants in this study engaged in six role-plays, each involving a problem requiring pragmatic accommodation. The data from transcribed role-plays were analyzed in terms of pragmatic discourse functions and NVivo-based thematic threads. The generally successful application of the targeted skills and concepts by course end most likely resulted from the engaging meta-pragmatic interactions preceding the role-plays, and the formal and informal instructor feedback related to implicature, prosody, implicit understandings, direct conversation strategies, grammar, and vocabulary.

This is a follow on to the previous piece, probably the second of three or four: 

Van Dyke, A. & Acton, W. (2022). Spontaneous classroom engagement facilitating development of L2 pragmatic competence: A naturalistic study. Pedagogical Linguistics 3(1) 1-28. https://doi.org/10.1075/pl.20011.van

As reported in a previous blogpost, we'll be doing a pre-convention institute at the 2023 TESOL convention next March in Portland, based on our research. By then the next phase of the analysis, centering on prosodics and pragmatics should be in "presentable form." See you there! 

Upcoming KINETIK Courses, beginning September, 2022!

As promised, two or three great KINETIK courses now scheduled: 

(For students, adults, lower intermediate and above) Embodied English Fluency and Pronunciation Course: 10 weeks, beginning 9/19, offered through Trinity Western University (for more details, see earlier blogpost)

• Objectives:
• Good uptake - attention to and memory for course content, meaning, emotion, concepts and vocabulary
• Improved clarity - greater emphasis, expressiveness, fluency and intelligibility
• Greater confidence in speaking and ability to "use what you know already!"

• Weekly schedule
• 30 - minute training (recorded), available Thursdays
• 60 - minute, (recorded or live), homework feedback Zoom class, the following week on Wednesdays (6 p.m. PST)
• Homework: 30 minutes per day, minimum 4 days per week
• Cost: $500 CAD, materials provided
• Preliminary Zoom interview required (contact: william.acton@twu.ca)
• Can also be customized for individual classes or schools.

Instructor Training Certificate Course (KMICC): 12 weeks, beginning 9/22, offered through ActonHaptic.com (for more details, see course description)

• Objectives
• Basics of haptic pronunciation teaching
• Techniques for enhancing memory for course content
• Enhanced (instructor's) classroom speaking model and pedagogical presence 
• Weekly schedule
• 30-minute training (recorded, available Monday)
• ~90 minutes of homework
• 75-minute live seminar on Zoom (arranged according to participants' schedules, usually on Saturday, PST)
• $600 USD, materials provided
• Certificate provided upon successful completion
• Full-refund (no questions asked) up to Week 4
• Preliminary Zoom interview required (contact: wracton@gmail.com)

In all humility, these are terrific courses. If you are an instructor considering having your students take EFPC, contact me and I'll be happy to discuss the course with you. Both courses can be offered for just one school, beginning in January 2023. 

Talking (and analyzing) Pragmatics with Students: Meta-pragmatics and Embodied Prosody!

Great news! Just approved! That is the title of our upcoming half-day, 4-hour Pre-convention Institute at that the 2023 TESOL Convention in Portland (probably) March 20, 2023. Here is the current program summary:

This PCI focuses on "dialogic” meta-pragmatic analysis, where instructor and students together, analyze pragmatic aspects of conversations that students have just participated in. That is done by first producing rich, conversational interaction which is then analyzed and embodied to be remembered using, in part, haptic pronunciation teaching prosodic techniques.

Here is original proposal that Angelina Van Dyke and myself submitted that unpacks more of what it is about:

There is no shortage of "talk" about pragmatics in research and pedagogy. This PCI explores ways of working “meta-pragmatically” in the classroom with students, examining pragmatic features of discourse. That is done utilizing several techniques that produce rich, conversational interaction which is then analyzed and embodied to be used later.

In terms of methodology of teaching pragmatics, currently most involves (a) explaining what pragmatics, basically awareness and performance in context-appropriate conversational interaction, (b) exploring examples of interaction with model pragmatic features, or classroom practices such as roleplay, and identifying effective strategies and (c) reflecting on classroom exercises or personal experiences in various ways, (Hennessy, Calcagni, Leung & Mercer, 2021).

What is often missing are two elements: an effective framework for setting up student-produced conversational narrative (for context and analysis) and strategies for helping learners remember what they have worked with. In part in response to that key “bridging” gap or function between classroom pedagogy and spontaneous speaking, an especially adapted version of “cooperative attending skills training” (CAST) (Acton and Cope, 1999) is used to produce “pragmatically-rich,” short conversations with potential for metapragmatic analysis by instructor and students. Additionally, complementing the meta-pragmatic dialogic analyses, in order to enhance memory and clarity of expression, entails embodiment of new, alternative or corrected forms and expressions, using movement, tone and touch techniques (MT3s) based on the KINETIK Method of haptic pronunciation teaching. (Acton et al., 2013).

The PCI uses as a point of departure a recent study, "Spontaneous classroom conversational analysis supporting development L2 pragmatic competence" (Van Dyke & Acton, 2022). A key feature of the classroom discourse examined in that research was "dialogic” meta-pragmatic analysis, where instructor and students together, analyze, post hoc, aspects of conversations that students have just participated in.

Join us!!!

References:
Acton, W. & Cope, C. (1999). Cooperative attending skills training for ESL students, in JALT Applied Materials volume, Kluge, D. and S. McGuire (Eds.), Cooperative language teaching in Japan, pp. 50-66.
Burri, M., Baker, A., & Acton, W. (2019). Proposing a haptic approach to facilitating L2 learners' pragmatic competence. Humanising Language Teaching, 3. Available at http://hltmag.ng3.devwebsite.co.uk/june19/proposing-a-haptic-approach
Hennessy, S., Calcagni, E., Leung, A. & Mercer, N. (2021) An analysis of the forms of teacher-student dialogue that are most productive for learning, Language and Education, DOI: 10.1080/09500782.2021.1956943
Van Dyke, A. & Acton, W. (2022). Spontaneous classroom engagement facilitating development of L2 pragmatic competence: A naturalistic study. Pedagogical Linguistics 3(1) 1-28. https://doi.org/10.1075/pl.20011.van