Black People : studies on brainwashing frm SCIENCE magazine

jamesfrmphilly

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Racial Bias, Unspoken But Heard
John F. Dovidio

Nonverbal behavior is a powerful form of social influence. People can abstract accurate meaning from even very brief exposures to nonverbal behavior—a facial expression or subtle body language, for example (1). Across cultures, the ability to understand nonverbal messages occurs quickly; even infants and toddlers demonstrate this capacity. Moreover, nonverbal signals can be especially effective in transmitting social attitudes because they can be spontaneously understood with minimal effort and are perceived as a source of valid information. On page 1711 of this issue, Weisbuch et al. (2) examine how racial prejudice can be covertly spread and reinforced, and propose that in American society, negative nonverbal behavior modeled by white individuals in popular media critically shapes white viewers' orientations toward black individuals [see (3) for how race was determined in the study].

Department of Psychology, Yale University, New Haven, CT 06520–8205, USA.





The Subtle Transmission of Race Bias via Televised Nonverbal Behavior
Max Weisbuch,* Kristin Pauker, Nalini Ambady*

Compared with more explicit racial slurs and statements, biased facial expressions and body language may resist conscious identification and thus produce a hidden social influence. In four studies, we show that race biases can be subtly transmitted via televised nonverbal behavior. Characters on 11 popular television shows exhibited more negative nonverbal behavior toward black than toward status-matched white characters. Critically, exposure to prowhite (versus problack) nonverbal bias increased viewers’ bias even though patterns of nonverbal behavior could not be consciously reported. These findings suggest that hidden patterns of televised nonverbal behavior influence bias among viewers.


Department of Psychology, Tufts University, 490 Boston Avenue, Medford, MA 02155, USA.


http://www.sciencemag.org/cgi/content/short/326/5960/1641?rss=1&ssource=mfc
 
Extremely Timely and Important issue

Racial Bias, Unspoken But Heard
John F. Dovidio

Nonverbal behavior is a powerful form of social influence. People can abstract accurate meaning from even very brief exposures to nonverbal behavior—a facial expression or subtle body language, for example (1). Across cultures, the ability to understand nonverbal messages occurs quickly; even infants and toddlers demonstrate this capacity. Moreover, nonverbal signals can be especially effective in transmitting social attitudes because they can be spontaneously understood with minimal effort and are perceived as a source of valid information. On page 1711 of this issue, Weisbuch et al. (2) examine how racial prejudice can be covertly spread and reinforced, and propose that in American society, negative nonverbal behavior modeled by white individuals in popular media critically shapes white viewers' orientations toward black individuals [see (3) for how race was determined in the study].

Department of Psychology, Yale University, New Haven, CT 06520–8205, USA.





The Subtle Transmission of Race Bias via Televised Nonverbal Behavior
Max Weisbuch,* Kristin Pauker, Nalini Ambady*

Compared with more explicit racial slurs and statements, biased facial expressions and body language may resist conscious identification and thus produce a hidden social influence. In four studies, we show that race biases can be subtly transmitted via televised nonverbal behavior. Characters on 11 popular television shows exhibited more negative nonverbal behavior toward black than toward status-matched white characters. Critically, exposure to prowhite (versus problack) nonverbal bias increased viewers’ bias even though patterns of nonverbal behavior could not be consciously reported. These findings suggest that hidden patterns of televised nonverbal behavior influence bias among viewers.


Department of Psychology, Tufts University, 490 Boston Avenue, Medford, MA 02155, USA.


http://www.sciencemag.org/cgi/content/short/326/5960/1641?rss=1&ssource=mfc
:teach::time::lift::lift::climb:

There has been a resurgence in racism in the media and in the public, and regardless of what anyone says about Obama's policies including myself, he is Black and my brother, and when i walked through Park Slope the day after he won, I saw experienced and was accosted by all of the aspects, as they were, of body language etc. of white priviledge, and the heat of animosity, and this coming from a so called "progressive, liberal" white community.

The steady onslaught of what Langston Hughes called "Mr. Backlash", has increased exponentially in the racist and stereotypical images of Black folks on television, print media and movies.

Please view
http://cemotap.ning.com/
 
ah, the white liberal...

coming from a so called "progressive, liberal" white community

i deal with the white fine art community. they are all certain that they are post racist.
at the very same time they strictly and rigidly enforce a Eurocentric esthetic. they are schizoid.

i believe that one of the reasons black folk pound on themselves so much is that they do not know white people well enough.
in fact, it was white liberals who turned me away from an integrationist mindset toward a nationalist thinking.

you want crazy? them mofos will show you crazy.
 
i deal with the white fine art community. they are all certain that they are post racist.
at the very same time they strictly and rigidly enforce a Eurocentric esthetic. they are schizoid.

i believe that one of the reasons black folk pound on themselves so much is that they do not know white people well enough.
in fact, it was white liberals who turned me away from an integrationist mindset toward a nationalist thinking.

you want crazy? them mofos will show you crazy.
When I was at Pratt Institute painting like the world was going to end my best teacher, asked me if I was interested in gettin itno the Black art world, yeah that could hav ebeen some nice quick chedda but ,
young white dudes painting images of trash in the street were getting ten times what Charles Bibbs and Anthony Armstrong were getting.

I feel you they keep that art world locked up to themselves.
 

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