People from the West have a more positive view of handshaking than East Asians
Western women rated all interactions with handshakes more positively than those occurring without one
Findings are clear evidence of how subtle things that might seem trivial can make a big difference in daily social interactions
July 19, 2017: If you worry about first impressions when you land in the U.S., take note: people from the West have a more positive view of handshaking than East Asians, a new study shows.
Researchers from the University of Illinois showed an equally divided group of 88 Western and East Asian men and women short videos of guest–host interactions in business settings. The characters in the videos either shook hands or not at the beginning of the meeting.
Western participants viewed the interactions involving handshakes more favorably than East Asians, researchers found.
When viewed by gender, Western women rated all interactions with handshakes more positively than those occurring without one. Western men rated female hosts equally positive whether or not a handshake occurred.
“These findings shed light on the role of ethnic and gender differences in the appraisal of nonverbal behaviors, and extend our understanding of factors that may lead to successful social interaction in the context of growing diversity in our society,” the authors said in an abstract published in the Journal of Nonverbal Behavior.
University of Illinois psychology professor and researcher Florin Dolcos said results showing that Western males don’t seem to be affected by the absence of a handshake when interacting with females “is clear evidence of how subtle things that might seem trivial can make a big difference in daily social interactions.”
Dolcos conducted the study along with graduate student Yuta Katsumi and professor Sanda Dolcos.
Researchers say they plan to expand the study to explore handshaking versus the traditional East Asian greeting of bowing. (VOA)
New York, Feb 11, 2017: Cellphones and other devices could soon be controlled with touchless gestures and charge themselves using ambient light thanks to new LED displays that can both emit and detect light.
Made of tiny nanorods arrayed in a thin film, the LEDs could enable new interactive functions and multitasking devices.
“These LEDs are the beginning of enabling displays to do something completely different, moving well beyond just displaying information to be much more interactive devices,” said lead researcher Moonsub Shim, a professor at University of Illinois at Urbana-Champaign.
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“That can become the basis for new and interesting designs for a lot of electronics,” Shim said.
The tiny nanorods, each measuring less than five nanometres in diametre, are made of three types of semiconductor material.
One type emits and absorbs visible light. The other two semiconductors control how charge flows through the first material. The combination is what allows the LEDs to emit, sense and respond to light.
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The nanorod LEDs are able to perform both functions by quickly switching back and forth from emitting to detecting.
They switch so fast that, to the human eye, the display appears to stay on continuously, said the study published in the journal Science.
Yet the LEDs are also near-continuously detecting and absorbing light, and a display made of the LEDs can be programmed to respond to light signals in a number of ways.
For example, a display could automatically adjust brightness in response to ambient light conditions — on a pixel-by-pixel basis.
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“You can imagine sitting outside with your tablet, reading. Your tablet will detect the brightness and adjust it for individual pixels,” Shim said.
“Where there’s a shadow falling across the screen it will be dimmer, and where it’s in the sun it will be brighter, so you can maintain steady contrast,” Shim explained. (IANS)
Hinduism is considered to be the oldest faith to have ever existed on this Earth, and it draws the curiosity of people worldwide because of its rich culture, customs and intellectual fulfilment that this religion has to offer. It cannot be termed as a religion, but can be best defined as a way of life.
Hinduism is analogized as a tree- where the roots are symbolic of the Vedas and Upanishads, where the trunk has thickened with ‘tapasya’ or meditations of sages and gurus, its branches are the traditions of Hinduism and the fruits are the sects of the faith. This tree is unique in itself but bears a very sweet fruit, mentioned Subhamoy Das, a Hinduism expert on hinduism.about.com.
Hinduism has so much to teach – both to Hindus and Non-Hindus. Hinduism is practised widely in countries like Fiji, United Kingdom, Canada, Nepal, the United States, etc. It has given the world spiritual assets like Yoga and ISKCON (International Society for Krishna Consciousness).
Hinduism, or Sanatan Dharma as it is called, also invites acceptance of people from all walks of life. It teaches one about Moksha and Mukti, Hindu terms for liberating or transcending the soul from worldly material possessions.
Globalisation also plays an important role in the increasing interest of the West in Hinduism. Cross-cultural interactions and Indian diaspora in the West has resulted in their attraction to Hindu culture.
With vegetarianism becoming a ‘trend’ in the West, the fact that Hinduism preaches ‘ahimsa’ and discourages the consumption of meat is another reason why it is grabbing the attention of Westerners.
Hinduism has been repeatedly discussed in European literature since time immemorial. It is lesser known that literature’s finest piece ‘The Wasteland’ by TS Eliot has undertones of Hinduism. The poem ends with ‘shaantih, shaantih, shaantih..’ Besides this, the Romantic Age has been highly influenced by Bhagavad Gita. Poets like William Wordsworth, John Keats and many others have shown the impact of Bhagavad Gita and Shaivism in their poetry.
As a result, many Sanskrit words like dharma, moksha and nirvana have been added to English dictionaries. Hinduism has served the purpose of reformation and liberation of the Western mind, and shall continue to do so.
Mumbai: Men’s fashion is undergoing a gentle game-changing transformation on the Indian subcontinent. Elements of traditional Indian wear, reserved as “garnish dressing” on holidays or ritual events are slowly getting affirmation as modern menswear.
In this new world of indie fashion, it’s not uncommon anymore to find contemporary versions of Nehru jacket being retailed by ready-to-wear labels in New York City or to find a suave young man striding the cobbled streets of London in a pair of Jodhpuri pants. If you delve a little deep into style aesthetics, you may spot a touch of charm embroidery on an English pea jacket or a sophisticated sherwani collar on a formal coat.
Nikhil Mehra, from the famous designer duo Shantanu & Nikhil, says, “This bringing about of our cultural and ethnic identity in fashion, after years of blindly following the western commandments of dressing reflects that as Indians we are at that important point where we are taking pride in our identity.”
The recently concluded Van Heusen and GQ Fashion Nights, a prestigious men’s fashion showcase in Mumbai was attended by the likes of American designer Alexander Wang and Bloomingdale’s Kevin Harter. There were native Indian silhouettes, such as achkans, Jawahar waistcoats and Jamas (a long coat worn during the Mughal era) in an urban context.
Designer Raghavendra Rathore showcased a collection comprising classic Nehru jackets, jawar waistcoats, riding breeches, shirts and achkans. The designer team of Shantanu & Nikhil brought back the romance of Nehruvian era to the ramp with a collection that had blended Indian aristocracy with a colonial touch.
Indigenous Travels International Shores
So what is behind this shift in the way men want to dress?
Menswear designer Zubair Kirmani, views it not just as a romantic return to the native fashion movement, but also as smart trade tactic: “We can say that it started with the opening up of NRI retail market that resulted in a boom in e-tailing business, which in turn led to add some structure in a very scattered Indian wear market.”
When non-resident Indians looked at shopping in India they obviously wanted a touch of their homeland for two vital reasons. First, they wanted to feel the power of ceremonial Indianwear in a distant land. Second, the best of western fashion was readily available to them anyway, leaving them with no reason to look for western wear in India.
A savvy young breed of Indian techies quickly tapped the demand and began adding online shopping options that were earlier unavailable in the very localized and chaotic Indian retail segment.
Trade analysts say that with the popularity of e-tailing and development of the e-commerce segment, today it seems possible that the Indian ethnic wear market, which was once totally tailor dominated to cater to small, local needs, has the potential to grow exponentially. A study by retail consultant Technopak found that the ethnic wear market in India stood at Rs 82,220 crores ($12.6 billion) in 2014 and is projected to grow to $19.4 billion by 2019.
Kirmani, who is all set to design a line of kurtas, says: “We are introducing rare Kashmiri crafts and intricate tilla work on men’s kurtas as today encouragingly every one is looking at owning a part of Indian heritage.”
Soaring But Not Conquered
Ethnic menswear sales are on the rise and style gurus, such as Manish Malhotra, best known for draping Bollywood belles in gossamer chiffons, are dabbling in traditional men’s wear that can be worn by any club-hopping young man. So Is ethnic chic?
Designer Troy Costa who has taken unique crafts from Indian states and molded them for Men’s Fashion Week in Paris was asked whether international markets might pick up the ethnic trend. He says, “Though we may have the richest variety of textiles, it has still not reached a commercialization scale where there is a serious emphasis on quality control.” Industry insiders point to challenges, such as cloth shrinkage, garments losing their sheen after washing, use of old yarn, etc. that constrict the market potential and acceptance by global high street giants.
Industry insiders point to challenges, such as cloth shrinkage, garments losing their sheen after washing, use of old yarn, etc that constrict the market potential and acceptance by global high street giants.
“It’s the new in-thing to promote khadi, but those not in the trade do not realize that it’s a challenge to commercialize it with its high level of shrinkage and the need to use a pre-washing enzyme to make it durable,” he adds.
This may partly explain why despite the fact that major designers, such as Armani to Gaultier, have incorporated Indian influences in their collections many years ago, the Indian ethnic market has a minuscule presence on the global fashion map.
Designer Nikhil Mehra points to another pragmatic limitation: “We cannot deny the interest going by the demand. Until three years ago most men would want to go for a tuxedo for a special occasion, today many want to go for say a bandgala.”
Stylists suggest flashing the ethnic fashion sensibility at avenues such as film screenings on international events. Costa recalls, “Irfan Khan wore a bandgala for a film screening function in Toronto and it worked, just apt for the occasion. I made Rahul Khanna a bandgala for a film function and it worked as it was showcased were it needed to be seen.”
Infusing New Energy
Designer Nida Mahmood, who recently ventured into menswear with her new line of funky and boho modern kurtas, consciously shot her collection with a French model. She says: “ I chose to work with my friend Julien to model my new line of kurtas, because the idea was to showcase the global appeal of the handloom fabrics. It was to make a statement that transcending borders in terms of design and appeal of our Indian fabrics is really as simple as that.”
Many designers increasingly feel that the universal appeal of Indian products hasn’t been tapped and recognized thus far.
Popular sociologists say one reason why traditional designs are gaining currency is because the world is getting more experimental. The creative and artist lobby is almost as influential as business or finance workers.
A sherwani in a sea of similar looking black blazers is far more intriguing. The notion that Indian wear should be reserved for weddings and festivals is fast changing with western design teams turning to Asia for style innovations.
Costa explains the future of the trend: “The way I see Indian fashion in the global context is, maybe let’s say in the form of a bandhini print shirt. The perfect club to casual shirt would have enough sass and tradition to appeal both to an Indian and to let’s say an American.