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Symmetry and Balance (Spatial symmetry (Planes of symmetry (The horizontal…
Symmetry and Balance
Spatial symmetry
The transformations in sign language symmetry are often ‘reflections’, in which the hands form mirror images of each other, creating bilateral symmetry. The signer can also rotate the articulating sign through space (rotational symmetry) or slide it from one part of space to another (translation symmetry).
In dilation symmetry, the sign representing an object can be made larger or smaller while keeping the same shape. Dilation symmetry in sign language may be achieved by flexing or extending the finger joints, by selecting more or fewer fingers, or by moving the hands closer or further apart.
Sign language literature has the forte of representing symmetry visually and spatially as well as thematically and temporally. Geometric symmetry is a mathematical concept created by moving a shape (which, in our case, is a sign with a shape) so that it is in a different position, but is still the same shape and, usually, the same size.
Planes of symmetry
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Left–right symmetry is physiologically easiest to produce and perceptually easiest to identify. Our body is also symmetrical in this direction and, thus, left and right have equal status
There are three important planes of reflective symmetry that signers can use to create aesthetic and symbolic effects. The vertical plane creates left–right symmetry. Our two hands are attached to our body symmetrically across this plane so this is the natural plane for sign language symmetry.
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A continuum of symmetry
Spatial symmetry can be achieved sequentially when one-handed or two-handed signs are placed sequentially in symmetrically opposing areas (perhaps with alternating hands in the case of one-handed signs).
Sign language poems can even create a sense of balance in signing space when one hand (usually the non-dominant hand) holds the final part of the previous sign while the other hand articulates a new sign.
For a sign to show perfect reflectional symmetry, it must be two-handed and the handshape should be the same on both hands, the locations should be in perfect opposition across a plane of symmetry, the orientation of the palms and fingers should be the same in both hands or in complete mirror image and so must any movement.
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Symmetry means that something is well-proportioned and its parts are well-balanced (and conversely, asymmetry suggests a lack of balance or proportion).
As symmetry frequently represents balance, harmony, in-variance and equality, many cultures see symmetrical things as well-organised, logical and pleasing.
Patterns of temporal symmetry during a text are created through the order in which signs are produced.
Spatial symmetry is created in the way that signs are placed and moved in a visual spatial language.
There are many forms of spatial symmetry, the best-known is reflective symmetry, in which two shapes are mirror images of each other.
Symmetry in sign language art forms, as in other poetic devices we have seen, has two purposes: aesthetic and symbolic.
symmetry. Some forms of concrete poetry create visual, spatial symmetry by placing words on the page in ingenious ways.
Creative sign language can show unusually regular use of existing symmetrical patterns within the language, or can create unusual new symmetrical patterns.
At the risk of stating the stunningly obvious, humans only have one mouth, so there is not the same option for creating symmetry with spoken languages.
As so much of our human experience involves a tension between balance and unbalance, making, breaking and remaking symmetry creates a feeling of moving forward that echoes our path through life
Thematic symmetry
such pieces of folklore contrast ‘young and old, large and small, man and monster, good and evil’
Thematic symmetry in sign language literature and folklore often includes these basic contrasts, especially with characters who are deaf contrasting with hearing characters
Humans often organise and understand the world through contrasting pairs, such as good and evil, rich and poor, war and peace, and light and darkness.
Thematic contrasts are so fundamental to sign language literature that we may barely notice them, and they extend well beyond divisions between the deaf world of ‘us’ and the hearing world of ‘them’.
Temporal symmetry
At the end, the verb is repeated with the opposite movement as the child leaves, satisfied with what she has learned.
In many cases, significantly, the symmetry is not perfect.
In temporal symmetry, the form of the beginning and end of the poem or story can echo each other, creating a ‘sandwich’ effect.
Asymmetry
If symmetry is not relevant to a piece, whether thematically, temporally or spatially, we may say it is non-symmetrical or dissymmetrical.
Sign language poetry that creates perfect symmetry may feel too perfect and too predictable, but asymmetry allows variety.
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