Figure 1. A spider's web (Araneus diadematus)

Figure 2. Konrad Lorenz, along with Karl von Frisch and Nikolaas Tinbergen.

Figure 3. Irenäus Eibl-Eibesfeldt and his side-view camera.

Figure 4. Honeybee dance language

Figure 5: Male Rabidosa rabida following a female's dragline.

 
Figure 6. Male spider's palp (left). Close-up of mechanoreceptive and chemosensory hairs (feathered).

Figure 7. Some ant alarm substances that have been identified and the organs that produce them.

Figure 8. Setup to measure web vibrations

   
Figure 9. Web vibration patterns of two species.

Figure 10. Oscillogram (top) and spectrogram (bottom) of spider courtship song.

Figure 11. Redwing Blackbird. This is the display the male performs while singing the first song.

Figure 12. Oscillogram (top) and spectrogram of Redwing Blackbird Song.

Figure 13. Courtship of a male Rabidosa rabida.

Figure 14. Courtship displays of albatross, mallard, Red-Crowned Cranes.and Brolga. See a video of dancing cranes here.

Figure 15. Male peacock (left) and Irish elk (right)

Figure 16. What females want.

Figure 17. Silly males.

Figure 18. Konrad Lorenz is followed by geese that have imprinted on him.

Also, see this:

Figure 19. Normal and innate songs for the swamp and song sparrow.

Figure 20. Song imprinting experiment. The Language of Song in Secret Readings

Figure 21. Dialects among California song birds

Figure 23. Responses of birds to differing experimental procedures.

Figure 24. The neural template theory.

Figure 25. Food aversion.

Figure 26. Heads-up aggressive display in passerines (left) and oscillograms of nine species of Ceylon cicadas..

Figure 27. Flowers as we see them (left) and from a bee's-eye view (right).

Figure 28. Male courtship activities of the 10-spine stickleback.

Figure 29. Play with me!

 
Figure 30. Interspecific play. These pictures are by Norbert Rosing and show what happened when a wild polar bear came upon tethered sled dogs in the wilds of Canada 's Hudson Bay . One of the dogs signaled with a play posture (Figure 29) and the polar bear switched from stalking to play. The bear returned every night that week to play with the dogs.

Figure 31. Neuroendocrine interactions controlling courtship behavior in birds.

Figure 32: Origins of Facial Expressions: Chimp smiling and laughing. Compare to H. sapiens (below).

     
Figure 33. Left: Contact behavior by primates. 2nd: A primate play face is shown by the animal on the right. 3rd: Social grooming by primates. Right: Origins of nonverbal communication: Greeting chimps. The female arrives and presents to the male, who touches her genital area. She turns, and he touches her face. She bows, and the male begins grooming.

Figure 34: Two-month, 20 day infant, blind from birth smiling. Note also the eye fixation, suggesting a central mechanism.

Figure 35. Transition of a deaf-blind girl from smiling to crying.

Figure 36. Deaf-blind boy laughing (7 yr.)

Figure 37. Eyebrow flashes across cultures.

Figure 38. Flirting behavior (left). A 10-year old flirting Samburu girl turning her eyes toward the observer while simultaneously showing an intention to turn away (Right)

Figure 39. Flirtatious behavior and difference movie. The male and female were told to wait in the room before being given a completely unrelated test. They were unaware that their behavior was being filmed. The female is mid-way through a "head toss"; a behavior that flings her hair toward the male and has been interpreted as flirtatious. The second image is a difference image. The difference image is constructed by subtracting the prior frame of the video from the current frame. Objects that do not move are subtracted from one another and disappear. Moving objects show up as dark areas, with the greatest darkness correlated with the greatest movement. Acceleration of the female's hair calls attention to it. You can watch this interaction between a male and female, see the difference movie

Figure 40. Turning female. The set-up for this film was to tell the female subject simply that the study was involved in movement. The female then turned. Afterward, the researchers determined where she was in her cycle. Data indicate that small movements and their quality are linked to physiological states. Under high estrogen levels, movements are slower and show a higher information content per time (essentially, "look at me!"). In 33A, her hair, breasts, and body line are accented. In B, the hair and body line are accented. In C and D she's showing off her rear end and small of her back. This is all unconscious display on her part. You can see the original movie here, the difference move here (both require QuickTime. Get that here).