LeadU presents Cue, Cuing, and Scaffolding</h3></div>


Cue, Cuing, and Scaffolding

"A classic example of vocal fry, best described as a raspy or croaking sound injected (usually) at the end of a sentence, can be heard when Mae West says, “Why don’t you come up sometime and see me,” or, more recently on television, when Maya Rudolph mimics Maya Angelou on “Saturday Night Live.”

Not surprisingly, gadflies in cyberspace were quick to pounce on the study — or, more specifically, on the girls and women who are frying their words. “Are they trying to sound like Kesha or Britney Spears?” teased The Huffington Post, naming two pop stars who employ vocal fry while singing, although the study made no mention of them. “Very interesteeeaaaaaaaaang,” said Gawker.com, mocking the lazy, drawn-out affect.

Do not scoff, says Nassima Abdelli-Beruh, a speech scientist at Long Island University and an author of the study. “They use this as a tool to convey something,” she said. “You quickly realize that for them, it is as a

Other linguists not involved in the research also cautioned against forming negative judgments."

From: They’re, Like, Way Ahead of the Linguistic Currrrve:


Ok, I realize this is a bit of a reach, but I also had another piece of "primal" information coming from my filters about how to explain these phenomena and the cuing… and
scaffolding occurring.

Before I get into the topic, I want to first add that the reasons that young girls will always want to stand out is that there are unconscious archtypal forces working as an urge to be different and that is to differentiate themselves from other females, and you can invent all kinds of reasons for that, I’ve said enough on that for now.


Lately, as you know, I have been pregnant with a lot of new thoughts and consciously I believe I have brought this about as a result of design experimentation with my brain.  Luckily I’m experimenting with something quite simple to understand.

As a result, certain things are becoming more clear about human
being, doing, having, and becoming behaviors, that are by "necessity" helping clear the way for me to articulate things that may be novel, if not naive.<G>

While I suspect this is a design-induced phase, I’m taking advantage of it, even though more than likely, it might be the light of a train, versus any other … lightenment.

As I’m trying to articulate, while fashioning ideas for @F-L-O-W and @F-L-O-Wmaking, it seems to me that what
differentiates and then integrates, out of ambiguity is the "art of the cue."

What is a cue?

cued, cu·ing, or cue·ing
Definition of
-Transitive verb
1: to give a cue to : prompt
2: to insert into a continuous performance <cue in sound effects>
First Known Use of
CUE: 1922

In Dynamic Inquiry, we know that prompting is a very powerful process, and it is a "constraint" placed in order to make use of an assumption or context, yet the art of the cue, for me, has become the language which I can understand what scaffolding emerges from.

Quickly, we know from adult developmental research and experience, that people do their best work when supported, some say 1 developmental in advance of their center of gravity.  What is the operating mechanism?

The cue, or prompt, although in my view, the cue is bigger than the prompt, so I won’t use one to define the other.

A cue happens when a person provides a "missing or hidden" piece of memetic taxonomy, or also known as a connecting algorithm, which allows a person to connect to and use their capability in the more advanced level… so if a person had differentiated, but not yet integrated, the cue provides the missing link. If a person has fully integrated, but not yet been able to differentiate at the next level, the cue provides the opening….

There is a lot more to understand and know, as well as reveal about the art of cueing and the science represented, but the TPOV is clearly that we can offer significant experience to people with the art of the cue, and we need to learn to use it wisely; as with power, comes great responsibility, as you know, from Spiderman’s Uncle.

Helpful Hint: Often, the way in which we converse with people adds the cuing process to the equation of
meaning-making. Learning how and when it happens will reveal data about Assessing Capability (which we are all doing automatically, unconsciously every minute we are in contact with someone else!), as well as the scaffolding needs which may be present, and the scaffolding that may be awaiting design.

Action Step: Try this. The next time you get an aha, or the person in context explains or reveals an aha, look back (like in the new Time Warren cable box) and see the cue. It will be there. Understanding how you give and receive cues helps you understand how to reach out to others.
Reaching Out is going to provide you with the greatest options for cueing and being cued, as well as understand the scaffolding you need for cueing and receive cues from others.

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    You, Me, and We @F-L-O-W

    Mike R. Jay is a developmentalist utilizing consulting, coaching, mentoring and advising as methods to offer developmental scaffolding for aspiring leaders who are interested in being, doing, having, becoming, and contributing… to helping people have lives.

    Mike R. Jay
    Leadership University

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