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interpreters unavoidably bring their own personal shadings and colorings to the portrait. The realm of the mind is a subjective area of study. Any kind of psychoanalytic diagnosis or therapy presents the same problem of subjectivity. Handwriting analysis is not infallible. The systematic and critical study of our bodies and minds teaches us about ourselves. We take blood samples to look for possible negative elements in the body and biopsies to test for possible malignancy. These examples could continue, but the point is that analyzing specific information helps us to understand ourselves. Writing is initially motivated by the mind. The intricate nerve-muscle interplay necessary to accomplish the writing task originates in the central nervous system. Therefore the study of writing has its analytical importance in dealing with both the mind and the body. Medical science is demonstrating new interest in the clues handwriting provides to physical illness or abnormality. In the past, the medical focus has been to determine what changes emotional and mental disorders cause in handwriting. Now there are handwriting tests that discriminate between certain medical disorders, such as shaking palsy and Parkinsons Disease or between the hardening of the arteries that nourish the brain and those that feed the heart. Handwriting analysis can distinguish between those crippled with arthritis and those suffering from high blood pressure. Other diseases that indicate a loss of nerve control over fine muscular coordination are tuberculosis, cancer, some psychoses, epilepsy, alcoholism and drug addiction. Such factors as the appearance of a tremor in the writing stroke, changes in pressure or inking patteirns, and rigidity or loss of free flow within the writing are indicative of such physical illnesses within the writer. Graphology dynamically enlarges its scope in combination with insights from other projective techniques. It is now widely applied as an additional diagnostic tool by psychologists and psychiatrists who have found it as helpful as the famed Rorschach inkblot test. The structural ambiguity of the Rorschach inkblots allows a wide variety of interpretation for both patient and psychologist. This is also the case with handwriting when writers unconsciously choose the movements and formations characteristic of their state of mind at that time, and the graphologists draw conclusions on the basis of their training. The academic community resists acceptance of graphology-perhaps because the scientific mind is most comfortable applying sequential thinking to a onedirected end. Students of graphology must by necessity broaden their scope of appraisal from a narrow, linear focus to one of more diversity which provides an understanding of the nature of pattern thinking. Creative minds are more comfortable with the idea that the whole is greater than the sum of its parts and gain advantage through their ability to easily appraise patteirn qualities. It is due to a few particularly visionary academicians that graphology has gained its admittedly tenuous footholds in its climb toward deserved respect within the American college and university systems. Interesting to note is the fact that graphology has been part