Abstract
Revisiting an original idea by Hollerbach (1981), previous work has established that the production of graphic shapes, assumed to be the blueprint for handwriting, is governed by the dynamics of orthogonal non-linear coupled oscillators. Such dynamics determines few stable coordination patterns, giving rise to a limited set of preferred graphic shapes, namely, four lines and four ellipsoids independent of orientation. The present study investigates the rules of switching among such graphic coordination patterns. Seven participants were required to voluntarily switch within twelve pairs of shapes presented on a graphic tablet. In line with previous theoretical and experimental work on bimanual coordination, results corroborated our hypothesis that the relative stability of the produced coordination patterns determines the time needed for switching: the transition to a more stable pattern was shorter, and inversely. Moreover, switching between patterns with the same orientation but different eccentricities was faster than with a change in orientation. Nonetheless, the switching time covaried strictly with the change in relative phase effected by the transition between two shapes, whether this implied a change in eccentricity or in orientation. These findings suggest a new operational definition of what the (motor) units or strokes of handwriting are and shed a novel light on how coarticulation and recruitment of degrees of freedom may occur in graphic skills. They also yield some leads for understanding the acquisition and the neural underpinnings of handwriting.