In any culture codes for bodily communication are conventionally elaborated and, like other codes, require skillful manipulation. The body is the most familiar of all communicative modes, as well as the sensible center of human experience, which lives or dies with it. Upon it, all other codes are inscribed to a greater or lesser extent. There is no form of communication that does not require the body's engagement, though printed and written messages may involve a smaller direct range of its perceptual and motor capacities than oral-gestural messages do. In addition, strange experiences are often translated and made familiar by comparisons with the body, and by categories of classification derived from the body's experience. The body is a convenient touchstone by which to gauge, explore, and interpret the unfamiliar, an essential information-gathering probe we never quite give up, no matter how sophisticated the supplemental modes available to us. The body is also squarely at the critical juncture between nature and culture. It is nature, or in any case man's most direct link to nature, capable of opposing and resisting it at least for a while, either its own or that external to it. The inscription of cultural codes upon the body is perhaps the principal means of detaching it from nature and transforming it into culture. The body and its actions, therefore, have a richly ambiguous social meaning. They can be made to emphasize perceived distinctions between nature or culture as the need arises, or to reconcile them. Because men use what is known to them to make sense of what is not, a deep inquisitiveness about the relationship between electricity and the human body was part of the process of becoming socially acquainted with that novel and mysterious force in the late nineteenth century. And though electricity might be discussed either as an extension of nature or of the body, or as something opposed to and outside them, it was defined in any case inescapably with reference to them.