Stage maiden: photographing of the person
Fourteen photographs of your person, made according to following demands will be necessary for you:
Photographs demonstrate your person completely; they are made at good lighting; all photographs accurate also have about an equal size.
On two snapshots you do not test any emotions, and on each of six remaining pairs of snapshots you are demonstrated testing surprise, pavor, anger, disgust, grief and pleasure.
In each photograph you test only one emotion, instead of a speed key of two.
You do not test awkwardness or confusion at photographing of your person; it is desirable, that you did not know, during what moment filming is performed.
It is improbable that the similar dial-up of photographs already is available for you (but if it so at once transfer to the second stage). The problem consists in how it to gain. If you transited course «recognition of emotions on the person», we could use special scenes to achieve your response to activities of various characters. In the absence of such capability we can tender other, satisfactory enough methods. At first we will acquaint you with gears, and then and with the routines, helping to endure each of six emotions.
The workmate who will photograph you is required to you. It is desirable, that it there was a person at which one presence you can be relaxed. Your confusion or fear of will be the main hindrance at this stage that on snapshots at you the silly person will be gained. You will accept any camera, allowing to make snapshots from spacing interval in 75 sm or less so that your person occupied not less a frame one-third. Optimum alternative is camera "»«½áÓ«¿ñ", but the customary camera will approach also.
Let your workmate will instal the camera on a mount and if you do not have mount let it will sit on a chair opposite to you. Ensure sharpness of induction at the greatest possible your approach to a lens. Your workmate should make all snapshots, holding down the camera at level of your head – not above and not more low to gain a composite image of your person. It is possible to make filmings both indoors, and in the street, but it is necessary to track that the sun did not shine to you in eyes. For camera setting use a mount or a chair and make all snapshots from equal spacing interval.
Cut from the book page 267. You have the table in which one it is necessary to bring indispensable tracings and at this stage, and on the following. As you should make more than one photograph and to worry more than one emotion it is necessary to record everything that you tried to make at obtaining of each snapshot; these tracings will add your photographs. If you use camera "»«½áÓ«¿ñ" will make it easy because you can record row number of the table on the back of each snapshot received by you. If you use the customary camera you can easily spot the order of layout of the finished shooting frames and to record table row number in the stomatic photograph applicable to it.
Before to begin operation, agree with the workmate with a cue of your availability; was relevant that it has made a snapshot on your team (it is possible to hoist hill up an index finger any cue which one will not entail any changes on the person, however, will approach). Take a core, the table cut from the book and start to work.
To make a snapshot of the maiden type absolutely easy. Try to photograph the person when it will look absolutely neutral, not expressing any emotions. It should be to similar persons Patricia and John on fig. 5А and fig. 13А. Look endways in a lens, try not to think of what and anything to feel. Try to be relaxed including to relax the person. When you will experience that have attained a neutral state, give an agreed cue. Then record in line 1 word "neutral" and mark, how much well, in your judgement, you have mirrored the state in the person. Make at least one more snapshot of the neutral person. Each time record an estimate of the gained frame. When you will see two snapshots on which one your person, on your interior feel, will be neutral, it is possible to cease photographing. Was relevant that thus you did not use a mirror. Your impression about that, how much well you make the neutral person, should be grounded on feel of how you endure this state from inside. For the same reason, if you use camera "Polaroid", do not view snapshots right after their obtaining. Oppose to this tempting until conclude filmings. We will resemble, was very relevant to record and trace numbers of receivable snapshots. Do not allow the workmate to value or comment on your countenances. Making these neutral snapshots and snapshots with expressions of six emotions, are aimed to that your estimates were grounded on your senses, instead of on judgement of the workmate.
Now try to express each of six emotions. There are some methods to make it, but for reaching of desirable effect you should display patience. The maiden method consists in folding eyes and to try to recall maximum brightly the recent event which has caused you to worry that emotion which one you try to figure. Or you can try to recall and endure the moment of your life when you tested this emotion with the greatest force. But anyway try to be diped in this experience. Try to experience emotion from inside: in your breath and your palpitation, on your skin and on your person. When you will experience it with the greatest possible force – when the sense will capture you bodily, – unclose eyes and, having felt that emotion was mirrored in your person, yield the workmate a character to make a snapshot. After each snapshot mark in the table that you tried to experience and how much, in your judgement, you managed to worry and express the yielded emotion.
Routine of experience of emotions can not approach for any one emotion or even for all six. All depends on you – how much well you anew endure recalled feels, how much awkwardly you feel, you are how much persevering in the tryings and etc. For those emotions which one to you did not manage to be caused, try to imagine that could happen in your life to cause you to test them more clearly. Give vent to the imagination and then try to deliver itself in such imaginary situation. Let your sense will capture you bodily that you have felt as its skew field and the person.
If you cannot recall anything approaching in the past and cannot imagine any situation, try to re-read the previous chapters, to be exact those parts of heads in whom we spoke about experience of emotions. Some people discover that it helps them to endure each featured emotion. If it approaches you, try to boost endured sense. Or be converted to any of the examples given in each of heads, and observe, a leah will help it to you, but thus do not look at the photographs demonstrated in these heads.
If you managed to make on two snapshots for each emotion really endured by you from inside, and you consider that these emotions were mirrored in your person photographing can be concluded. But if you as before do not manage to make snapshots of any emotions, you can use one more method. Forget about experience, imagination or different ways of making of feel and concentrate simply on giving to the person of the applicable expression. Try to mirror emotion in the person, proceeding from feel of your front muscles. You can discover that usage of this method causes you to feel emotion from inside. If it really happens, shut down process, dare to feel emotion and to mirror it. Using this routine, make on two snapshots for each emotion which one as you have experienced, have been mirrored in your person.
By this moment in your table in each enumerated line should be recorded: that you tried to make, how much, on your feels, it was possible to you. Using any of these methods – repeated experience, imagination and giving to the person of the necessary expression, – you have managed to gain on two photographs for each emotion. But if you do not have photographs of one or two emotions, make new trying or transfer to a following stage that at you was gained. If you do not have successful, in your judgement, snapshots, that, was interquartile, you are utaivatelem or very timid person, the following stage will not bring to you favour, therefore it is better to transfer at once to a stage of operation with a mirror.
Stage second: the assaying of photographs
So, you have before yourselves a dial-up of photographs. On the back of each of them you have written the number corresponding to the number of tracing in your table. Further it is necessary to resort to the help three-four people, and it is even better than ten which one will appear in a role of the experts valuing your photographs. It is desirable, that they were not your close friends (or near relations) because the close people can know your idiosyncrasies which one at present we do not learn. In the event that you made snapshots of the workmate you can demonstrate experts both dial-ups of photographs. If your experts cannot initiate with accomplishment of this job simultaneously it is quite admissible but until comparing of estimates of experts before end of this stage is required.
Cut from the book page 268 with the table for tracing of estimates. Make photocopies of the table of account in one copy for each expert (on each valued person – if your workmate is involved in this experiment also). Sort out photographs available for you. Discard those from them which one, according to your tracings, do not mirror emotion properly, it is necessary to sample only those photographs which one as you supposed, mirror your emotions quite successfully.
Ground takeoff on tracings in your table, instead of that you think of these photographs now. Reshuffle photographs which one you prepare to demonstrate experts. Yield each expert a leaf with the table for tracing of estimates and a dial-up of the reshuffled photographs. Do not suggest them and do not try to help, they should yield characteristic estimates of each photograph. The expert can be in trouble with your neutral photographs (as does not know that they neutral), but it should follow the operating instruction given in the table, and at uncertainty again and again to try to value photographs (to experts do not yield neutral alternative of an estimate because they could use its every time, testing uncertainty and also because if to them have given such alternative, you could not value probability of presence of "congealed sense» about which one will be told more low).
After you gain estimates a minimum of three experts, it is possible to start to count effects. Take the logbook of the table. In a right side of the pillar, entitled "Estimate", point an amount of experts which one have assigned each photograph specific emotion. For example, by reviewing of your photograph on which one the person expressing pleasure is fixed, you record in the table that three from four experts have termed its joy; if only one expert has termed its surprised, you do not need to record this effect; at obvious dispersion of estimates without explicit prevalence of any one judgement mirror in the logbook all estimates on each photograph and point number of the experts who have yielded each of estimates. Now you are ready to begin the assaying.
Take neutral photographs which one you demonstrated experts, and suppose them before yourself. Spot that is written about them in the table of estimates:
1. Photographs have been termed joy by the majority of experts.
2. Photographs have been termed sad by the majority of experts.
3. Photographs have been termed either joy, or sad by the majority of experts.
4. Experts have displayed not enough unanimity: almost each title of emotion has been used by that or diverse expert.
5. At least, one photograph has been termed joy (or expressing pavor, either anger, or disgust) not less than half of experts.
If your effect matches to point 4, that, was possiblly, you do not have «congealed sense», influencing your neutral countenance as it has not been gained an unanimous estimate of experts. If your effect matches to point 1, that, was possiblly, you do not have «congealed sense», influencing your neutral countenance because the answer "joy" is a frequent estimate looking neutral persons when experts are forced to select one of the tendered terms featuring emotion. The neutral person also often term "sad", therefore, if the effect matches to point 2 or 3 you, was interquartile, have no "congealed sense», colouring your neutral expression. Recall that the limiting form of grief leads to appearance at the person passionless, apparent neutral persons. However it is is possible that at the effects corresponding to point 2 or 3, your neutral person could look not neutral or passionless, and to demonstrate traces of typical expression of grief. You can validate this assertion, comparing the photographs with the image of the neutral person with demonstrated in chapter 8 and comparing separately each field of the person. Is better to make it by means of three "masks" of the black paper, fractionally closing down the person in a photograph. One mask cut so that at its superimposing on any of photographs remained brows and a forehead are visible only; another – that it abandoned unclosed only dogs, a nose and a mouth, and third – that she allowed to see in a photograph only your eyes and eyelids. Close down your neutral photograph so that your brows – a forehead were visible only. Compare the gained effect about fig. 51. A leah you see likeness? If it also is, feeble enough. Do not expect to see in the photograph of anything so clear, as in this picture. Now compare the same method your eyes – eyelids to eyes – the centuries demonstrated on fig. 52, and your heel of the person with the heel of the person on fig. 53. On the basis of these comparing you can spot, a leah is present at you on the person «congealed sense» griefs.
If the effect of estimates matches to point 5, it points that any emotion marked by experts on your person frequently will be really present. As you, probably, remember, it can happen that you permanently save any implication of this emotion on the person instead of completely relaxing it when at all do not test any emotion («congealed sense»). Or it can be the static cue which has originated because of a special constitution of your person. For example, if at you deeply put eyes or low brows people can value your person as angered (a photograph № 52 of a dial-up of the photographs appended to chapter 9, the neutral person who looks angered because of its particular singularities) demonstrates. Was interquartile, you should know that you try to attach the person such expression, even when do not test any emotions. If your effect matches to point 5 compare each field in photographs of your person to the applicable pictures in the book, using masks from a black paper about which one we spoke above. Following activities tendered by us are applicable to each emotion photographed by you. Suppose photographs of emotions before itself. Validate that is told in the table of estimates about each photograph.
1. An overwhelming majority of the experts, valuing both photographs, have termed emotion which one you worried, imagined or created on the person.
2. The majority of experts have correctly spotted emotion which one you were aimed to demonstrate, but in all remaining estimates all or nearly so any other emotion has been termed; for example five from ten experts have termed your astonished face surprised, and three from remained five have termed its frightened.
3. Almost equal allocation of estimates between emotion which one you figured, and any one other emotion was watched.
4. In the majority of estimates the emotion which is distinct from those which one you demonstrated was mentioned.
5. Between experts there was no consent concerning an estimate of emotions; no more than thirds of experts have stated an equal estimate.
If the effect of an estimate of both your photographs demonstrating any emotion, matches to point 1 in this case there are no indicatings on your adherence to any style of mapping of emotions on the person.
If the effect of an estimate of both your photographs matches to point 5, and your tracings in the table say that you tested any emotion and thought that you map it on the person then it is is quite interquartile that you are an ineffective expressor of the yielded emotion. However you cannot assured of be absolute it. Was possiblly, you have not demonstrated emotion on the person of that the situation in which one filming was made, was too artificial. But there is a high probability of that you really ineffective expressor, and at you can originate desire to validate this guess. We will admit, it was clarified that you an ineffective expressor of disgust; next time, when you will get in a situation at which one will have disgust and to you will seem that you express it on the person, ask the friends as you look, a leah they can term a feeling had by you, and etc.
If the effect featured in point 5, approaches for all emotions or for everything, except pleasure then you, was interquartile, are utaivatelem. Was possiblly also that the method of usage of photographs does not approach for you. If you are utaivatelem your close people know about this your singularity, therefore you should check its implication.
The effects featured in points 2, 3 and 4, point that you substituting expressor. The effect of point 3 speaks about it more convincingly, than the effect of point 2, and effect of point 4 – is more convincing, than effect of point 3. If one of these effects is gained for both your photographs, and according to your tracings, you thought, as if tested any emotion and demonstrated it then it is possible to consider you as substituting expressor with larger probability, than in an event when one of these effects would match only to one photograph and thus there would be no tracings that you really tested the yielded emotion or well expressed it on the person. We will guess that you the substituting expressor demonstrating on the person disgust instead of anger; your photographs expressing "anger", some experts (point 2), half experts (point 4) could value experts (point 3) or the majority as expressing disgust. By means of one of masks of a black paper close down your "angered" photographs so that to see on them only the heel of the person. Compare your heels of the person to photographs in the book on which one persons in the heel the anger or disgust expresses. To you it is clear, why experts considered you having disgust when you thought what express on the person anger? Look narrowly also at field of eyes – a century and fields of brows – a forehead. So you can discover, what exactly on your person has caused experts to recognise you having disgust while you thought that demonstrate on the person anger. It does not mean that you do not test anger; it only means that when you test the anger, people watching of you can solve that you have disgust.
Certainly, the effects of experts corresponding to points 2, 3 and 4 not necessarily point that you are substituting expressor. The best method to validate this fact consists in once again to photograph your person at the moment of experience of that emotion substituting which one expressor you can be. Give particular attention to an experience select which one does not lead to originating of a compound of problem emotion and its emotion-substitute. Exchange photographs of this emotion available for you new, yield all dial-up of snapshots (and not just new) to other experts and look, a leah will repeat former effect. If is not present, you really cannot be assured of a volume, what effect was correct – maiden or second. However if the result in the whole repeats, most likely, you – a substituting expressor.
We have featured the methods, allowing to clarify by results of an estimate of your photographs, a leah there can be you utaivatelem, the ineffective expressor substituting ekspresorom or zatsiklennym with an expressor with «congealed sense». At a following stage we will feature miscellaneous routines which one will help to spot, a leah you are an involuntary expressor. These routines are applicable also for an estimate utaivatelej, ineffective expressors and substituting expressors.
Stage third: mirror usage
In an everyday life you rely on feedback signals from your characteristic front muscles (the feels arriving from inside, from your person) for understanding and monitoring of expressions occurbing on your person. When you demonstrate emotion on the person, good feedback yields you understanding of that, what is this emotion (the context, other feels, memories and etc. also can tell to you about it), allows to check a countenance, cushioning or masking it or simulating emotion not tested by you.
You cannot ask permanently people as your person looks, and you cannot see permanently the person in a mirror during lecture. From this it follows that feedback from your person is necessary to you, but such feedback happens is developed feeblly enough. Was possiblly, for any parent you have not learnt to learn that feels your person when you demonstrate on it various emotions. If it so, wait for nuisances. If you do not know that feels your person, when muscles contract to express, for example, anger you can not know when you express this emotion on the person (an involuntary expressor). When you test anger, on your person disgust (a substituting expressor) can be mapped. Or you can not demonstrate on the person anything (an ineffective expressor). And it is is possible, you not in a state to slacken anger expression on the person. Or are not capable to simulate on the person anger. For these parents further we will feature activities which one will help to spot, how much well you are able to use feedback from your person.
The friend hand-held mirror, major enough that in it your person was completely mirrored is required to you. It is necessary to overcome originating sense of confusion when you will begin "primerivat" various countenances and to consider them in a mirror. For an explanation of succession of indispensable activities we use in the capacity of an example anger, but you can apply this succession and to any other emotion.
1. Be converted to fig. 42 in the end of the chapter devoted to anger (for other emotions be converted to pictures in the end of the applicable heads).
2. Try to imitate on the person each image demonstrated in this picture.
3. You are capable it to make? Validate itself on a mirror.
4. If you do not manage to make it without the aid of a mirror at simulation tryings look in a mirror; imitate the persons demonstrated in a picture.
5. If you can imitate them, mark, a leah the senses demonstrated on the person are familiar to you, and a leah really the yielded sense is felt as anger. If it is felt as you as well clear iterate this routine for following emotion. But if you could not iterate a countenance in this picture, even looking in a mirror, or other persons demonstrated in the book could not play back, and have considered felt feel as strange and unfamiliar transfer to point 6.
6. Discover a picture demonstrating a standing of brows – a forehead for considered emotion; in case of anger it will be the left snapshot on fig. 31. Using a mirror, imitate this expression. If it was possible to you, wonder, a leah is felt this expression as familiar (as unfamiliar) and a leah is felt it as emotion which one you meant.
7. Be converted to a picture demonstrating eyes – eyelids, and iterate everything that you made under point 6 operating instruction.
8. Be converted to a picture demonstrating the heel of the person and iterate everything that you made under point 6 operating instruction.
9. Try to fix sequentially on each of parts of the person expression of the emotion demonstrated in the book. For example, at first on a top hamper (a brow – a forehead), then on medial and lower parts of the person. Has no meaning, you will begin with which part of the person. You managed to constitute blanket expression? It is felt as familiar or how unfamiliar? A leah is felt it as emotion which one you want to figure?
If under the operating instruction of point 5 you managed to make a required countenance and you have felt it as familiar and corresponding to figured emotion then it is improbable that you are utaivatelem, substituting expressor, an ineffective expressor or an involuntary expressor. If at accomplishment of this job you have failed, but have achieved effect on point 9 (you could make the necessary person, and it was felt as familiar and corresponding to the yielded emotion) the previous output will appear for you valid. If your unique problem consisted in giving to brows – to a forehead of angry or sad expression, and you have perfectly managed giving of the necessary expression of a remaining part of the person, the previous output again will appear valid for you. Disability to attach these two expressions to brows – to a forehead, it is interquartile, conditioned by any singularity of your person. Generally, while you can "model" the person according to operating instructions of points 5 or 9, using two of three fields of the person, there are bases to speak about implication at you no one of these styles.
If you could attach the person expression according to demands of points 5 and 9, but it was perceived by you as unusual you can be an involuntary expressor of this emotion. In other words, you do not learn that as you is felt, when you demonstrate expression which one others would learn as corresponding to the yielded emotion on the person. If, following point 5 or point 9 operating instructions, you have attached the person required expression and have experienced that it is familiar to you, but thus it was felt as you not how emotion which one you figured (for example when you successfully imitated anger on the person, it was felt as you as disgust) you can be substituting expressor of this emotion.
What it is possible to tell in an event when it is not possible to attach the person the expression featured in point 9? If you not in a state to imitate any of the persons demonstrated in a photograph, and your disability is displayed not only in one field of the person, and in all three, then, was interquartile, you an ineffective expressor of this emotion. If you have fulfilled the routines featured on maiden two process steps you should perceive it. If you cannot express on the person the majority of emotions, you, was interquartile, utaivatel.
The activities fulfilled at these three stages, should help to you to learn more about the person and to teach you to be unmade better in expressions of persons of other people, even when these people do not realise that for you one of particular styles of mapping of the emotions featured above is characteristic. But, as we already spoke, if for you one of these styles, it is characteristic, was interquartile, will be displayed only in some situations or only in a stress condition and etc.; if any of styles it is displayed at you in the feeble form or at times then it will not be swept at implementation of the activities featured on each of three stages.
But there can be a problem: what, if for you one of these styles of expression of emotions, and now, after accomplishment featured above activities is characteristic, you are firmly assured, what have learnt to read expressions of the person – a leah you can modified this style? To tell the truth, we do not know. We only start to conduct probes on this subject. However we are adjusted optimistically. Was possiblly that simple learning of typical countenances and yield of practical skills of their recognition can slacken implication of any of these styles. Or the activities provided at all three stages, will contribute in their weakening. Or for this purpose it will be necessary to learn to control abbreviations of face muscles. It is obvious that than more sensitive you become to complications of process of expression of emotions, the more you learn about your characteristic person, the your emotional experience becomes richer.