Paul Ekman Umasking The Face

xi
33
introduction introduction
70
why mistakes are made in understanding facial expressions of emotion
70
why mistakes are made in understanding facial expressions of emotion why mistakes are made in understanding facial expressions of emotion why mistakes are made in understanding facial expressions of emotion why mistakes are made in understanding facial expressions of emotion
21
Anger 67% 90% 94% 90% 90%
research on facial expressions of emotion research on facial expressions of emotion research on facial expressions of emotion research on facial expressions of emotion research on facial expressions of emotion research on facial expressions of emotion
34
surprise
34
surprise
Figure 5
surprise
Figure 5
surprise surprise surprise surprise
47 47
fear
47
fear fear fear fear fear
fear fear fear
66 66 66
anger anger anger anger anger anger
happiness happiness
104 104
Figure
happiness
104 104
Figure
happiness happiness
Figure Figure sadness sadness
practice faces practice faces practice faces
35 35
facial deceit facial deceit facial deceit
154
checking your own facial expressions
154
checking your own facial expressions checking your own facial expressions
5!
5!
sractice photos for chapter 0 sractice photos for chapter 0 sractice photos for chapter 0 sractice photos for chapter 0
actice photos for chapter 0
"03 "03
"0!
index
"0!
index
#a$ul %kman any &al l ace
'( Fri esen
A guide to recognizing emotions from facial expressi ons
Paul Ekman
Professor of Psychology
University of California, San Francisco
Wallace V. Friesen
Lecturer, University of California San
Francisco
Can you tell when someone who is actually afrai is trying to look angry!
Can you tell when someone is feigning sur"rise!
With the hel" of U#$%S&'#( )*E F%CE, you will +e a+le to im"rove your
recognition of the facial clues to emotion, increase your a+ility to etect
,facial eceit,, an evelo" a keener awareness of the way your own face
reflects your emotions.
Using scores of "hotogra"hs of faces that reflect the emotions of sur"rise,
fear, isgust, anger, ha""iness, an saness, the authors of U#$%S&'#(
)*E F%CE e-"lain how to ientify correctly these +asic emotions an how to
tell when "eo"le try to mask, simulate, or neutrali.e them.
%n, to hel" you +etter unerstan our own emotions an those of others,
this +ook escri+es not only what these emot/or s l wk like when e-"resse on
the face, +ut also what they feel like when you e-"erience them.
'n aition, U#$%S&'#( )*E F%CE features several "ractical e-ercises that will
hel" actors, teachers, salesmen, counselors, nurses, an "hysicians0an
everyone else who eals with "eo"le0to +ecome ae"t, "erce"tive reaers of
the facial e-"ressions of emotion.
MALOR BOOKS
Cam+rige, $% 12234
I SBN 1 - 88 35 3 6 - 3 6- 7
' '' 56748443
9ivision of )he 'nstitute for
the Stuy of *uman &nowlege
unmasking the
face
Paul Ekman is a professor of psychology in the department of psychiatry at
the University of California Medical School, San Francisco. An expert on
expression, the physiology of emotion, and interpersonal deception, he has
received many honors, most notably the Distinguished Scientific Contribution
Aard of the American !sychological Association, and is the author or editor
of thirteen other boo"s. #e is a fre$uent consultant on emotional expression
to government agencies such as the F%&, the C&A, and the A'F, to layers,
(udges, and police, and to corporations, including the animation studios !ixar
and &ndustrial )ight and Magic. #e lives in northern California.
Wallace V. Friesen as )ecturer in !sychology and *esearch !sychologist
at the University of California at San Francisco, here he or"ed as a co+
investigator ith !aul ,"man for many years. #e is no at the University of
-entuc"y here his research focuses on emotion in old age. #e has co+
authored numerous articles on emotions and longevity in periodicals and
(ournals such as the American Psychologist, Psychiatry, and the Journal of
Personality and Social Psychology.
Other books by Paul Ekman:
,M.'&./S *,0,A),D
/A'U*, .F ,M.'&./
',))&/1 )&,S
FAC, .F MA/
2#3 -&DS )&,
,M.'&./ &/ '#, #UMA/ FAC,4
(uielines for :esearch an an 'ntegration of Finings
DA*2&/ A/D FAC&A) ,5!*,SS&./4
A Century of *esearch in *evie
Copyright 2003 by Paul Ekman
All rights reserved. No part of this work may be reprodued or
tra!smitted i! a!y form or by a!y mea!s" eletro!i or meha!ial"
i!ludi!g photoopyi!g a!d reordi!g" or by a!y i!formatio! storge
or retrieval system" e#ept as may be e#pressly permitted by the $%&'
(opyright At or i! writi!g from the publisher. Re)uests for
permissio! should be addressed i! writi!g to *S+K"
,. O. Bo# -.$/'%" (ambridge" MA /00-.1$/'%.
Library of (o!gress (atalogi!g i! ,ubliatio! 2ata
for previous editio! is reorded as follows3
4kma!" ,aul.
5!maski!g the fae.
*!ludes bibliographies.
$. 6aial e#pressio!. *. 6riese!" 7allae 8." 9oi!t author. **. :itle.
B6'-&.(;<4-. $<0.;=0 &;1$;<;;
*SBN /1$-1%-.$.-1>
*SBN /1$-1%-.$&<1% (pbk.)
his !alor e"ition #$%& 1'((3)3*'3*'7
,ri!ted i! the 5!ited States of Ameria
8 $/ % . & ' < ; - 0 $
U/MAS-&/1
'#, FAC,
A gui"e to
recogni+ing
emotions
from facial clues
AU! EKMAN " n # $A! ! ACE %& F'I ES EN
MALOR BOOKS
(ambridge MA 0//-
For "t r i (i " "n# M)r i "*
contents
"(+no,- e#.*ents xi
i ntro#/(ti on 1
2
,0) *i st"+es "re *"#e
i n /n#erst"n#i n. 1"(i "- expressi ons
o1 e*oti on 12
3
rese"r(0 on 1"(i "- expressi ons
o1 e*oti on 31
4
s/rpri se 34
;
1e"r 47
<
#i s./st 66
ix
x contents
7
anger 74
!
ha""iness 55
9
saness 88=
1 2
"ractice faces 825
1 1
facial eceit
"
checking your own facial
1 3
conclusion
a""eni-
the facial +lue"rint "hotogra"hs 8<5
a""eni- I I
"ractice "hotos for cha"ter 81 173
a""eni- I I I
log an >uge sheets 213
ine- 214
xi
acknowledgments
7e are grateful to the Natio!al *!stitute of Me!tal +ealth ?N*M+@ for
maki!g it possible for us to study faial e#pressio! a!d body moveme!t duri!g
the last eightee! years. ,aul 4kma! was able to start our researh whe! he was
awarded a predotoral researh fellowship from N*M+ from $%<< to $%<&.
2uri!g military servie from $%<. to $%'/ 4kma! a!d 6riese! beame researh
assoiates" a relatio!ship whih was later formaliAed whe! 6riese! 9oi!ed the
pro9et i! $%'<. A postdotoral researh fellowship from N*M+ made it
possible for 4kma! to pursue the researh from $%'/ to $%'-. Later" whe! the
pressure of teahi!g seemed likely to urtail re1searh" a (areer 2evelopme!t
Award from N*M+ to 4kma! allowed the team to o!ti!ue the researh from
$%'' to $%&0. 2uri!g all these years" at eah ritial 9u!ture" the late Bert
Boothe" diretor of the Researh 6ellowship Bra!h" provided i!valuable help"
i!terest" a!d advie. :he (li!ial Researh Bra!h of N*M+ provided
o!ti!uous support for our researh o! faial e#pressio! a!d body moveme!t
from $%'- u!til !ow ?M+ $$%&'1/%@. *ts support allowed us to study me!tal
patie!ts a!d also has made it possible for us to work together si!e $%'<.
7e are also grateful to the Adva!ed Researh ,ro9et Age!y ?AR,A@ of
the 2epartme!t of 2efe!se for supporti!g our studies from $%'' to $%&/. Lee
+ough" former diretor of AR,A" o!vi!ed us of the importa!e of studyi!g
faial e#pressio! a!d gesture i! differe!t ultures. +e helped us overome our
reluta!e to try to resolve the argume!t over the possible u!iversality of faial
e#pressio! a!d gesture. 7he! we lau!hed our researh i! a remote area of
New Bui!ea" Rowe!a Swa!so!" the mo!itor of the gra!t" fou!d ways to solve
the admi!istrative a!d bureaurati obstales.
7e are grateful to Silva! S. :omki!s for his o!tagious e#iteme!t about faial
e#pressio! of emotio!. +e e!ouraged us to lear! how to read
-ii acknowlegments
faes a!d to teah others to do so. 6or the past te! years" ,atsy Barla! has bee!
a! i!valuable help as we have approahed that poi!t i! eah e#perime!t where the
results of our work are o!veyed to others. She has always had a kee!
u!dersta!di!g of our researh" has worked to make our writi!g luid" a!d has
ritially e#ami!ed our ideas a!d searhed for ambiguities a!d o!traditio!s. 7e
are also grateful to our frie!ds" olleagues" a!d employees who have bee!
e!thusiasti about our studies of the fae a!d our attempts to teah others what
we have lear!ed. Ra!dall +arriso!" Coh! Bear" Alle! 2ittma!!" a!d Stuart Miller
gave ma!y helpful suggestio!s about how to prese!t this material i! a!
u!dersta!dable way. +arriett Lukes !ot o!ly typed the ma!usript" but was a!
e!thusiasti first reader. Ni!a +o!bo helped i!valuably i! keepi!g us orga!iAed
a!d e!ouragi!g the ompletio! of the materials. 7e a!!ot tha!k by !ame the
ma!y people who have worked o! the researh reported i! this bookD we are
grateful for their fi!e work a!d for their e#tra efforts whih gave us the time to
write this book.
Our speial tha!ks go to our frie!ds" stude!ts" a!d olleagues who let us
show their faes i! this book. 7e hope that you" our readers" get to k!ow them
well.
introduction
What This Book Is About
:his book is about faes a!d feeli!gs1your ow! a!d those of the people
arou!d you. :he first fous is o! what the feeli!gs look like" i! other people=s
faes a!d i! your ow!. ,hotographs show the faial bluepri!ts of the ma9or
emotio!s1how surprise" fear" a!ger" disgust" sad!ess" a!d happi!ess are registered
by ha!ges i! the forehead" eyebrows" eyelids" heeks" !ose" lips" a!d hi!.
(ommo! o!fusio!s that plague the reog!itio! of e#pressio!s of emotio!s are
larified by pitures highlighti!g the differe!es betwee! surprise a!d fear" a!ger
a!d disgust" sad!ess a!d fear. :he subtle1ties of faial e#pressio!s of emotio! are
revealed i! pitures that show the family of e#pressio!s for eah feeli!g.
Surprise" for e#ample" is a! emotio! with a big family. :here is !ot o!e surprise
faial e#pressio!" but ma!y1)uestio!i!g surprise" dumbfou!ded surprise" daAed
surprise" slight" moderate" a!d e#treme surprise. :he omple#ities of faial
e#pressio!s are show! i! photo1graphs of how differe!t emotio!s a! ble!d i!to a
si!gle faial e#pressio! to show sad1a!gry e#pressio!s" a!gry1afraid e#pressio!s"
surprise1fearful e#pressio!s" a!d so forth.
Eou a! use this i!formatio! about the bluepri!ts of faial e#pressio! to
better u!dersta!d the feeli!gs of others" eve! whe! they are tryi!g !ot to reveal
their feeli!gs ?(hapter $$ o! F6aial 2eeitF@. Or you a! use the k!owledge of
the bluepri!ts of faial e#pressio! to lear! about your ow! fae" to beome more
aware of what your fae is telli!g you about how you feel a!d what your fae is
telli!g others. (hapter $0" F(heki!g Eour Ow! 6aial 4#pressio!s"F desribes
how you a! determi!e whether your faial e#pressio!s are harateriAed by a
partiular style. 6or e#ample" are you a faial withholder ?!ever showi!g
a!ythi!g o! your fae@" a! u!witti!g e#1
pressor ?!ot k!owi!g you are showi!g a feeli!g whe! you do so@" or a substitute
e#pressor ?thi!ki!g you are showi!g a! a!gry fae whe!" i! fat" you look sad@G
:he bluepri!ts of faial e#pressio!" whether used to u!dersta!d others or
yourself" is the! the first fous of this book. :he seo!d fous is the feeli!gs
themselves. Although everyo!e uses the terms anger, fear, sadness, et." few
people really u!dersta!d fully their ow! e#perie!e of these emotio!s. 6or
e#ample" what is it really like to be afraidG 7hat does it feel like i! your bodyG
7hat situatio!s make you afraidG (a! you always a!tiipate whe! you will be
afraidG (a! you be both afraid a!d a!gry at the same timeG 7he! you are afraid"
do you get aggressive" withdraw!" or thoughtfulG 2o you laugh fear off" or do
you break out i! hivesG 2o you ever e!9oy bei!g afraid 1wathi!g a horror movie"
for e#ampleG 2o other people reat the same way you do whe! they are afraidG
2oes the same thi!g happe! to their breathi!gG 2o the same situatio!s that make
you afraid make others afraidG Or do you sometimes thi!k or say" F* a!=t
u!dersta!d why he was afraidD that would!
=
t bother meF or F* a!
=
t u!dersta!d
why she was!
=
t afraidD * was terrified.
F
Most people would have a diffiult time a!sweri!g suh )uestio!s" at least
about some of the emotio!s. :his may happe! whe! you are" to )uote the lihe"
out of touh with your feeli!gs. :his a! also happe! whe! you are i! touh with
your feeli!gs but do!
=
t realiAe the e#te!t to whih your e#perie!e of a! emotio!
is u!i)ue. :here is usually o!e emotio!" a!d maybe more" that you do !ot share
ope!ly" desribi!g the feeli!g to others. *t might be a! emotio! you i! some way
dread e#perie!i!g" or a!=t o!trol" or habitually !ever thi!k about. Or it may be
a! emotio! you e#perie!e kee!ly but ompletely privately. Eou may disover"
for e#ample" after e#te!ded o!tat with a! i!timate" that what distresses you
does !ot distress him. After the ourtship is over" a marriage may fou!der whe!
the mates disover they !ot o!ly feel a!d e#press a!ger differe!tly but that the
o!e who e#plodes a!
=
t tolerate the o!e who holds it i!" or the o!e with the lo!g
fuse a!=t aept the o!e with the short fuse.
:he seo!d fous of the book is upo! 9ust these issues" desribi!g i! detail
the experience of eah of the emotio!s. *t provides as muh as we k!ow about
how these emotio!s a! be e#perie!ed i! daily life. Eou a! use this i!formatio!
to lear! about your ow! emotio!al e#perie!es" the thi!gs you share with others
a!d the way i! whih you differ. Eou may fi!d out about e#perie!es you are
missi!g. A!d you may disover the basis for some of your feeli!gs whih you
have !ever fully u!derstood. Eou a! use this i!formatio! also to u!dersta!d
other people=s feeli!gs" to have a basis other tha! your ow! emotio!al e#perie!e
3
for omprehe!di!g what a! emotio! may be like for a!other huma! bei!g.
Who This Book Is For
this +ook is for "sychothera"ists, ministers, "hysicians an nurses, trial lawyers,
"ersonnel managers, salesmen, teachers, actors.. . .
:he psychotherapist must k!ow how people e#perie!e emotio!s. +e must
be alert to what the fae may tell him about his patie!t
=
s feeli!gs. +e a!
=
t rely
solely upo! the patie!t
=
s words" for sometimes the patie!t a!
=
t desribe his
feeli!gs. :he patie!t
=
s fae may show the emotio! bei!g e#perie!ed eve! whe! it
is too upsetti!g to put i!to words" whe! he does!
=
t have the words to desribe his
feeli!gs" or whe! he does!
=
t k!ow how he feels.
:he minister, or i!deed a!yo!e who ou!sels people" has the same !eeds as
the psyhotherapist.
:he physician a!d the nurse also !eed to u!dersta!d emotio!s a!d faial
e#pressio!s. ,eople have a! emotio!al reatio! to their ill!ess or the threat of
ill!ess whih may be ruial i! its outome. :he physiia! a!d the !urse must
u!dersta!d the differe!t ways people e#perie!e fear" for this is a ommo!
emotio!al reatio! to the possibility of ill!ess a!d treatme!t" a!d may heighte!
pai!" preve!t early detetio! of ill!ess" i!terfere with treatme!t pla!s" et. A!d
!ot everyo!e who is afraid of a!er" or surgery" will e#perie!e that fear i! the
same way. Reog!iAi!g sad!ess" whih is ofte! a reatio! to loss" a!d helpi!g a
patie!t to deal with it a! be a! importa!t fator i! the patie!t
=
s reovery whe!
there is li!geri!g or perma!e!t disability. *f ma!y of the theories about
psyhosomati disorder are orret" the! the e#perie!e of a!ger also should be
u!derstood. ,atie!ts with a physial ill!ess are ofte! reluta!t or embarrassed to
me!tio! their feeli!gs about bei!g sik" their fear or sad!ess" their feeli!gs of
self1disgust" a!d so forth. ,hysiia!s a!d !urses must" therefore" lear! to i!terpret
aurately faial e#pressio!s a!d faial sig!s that emotio!s are bei!g o!trolled.
:he trial lawyer ofte! a!
=
t trust the words of a wit!ess or lie!t. +e !eeds
a!other soure" suh as the fae" to tell him how the perso! really feels. :rial
lawyers emphasiAe the importa!e of readi!g emotio!al reatio!s i! piki!g
9urors a!d i! assessi!g how a 9ury" o!e seleted" reats to differe!t li!es of
argume!t.
:he personnel manager a!d the salesman may be i! the same spot as the trial
lawyer. *! o!duti!g a! employme!t i!terview" the perso!!el ma!ager wa!ts to
reog!iAe sig!s that the applia!t is o!trolli!g his feeli!gs. 6or e#ample" is his
appare!t o!fide!e ge!ui!e" or is it overi!g !ervous!ess about his apability. *s
he really as i!terested i! this 9ob as he says he is. :he fae a! allow him to hek
o! how the applia!t really feels about the 9ob. :he salesma! k!ows that the
feeli!gs whih motivate a deisio! to buy may !ever be put i!to words" or the
words may !ot be trustworthy.
:he teacher !eeds to k!ow whether or !ot the stude!ts u!dersta!d what
he is sayi!g. *!terest" o!e!tratio!" a!d perple#ity are show! o! the fae
:he actor must u!dersta!d the omple#ity of emotio!al e#perie!e i!
attempti!g to o!vey a! emotio! i! performa!e. :he disussio! of deeptio!
may help him preve!t his perso!al feeli!gs from leaki!g through i! his
performa!e. 7he! the ator is feeli!g his way i!to the emotio!al e#perie!e of a
harater" he !eeds to be sure that his e#pressio! of that emotio! is ommo!ly
u!derstood. A!d he should fi!d the faial bluepri!ts useful i! u!dersta!di!g a!d
perfeti!g his ow! ability to show emotio!s.
All these professio!als1psyhotherapists" physiia!s" !urses" trial lawyers"
perso!!el ma!agers" salesme!" teahers1!eed also to beome aware" like the
ator" of the impressio!s they give i! their ow! faial e#pressio!s to their various
Faudie!es.F
this )ook is also for *o) applicants+ loan
seekers+ customers+ ,oters+ *urymen( ( (
:he job applicant a!d the loan seeker !eed to k!ow what impressio! they
give by their ow! faial e#pressio!s to the perso!!el ma!ager or ba!k offier" for
ertai!ly they are u!der sruti!y. :hey may wa!t also to wath the fae of the
perso!!el ma!ager or ba!k offier to gauge his reatio! to them.
Customers may be o!er!ed about the ho!esty of the salesma!1has that ar
really bee! drive! by 9ust o!e little old ladyG
:he voter is ofte! o!er!ed with the ma! as well as his politis1how
trustworthy he is i! what he says" whether or !ot his ampaig! promises a! be
believed. *! these days of televisio! politis" this beomes eve! more of a! issue.
:he juryman a!=t assume that the wit!ess or defe!da!t is telli!g the truth"
or k!ows the truth. 5!dersta!di!g faial e#pressio!s may help him disti!guish
what the perso! testifyi!g atually feels from what he wa!ts people to thi!k he
feels. :he 9uryma! must also u!dersta!d the e#perie!e of emotio!s if he is to
omprehe!d fully the motivatio!s behi!d ertai! rimi!al ats. 7hether or !ot
there were mitigati!g irumsta!es may depe!d upo! the emotio!al state of the
defe!da!t. :he reliability of a wit!ess=s aou!t may depe!d upo! u!dersta!di!g
his emotio!al e#perie!e at the time of the rime as well as at the time he is
givi!g his aou!t.
this )ook is for friends+ spouses+ parents+ lo,ers+
relati,es( ( ( (
:he i!formatio! i! this book is releva!t as well to a!y relatio!ships that are
!ot meha!ial" perfu!tory" a!d busi!esslike. 4veryo!e has relatio!ships i!
whih there is little or !o emotio!al i!vestme!t. 6eeli!gs are !ot sharedD !either
introduction
perso! makes a! attempt to k!ow the other
=
s feeli!gs" a!d
to do so would be a! affro!t. 4veryo!e also has relatio!ships i! whih the
i!timate shari!g of feeli!gs is the mai! ore. *t is !o aide!t that i! i!timay
faes move loser together. *!timates also look more i!to eah others
=
faes.
,eople keep i! sight pitures of the faes of those with whom they feel i!timate.
:hough a telepho!e all is better tha! a letter" if you e#pet a! importa!t
emotio!al e#perie!e or wa!t to desribe o!e that has 9ust ourred ?weddi!g"
divore" death" 9ob promotio!" et.@" you wa!t to see the look o! the other
perso!=s fae a!d you wa!t your fae to be see!.
7a!ti!g to share feeli!gs does !ot !eessarily make this a! easy thi!g to do.
*!timates may fi!d it hard to u!dersta!d or aept the differe!es i! how they
e#perie!e a! emotio!. *!timay may !ot survive suh differe!es preisely
beause they are !ot u!derstood. FEou a!
=
t be a!gry about that; * do!
=
t believe
itHF F*f you were afraid" why did!=t you tell meGF *t is very hard to u!dersta!d that
people you are about" people you love" do!=t e#perie!e feeli!gs the same way
you do. 6aial e#pressio!s that show feeli!gs may be misi!terpreted or missed
e!tirely. *f you do!=t fully u!dersta!d the differe!t ways a feeli!g may be
e#perie!ed" how a!other=s way may differ from your way of e#perie!i!g that
feeli!g1if you do!
=
t k!ow the various ways the fae may show that same feeli!g1
the ha!es for misu!dersta!di!g" for seemi!g i!o!sideratio!" multiply. :his
book is !o pa!aea for the problems of i!timay" for !ot all those problems are
due to misu!dersta!di!g" a!d misu!dersta!di!gs a!=t be resolved by readi!g a
book. But the desriptio!s of the varieties of emotio!al e#perie!e a!d the
bluepri!ts of faial e#pressio!s should help.
this book is for you alo!e
5!dersta!di!g emotio!al e#perie!e applies !ot 9ust to your relatio!1ships
with others but also to your relatio!ship with yourself. *t a! help you u!dersta!d
the most private" perso!al" u!i)ue part of your self. :his is a part of your self
whih has e!ormous power over your life. Eour work" your life" a!d eve! your
death a! be determi!ed by your feeli!gs. Se#ual !eeds may !ot be satisfied"
hu!ger !ot met" work !ot ompleted beause of feeli!gs that i!terfere. 6eeli!gs
a! motivate the taki!g of your ow! life or the life of a!other. Struggles of a!
e#traordi!ary !ature may be e!dured" awe1some feats aomplished beause of
feeli!gs. Eet we k!ow less about our feeli!gs tha! we do about our teeth" our ar"
or our !eighbor=s esapades.
:his is !ot a self1help book" but it may lead you to a better u!der1sta!di!g of
emotio!s a!d of your ow! emotio!al life. Although lear!i!g the faial bluepri!ts
will hiefly improve your ability to spot emotio! i! others" it a! also teah you
to be kee!ly aware of what your ow! faial musles are telli!g you1about you.
introduction
What You Can Get From This Book
Eou a! read this book" or you a! study it. *t depe!ds upo! your goal. 2o
you wa!t simply to i!rease your k!owledge of emotio!G Or do you also wa!t to
master a skillG Both are possible" but the skills take lo!ger to a1)uire tha! the
k!owledge. Eou a! read this book i! a matter of hours" o!e!trati!g o! the
words a!d looki!g at the pitures. Eou will lear! a good deal about emotio!al
e#perie!es" your ow! a!d other people
=
s1i!formatio! that should be helpful i! all
the ways desribed above. But this approah wo!
=
t teah you how to spot emotio!
i! people=s faes muh better tha! you are already able to do. Eou wo!=t be a!y
better i! spotti!g slight sig!s of emotio!" ble!ds of emotio!s" sig!s of emotio!al
o!trol" the leakage of emotio!s" a!d so forth. :o be able to do these thi!gs
re)uires the e#tra i!vestme!t of lear!i!g the faial bluepri!ts so well that you a!
use the i!formatio! without thi!ki!g about it. *t must beome a skill.
Eou may feel you do!
=
t !eed muh improveme!t i! i!terpreti!g faes" or you
may !eed it for ertai! emotio!s but !ot for others" or you may fi!d you are pretty
far off i! telli!g how people feel from their faes. *! the setio!s o! faial
appeara!e i! (hapters ;" <" '" &" ." a!d % are pratie i!strutio!s. 4ah of those
hapters also tells you how to make ertai! faes" o!struti!g ha!ges i!
e#pressio! so you a! better lear! how the fae works. 7he! you a! aurately
reog!iAe the faes show! i! (hapters ; through %" (hapter $/ shows you how to
use a !ew set of faes to pratie further a!d improve your skills.
Ho This Book !elates to "o#ular
Books a$out Bod% &o'ement and
(on'er$al Communication
:here is little overlap i! i!formatio! betwee! this book a!d the popular
books about body moveme!t or !o!verbal ommu!iatio! whih have appeared
i! the last few years. :hose books said almost !othi!g about faial e#pressio!"
hiefly beause the i!formatio! about the fae has !ot bee! avail1able before. Our
two previous books o! faial e#pressio! (Emotion in the Human Face a!d
Darwin and Facial Expression) are i!te!ded for the re1searher who is seeki!g
i!formatio! o! how to study faial e#pressio!" a!d for the sholar or stude!t who
wa!ts to k!ow what researh has bee! do!e o! faial e#pressio!. :hey address
suh )uestio!s as whether faial e#pressio!s of emotio! are u!iversal" a!d
whether people a! aurately tell a! emotio! from the fae. But they do!=t show
what u!iversal e#pressio!s of emotio! look like or show the reader how to make
aurate 9udgme!ts of emo1
tio!. :his is our first attempt to provide this i!formatio!" a!d to our k!owledge it
is the first attempt a!yo!e has made to do this.
:his book differs from the popular !o!verbal1ommu!iatio! books" too" i!
that it is about the fae" a!d therefore about emotio!s" while those books are
primarily about the body. Our studies of the body" published i! professio!al
9our!als" have e#plored the differe!es i! what the fae a!d the body tell us.
4motio!s are show! primarily i! the fae" !ot i! the body. :he body i!stead
shows how people are coping with emotio!. :here is !o speifi body moveme!t
patter! that always sig!als a!ger or fear" but there are faial patter!s speifi to
eah emotio!. *f someo!e is a!gry" his body may show how he is opi!g with the
a!ger. +e may be te!se a!d o!strai!ed ?tight musular te!sio! i! arms a!d legs"
stiff posture@. +e may be withdrawi!g ?a partiular retreated positio!@. :here may
be verbal attak ?ertai! types of ha!d moveme!ts with his words@" or the
likelihood of physial attak ?posture" orie!tatio!" ha!d moveme!ts@. +owever"
a!y of these moveme!ts a! our 9ust as well whe! a perso! is afraid as whe! he
is a!gry. Body moveme!t reveals" of ourse" !ot 9ust how someo!e opes with
emotio!" but also what a perso!
=
s attitudes" i!terperso!al orie!tatio!s" et." might
be. Some of this has bee! e#plai!ed i! the popular Fbody
F
books" some has
regrettably bee! e#plai!ed badly or erro!eously" a!d muh has 9ust !ot bee!
disussed. *! a few years we pla! to publish a!other book showi!g how body
moveme!t" faial e#pressio!" voie to!e" a!d words fit together. :hey are all
importa!t i! u!dersta!di!g people. But the fae is the key for u!dersta!di!g
people=s emotional e#pressio!" a!d it is suffiie!tly importa!t" ompliated" a!d
subtle to re)uire a book to itself.
$0) T0er e I s Nee# 1 or " Boo+
"5o/t Facial Expr essi on
Although everyo!e agrees that u!dersta!di!g emotio!s is ruial to perso!al
well1bei!g" to i!timate relatio!ships" a!d to suess i! ma!y professio!s" !o o!e
teahes you how to do this u!less you get i!to serious trouble. A!d the!" the
various teh!i)ues of psyhotherapy usually fous o!ly o! those few emotio!s
whih their theories o!sider. :hough there is stro!g evide!e !ow that the fae
is the primary sig!al system for showi!g the emotio!s" !o o!e taught you how to
read those sig!als. A!d there is every reaso! to believe that you were !ot bor!
with the k!owledge. Eou have to pik it up.
Muh of what you k!ow about emotio!s a!d faial e#pressio!s was shaped by
your pare!ts a!d other members of your family. :he faes of your
introduction
pare!ts" of your sibli!gs" a!d of other people who took are of you were the first
you saw. Eour family members may have bee! very e#pressive or very guarded
i! their faial e#pressio!. :hey may have show! you the full repertoire of
emotio!al e#pressio!s" or o!ly a few. ,erhaps you !ever saw a! a!gry fae" or a
fearful fae. ,eople i! your family may have show! emotio! i! their faes as
most other people do" or o!e of them might have developed a stra!ge or peuliar
way of looki!g disgusted or afraid" a!d that may still i!flue!e your reog!itio!
of that emotio!. As a hild" you may have bee! speifially i!struted !ot to look
at the faial e#pressio!s of others" or at least ertai! faial e#pressio!s. 6or
e#ample" some hildre! are told !ever to look at someo!e who is ryi!g.
As a! adult" you may be more se!sitive to some emotio!s tha! to others.
7hat you lear!ed about readi!g emotio!s i! your ow! family might have great
appliability to u!dersta!di!g others or relatively little" at least for some
emotio!s. :hrough wathi!g televisio!" or movies" or a lose frie!d" you may
have improved upo! a!d added to your k!owledge of faial e#pressio!s.
Although almost everyo!e orretly reads some faial e#pressio!s" few people
realiAe whe! they make mistakes or why they make them.
:he rules for tra!slati!g a partiular set of faial wri!kles i!to the 9udgme!t
that a perso! is a!gry" afraid" et. would be very hard for most people to desribe.
7he! you follow these rules you do so automatially" o! the basis of habits
established so lo!g ago that usually you do!
=
t k!ow how they operate" or eve!
whe! they operate. *! this se!se" u!dersta!di!g faial e#pressio!s of emotio! is
like drivi!g a ar. Eou do!=t thi!k about what you are doi!g whe! you do it.
5!like drivi!g a ar" with faial e#pressio! there !ever was a! earlier period i!
whih you were speifially taught the skills. :here is !o ma!ual i! whih you
a! hek how to orret mistakes. :here are !o e)uivale!ts to the traffi op
telli!g you whe! you missed or misi!terpreted a sig!al.
Ofte! you do !ot k!ow that a faial e#pressio! was the basis for your hu!h
or i!tuitio! about someo!e. Eou may o!ly se!se somethi!g about a perso!
without bei!g able to trae the soure of your impressio!. A!d if you do!=t k!ow
what led to your 9udgme!t you a!=t orret yourself if it tur!s out to have bee!
wro!g. Sometimes you are puAAled by someo!e=s faial e#pressio!D you a!=t
figure out what he mea!t. Or you a! figure out what he mea!t by the look o! his
fae" but you a!
=
t deide whether or !ot to trust it. *t is hard to hek impressio!s
with others" beause there 9ust is!=t muh of a voabulary for desribi!g the fae
itself. :here are a lot of words for the messages you get from the fae (afraid,
terrified, horrified, apprehensive, worried, to me!tio! a few of those related to
fear@" but few to desribe the soure of those messages. 7e do have the terms
smile, grin, frown, squint, but there are relatively few suh words that ide!tify
partiular faial
o!figuratio!s" disti!tive wri!kle patter!s" or temporary shapes of the faial
features. 7ithout terms to refer to the fae" we are ha!diapped i! ompari!g or
orreti!g our i!terpretatio!s of faial e#pressio!. (omme!ts suh as the
followi!g" though aurate" are madde!i!gly umbersome. F* k!ow why you
thought he was afraid. *t was beause the i!!er or!ers of his eyebrows were
pulled together a!d raised. But you failed to see the omega wri!kle i! his
forehead. *f you had !oted that" or the fat that the outer eyebrow or!ers were
dow!" !ot up" you would have k!ow! he was sad.
F
At best" it is !ot easy to
desribe faial e#pressio!. ,itures are !eeded" beause it is a visual
phe!ome!o!. *! this book we are able to bri!g you hu!dreds of are1fully
seleted photographs whih show you how the fae registers emotio!. 7e thi!k
suh a book is !eeded to aomplish the followi!g3
1 Br i !g atte!tio! to what you may already be doi!g without k!owi!g it
1 Sh o w what you may be missi!g e!tirely
1 (or r e t what you may be misi!terpreti!g
1 Sh o w the subtleties ?the families of faial e#pressio!s@ a!d the om1
ple#ities ?the ble!ds of two emotio!s i! o!e faial e#pressio!@
1 Al e r t you to sig!s of faial o!trol a!d teah you how to disover whe!
a faial )ualifier is used" or whe! a! e#pressio! is modulated or falsified
1 ,r ovi de teh!i)ues for lear!i!g whether you show emotio! i! your ow!
fae i! a! u!usual fashio!
:he !e#t hapter e#plai!s a !umber of the pote!tial problems e!ou!tered
i! u!dersta!di!g faial e#pressio!" suggesti!g why mistakes are made a!d how
to avoid them. Eou may have bee! brought up !ot to look at faes" or at ertai!
faes. Eou may be distrated by other ompeti!g bids for your atte!tio!" the
words someo!e speaks" the sou!d of his voie" the ge!eral appeara!e a!d
moveme!ts of his body. Eou may !ot reog!iAe the differe!es betwee!
o!trolled a!d u!o!trolled e#pressio!s. Eou may !ot k!ow what to look for i!
the fae" or where to look" to tell if someo!e is a!gry" or afraid. Eou may !ot
k!ow e#atly what a! emotio! is" how o!e emotio! differs from a!other" or
how a! emotio! differs from a mood" attitude" or harater trait.
why mistakes are made
in understanding facial
expressions
of emotion
The Face as a
Multisignal,
Multimessage
!stem
:he fae provides more tha! o!e ki!d of sig!al to o!vey more tha! o!e
ki!d of message. *! tryi!g to follow the emotio! messages" you may look at the
wro!g sig!al. Or perhaps you do!
=
t learly differe!tiate the emotio! messages
from the other messages o!veyed by the fae. A very familiar e#ample of a
multisig!al" multimessage system is the system of road sig!s. *t employs three
types of sig!als3 shape ?tria!gular" s)uare" irular" reta!gular" otago!al@" olor
?red" yellow" blue" gree!@" a!d i!sriptio! ?words" drawi!gs" !umbers@. Road
sig!s utiliAe these three types of sig!als to tra!smit three types of messages3
regulatio!s ?stop" !o 51tur!" yield" et.@" war!i!gs ?shool rossi!g" two1way
traffi" et.@" a!d i!formatio! ?servie area" bike route" ampi!g" et.@. 7ith road
sig!s" as with faial e#pressio!s" you must fous o! a partiular type of sig!al if
you wish to lear! a partiular type of message. *f you wa!t to k!ow if you are
approahi!g a rest area or a plae to amp" you a! searh for the blue or gree!
sig!s" beause it is these olors that give this type of i!formatio! ?yellow sig!s
give war!i!gs" red sig!s give regulatio!s@. :he parallel i! readi!g faes is that if
you wa!t to k!ow what emotio! someo!e is feeli!g" you must wath the
temporary ha!ges i! the fae" beause it is these rapid faial sig!als whih give
i!formatio! about emotio!s. ?*f you were tryi!g to determi!e someo!e
=
s age" you
would pay atte!tio! to more e!duri!g aspets of the fae" suh as musle to!e or
perma!e!t wri!kles.@
70
:he fae provides three types of sig!als3 stati ?suh as ski! olor@" slow
?suh as perma!e!t wri!kles@" a!d rapid ?suh as raisi!g the eye1brows@. :he
static sig!als i!lude ma!y more or less perma!e!t aspets of
the fae1ski! pigme!tatio!" the shape of the fae" bo!e struture" artilage" fatty
deposits" a!d the siAe" shape" a!d loatio! of the faial features ?brows" eyes"
!ose" mouth@. :he slow sig!als i!lude ha!ges i! the faial appeara!e whih
our gradually with time. *! additio! to the developme!t of perma!e!t wri!kles"
ha!ges i! musle to!e" ski! te#ture" a!d eve! ski! oloratio! our with age"
primarily i! the later years of adulthood. :he rapid sig!als are produed by the
moveme!ts of the faial musles" resulti!g i! temporary ha!ges i! faial
appeara!e" shifts i! the loatio! a!d shape of the faial features" a!d temporary
wri!kles. :hese ha!ges flash o! the fae for a matter of seo!ds or fratio!s of a
seo!d.
All three types of faial sig!als a! be modified or disguised by perso!al
hoie" although it is hardest to modify the stati a!d slow sig!als. +air styles are
used almost u!iversally to modify these sig!als. Ba!gs" for e#ample" a! ha!ge
the appare!t siAe of the forehead" or o!eal perma!e!tly ethed wri!kles.
(osmetis" suh faial or!ame!ts as su!glasses a!d" at the most e#treme" plasti
surgery a! modify the stati a!d slow faial sig!als so that they broadast a
differe!t set of messages. :he rapid faial sig!als a! be modified or disguised by
i!hibiti!g the musle moveme!ts that produe them or by maski!g o!e
e#pressio! with a!other" or by hidi!g the fae with beards or su!glasses. :hus"
o!e a! be misled" purposefully or aide!tally" by rapid" slow" or stati sig!als.
:he fae is !ot 9ust a multisig!al system ?rapid" slow" stati@ but also a
multimessage system. :he fae broadasts messages about emotio!" mood"
attitudes" harater" i!tellige!e" attrative!ess" age" se#" rae" a!d probably other
matters as well. :his book is foused primarily o! o!e type of message a!d o!e
type of sig!al1emotio! messages tra!smitted by the rapid sig!als. 7he! we speak
of emotio!s" we are referri!g to tra!sitory feeli!gs" suh as fear" a!ger" surprise"
et. 7he! these feeli!gs our" the faial musles o!1trat a!d there are visible
ha!ges i! the appeara!e of the fae. 7ri!kles appear a!d disappear" the
loatio! a!dIor shape of the eyebrows" eyes" eye1lids" !ostrils" lips" heeks" a!d
hi! temporarily ha!ge. Researh has show! that aurate 9udgme!ts of emotio!
a! be made from the rapid faial sig!als" a!d has ree!tly u!overed the
partiular faial sig!als1the bluepri!ts1whih disti!guish eah of the primary
emotio!s. ,hotographs were speially made for this book to reveal a!d o!trast
the faial bluepri!ts that disti!guish eah of the primary emotio!s a!d the ble!ds
of these emotio!s.
*t is importa!t to !ote that the emotio! messages are !ot tra!smitted by
either the slow or the stati faial sig!alsD however" these may affet the
impliatio!s of a! emotio! message. *f a perso! has a thi! or fat fae" a wri!kled
or smooth fae" a thi!1 or thik1lipped fae" a! old or you!g fae" a male or
female fae" a Blak" Orie!tal" or (auasia! fae" that does !ot tell you whether
the perso! is happy or a!gry or sad. But it may affet your
impressio!. 6or e#ample" if the rapid faial sig!als tell you that a perso! is a ! "
your impressio! of why the perso! is a!gry a!d what he is likely to do while
a!gry may depe!d i! part upo! the i!formatio! you glea! from the slow a!d
stati faial sig!als about the perso!
=
s age" se#" rae" perso!ality" temperame!t"
a!d harater. :hese further i!terpretatio!s are !ot disussed i! this book beause
too little is yet k!ow! about them" a!d beause there is a prior )uestio! with
whih we are primarily o!er!ed here. Before o!sideri!g the matter of what
you may e#pet of differe!t types of people o!e you do k!ow how they feel"
there is the )uestio! whih is the fous of this book3 +ow do you tell from the
fae how someo!e feels" a!d how a! you tell if his faial e#pressio! is ge!ui!e
or pho!yG
:his book also provides some i!formatio! about the mood messages. Moods
are losely related to emotio!s" a!d some are show! i! the rapid faial sig!als.
Moods differ from emotio!s i! that the feeli!gs i!volved last over a lo!ger
period. 6or e#ample" a feeli!g of a!ger lasti!g for 9ust a few mi!utes" or eve! for
a! hour" is alled a! emotio!. But if the perso! remai!s a!gry all day" or beomes
a!gry a doAe! times duri!g that day" or is a!gry for days" the! it is a mood.
F
*rritable
F
is a word used to desribe someo!e i! suh a mood" although o!e ould
9ust as well say that the perso! is i! a! a!gry mood. *t is possible" although !ot
likely" that a perso! i! suh a mood will show a omplete a!ger faial e#pressio!"
with the sig!als of a!ger registered over the e!tire fae" throughout the period
that the mood e!dures. More ofte! 9ust a trae of that a!gry faial e#pressio! may
be held over a o!siderable per i od1 a tighte!ed 9aw or te!sed lower eyelid" or lip
pressed agai!st lip" or brows draw! dow! a!d together. A!other way a mood may
be registered i! faial e#pressio! is by the fre)ue!y with whih the total faial
e#pressio! flashes o! a!d off withi! some time period. *t may be obvious that a
perso! is i! a! irritable mood beause he beame a!gry so ofte! this after1!oo!.
Other moods that are show! i! rapid faial e#pressio!s are depressio! ?where the
fae shows evide!e of sad!ess" fear" or a ble!d of both@" a!#iety ?where the fae
shows evide!e of fear@" a!d euphoria ?where the fae shows evide!e of
happi!ess a!d e#iteme!t@.
:he rapid faial sig!als also se!d emblematic messages. *! our researh we
utiliAe the term emblem to desribe sig!als the mea!i!g of whih is very speifi"
the !o!verbal e)uivale!t of a ommo! word or phrase. :he eye1wi!k sig!al for
the message of agreeme!t ?
F
right o!"
F
FsureF@ or flirtatio! ?Fwill youGF@ is a!
e#ample. 6aial emblems are like ha!d moveme!ts for wavi!g Fhello
F
or
F
goodbye"
F
a!d like head !ods for
F
yes
F
a!d F!o.
F
:he moveme!t is always speifi
a!d easy to disti!guish from other moveme!ts. :he mea!i!g is u!derstood by
everyo!e i! a ulture or subulture. 7e will !ot disuss the full array of faial
emblems" but o!ly those whih are losely related" either i! moveme!t or
message" to the emotio!al e#pressio!s. Rais1
i!g the brows a!d holdi!g them while keepi!g the rest of the fae bla!k is a!
e#ample of suh a! emblem. :hat brow moveme!t is part of the rapid faial
sig!al for surprise" but whe! it is !ot 9oi!ed by a moveme!t i! the eyelids a!d
lower fae as well" it sig!als )uestio!i!g.
:here are still other emblems that might be alled emotio! emblems"
beause the message they o!vey is about a! emotio!. :hese emotio! emblems
look like a faial e#pressio! of emotio!" but they are differe!t e!ough for the
perso! seei!g them to k!ow that the perso! maki!g them does!
=
t feel that way at
the mome!tD he is 9ust me!tio!i!g the emotio!. 6or e#ample" o!e of the emotio!
emblems for disgust is to wri!kle the !ose" whih is part of the disgust faial
e#pressio!. 7he! it is used as a! emotio! emblem it ours alo!e" with little
raisi!g of the upper lip" a!d it flashes o! a!d off the fae )uikly" a!d it is
therefore !ot o!fused with a! atual disgust faial e#pressio!. :he message is
F
disgust ?* do!
=
t feel that way !ow@.
F
:he rapid faial sig!als are used" the!" to o!vey emotio! messages a!d
emblemati messages. :hey are also used as o!versatio!al punctuators.
4veryo!e k!ows people who use their ha!ds to ae!t or italiiAe a word or
phrase as they speak. ,eople a! do the same thi!g with the rapid faial sig!als"
pu!tuati!g what is bei!g said i! words with faial ae!ts" ommas a!d periods.
:he faial pu!tuators will be disussed a!d show! i! later hapters.
:he fae se!ds ma!y rapid sig!als i! additio! to the o!es that register
emotio! or are used i! emotio!1related emblems or as pu!tuators. 6aial
grimai!g" o!torti!g" a!d pa!tomimi!gD moveme!ts re)uired by speehD suh
faial ats as lip1biti!g" lip1wipi!g" et." will !ot be o!sidered" beause they are
!ot related to or ofte! o!fused with the faial e#pressio!s of emotio!. Similarly"
the fae se!ds ma!y messages i! additio! to those about emotio!s a!d moods.
,eople believe they a! read attitudes" perso!ality" moral harater" a!d
i!tellige!e from the fae. 7e will !ot disuss these" beause it is !ot k!ow!
whether people eve! agree about suh 9udgme!ts" or" if so" whether their
9udgme!ts are orret. 6urther" it is !ot k!ow! whether a!y suh 9udgme!ts are
based o! the rapid" the slow" or the stati faial sig!als. ,eople probably do agree
a!d are orret" at least some of the time" i! 9udgi!g se#" age" a!d rae from the
fae. 4ve! with these more obvious messages" !ot muh is k!ow! about the
preise faial bluepri!ts. :hough we assume that they are tra!smitted primarily
by the slow a!d stati faial sig!als" we do !ot k!ow preisely what sig!als
tra!smit these types of i!formatio!. 6or e#ample" i! readi!g whether someo!e is
male or female" is this appare!t i! the shape of the upper or lower lip" or i! the
siAe of the lips" or the relative siAe of the two lips" or the pigme!tatio! of the lipsG
Or is it !ot the lips at all" but the amou!t of hair i! the eyebrows" or their shapeD
or is it the shape of the hi!D et.G
*! regard to faial e#pressio!s of emotio!" however" we k!ow a good deal.
7e k!ow that people a! make orret 9udgme!ts. 7e k!ow the speifi sig!als
i! eah part of the fae that o!vey the messages of fear" surprise" sad!ess"
happi!ess" a!ger" disgust" a!d ombi!atio!s thereof. *f your u!dersta!di!g of
faial e#pressio!s is to be improved so that you a! i!terpret those show! by
others a!d more ade)uately se!se your ow!" the! your atte!tio! must be foused
upo! the rapid faial sig!als a!d their disti!tive messages. *t is futile to look to
the slow a!d stati faial sig!als for i!formatio! about emotio!. Eou will !eed to
lear! the subtle a!d obvious differe!es a!d similarities amo!g the emotio!s i!
their appeara!e o! the fae a!d i! how they are e#perie!ed. A!d you will !eed
to lear! to disti!guish the faial e#pressio!s of emotio! from the faial emotio!
emblems" other faial emblems" a!d faial pu!tuators.
"ot Watching Faces
,roblems i! u!dersta!di!g faial e#pressio!s arise beause most of the time
people do !ot wath eah other
=
s faes. Beause most faial e#pressio!s of
emotio! are brief" you may ofte! miss a! importa!t message. Some faial
e#pressio!s are e#tremely rapid" lasti!g o!ly a fratio! of a seo!d. 7e all these
micro-expressions. Most people fail to see them or fail to reog!iAe their
importa!e. Later ?(hapter $$@ we will e#plai! how these very )uik miro1
e#pressio!s a! reveal emotio!s the perso! is attempti!g to o!eal. 4ve! the
more usual maro1e#pressio!s fre)ue!tly last o!ly a few seo!ds. *t is rare for a
faial e#pressio! of emotio! to last as lo!g as five or te! seo!ds. *f it does" the
feeli!g must be i!te!se" so i!te!se that the feeli!g is likely to be simulta!eously
show! i! the voie through a ry" laugh" roar" or i! words. 4ve! if you were !ot
looki!g at a perso!
=
s fae" you would be likely !ot to miss these i!te!se emotio!s"
beause you would hear them. More ofte!" however" the very lo!g faial
e#pressio!s are !ot ge!ui!e e#pressio!s of emotio!" but mock e#pressio!s" i!
whih the perso! is playi!g at showi!g a! emotio! i! a! e#aggerated fashio!. *t is
obvious whe! you see it that the perso! is playi!g. Sometimes he may !ot be
playi!g" but usi!g the mok e#pressio! as a way to show the emotio! without
taki!g respo!sibility for doi!g so. 6or e#ample" suppose you have agreed to 9oi!
someo!e i! a! esapade that !ow" as you approah it" looks more risky tha! you
had a!tiipated. Eou might show a mok fear e#pressio!. :his would let you
show how you feel" get the message aross to your ompa!io!" so that he too
ould e#press hesitatio!D but if he is u!sympatheti" he a!=t ridiule you beause
you were showi!g o!ly mok fear.
*t is easy to u!dersta!d why the miro1e#pressio!s might be missed"
beause they are so )uik. Later we will give some e#erises for reog!iAi!g
them. But eve! the lo!ger maro1e#pressio!s" whih last two or three seo!ds"
are ofte! missed" beause the fae is ofte! !ot wathed. *! a se!se this is
parado#ial" beause the fae is very omma!di!g of atte!tio!. As the site for the
ma9or se!sory i!puts1sight" heari!g" smell" a!d t ast e1 a!d for the ma9or
ommu!iative out put 1 speeh1 i t has great importa!e i! soial life. Moreover"
most people ide!tify their very selves" i! part" with their faial appeara!e.
*!dustries e#ist arou!d e!ha!i!g the appeara!e of the fae. A perso! is most
easily ide!tified by his fae" more so tha! by his body. +is privay is e#posed
muh more if a piture take! of his fae at some embarrassi!g mome!t appears i!
a !ewspaper" tha! if a similar piture of his body were to be published. A!d there
is uriosity about other people
=
s faes. 7he! told about a perso! you have!
=
t met"
you will wa!t to see a piture of his faeD you do!
=
t usually thi!k about wa!ti!g to
see a piture that would learly show his body. 7he! you see a perso!=s full fae
a!d body" you te!d to look more at the fae tha! at the body" u!less perhaps there
is some se#ual i!terest.
7he! you o!verse" you seldom look o!ti!uously at the other perso!
=
s
fae. Eou probably spe!d more time looki!g away from the perso! you are
talki!g with tha! you spe!d looki!g at him. :hi!k about how the hairs are
arra!ged" or how you rearra!ge them" whe! you are about to sit dow! a!d have a
o!versatio!. 5sually you do!
=
t sit fai!g eah other" head1o!" but ad9ae!t to or
at a!gles to eah other. 7he! your head is alig!ed with your body" you a!d the
perso! you are talki!g with are eah looki!g off i!to spae" whih is what you
probably do most of the time. *! order to see the fae of the other perso! you
must tur! your head" whih you will do oasio!ally.
Researh is prese!tly bei!g arried o! to e#plore 9ust when two people
o!versi!g do look at eah other. *t seems that whe! you speak you look to see if
the liste!er agrees" or is amused" a!gry" i!terested" bored" et. Eou look to
determi!e if the other perso! !eeds a ha!e to get a word i!. Eou look if the
other perso! has !ot made a!y audible liste!er respo!ses for a while ?
F
mm1hmm"
F
F
yes"
F

F
good"F Fuh1huh"F Jis that so"F et.@ to hek him out. Eou look to give the
other perso! the ha!e to take the floor. *f you do!
=
t i!te!d to give up the floor"
you have to be areful !ot to look at the other perso! whe! you are pausi!g.
7he! you are the liste!er" you may look at the speaker whe! he stresses a word"
or at the e!d of his phrase" if his i!fletio! rises a!d he seems to be i!viti!g a
verbal or !o!verbal respo!se from you.
:here are some situatio!s i! whih at least o!e perso! looks at the other
perso!
=
s fae muh more of the time. *f you are a member of a! audie!e" you feel
!o i!hibitio! about gaAi!g o!ti!uously at the performer=s fae. +e
has give! you permissio! by virtue of his a!d your role. *f you are a! i!ter1
rogator" you may o!ti!uously look at the perso! you are )uestio!i!gD that=s your
9ob. ,robably the same is true i! a!y formal o!versatio! i! whih o!e perso! has
some learly defi!ed a!d ak!owledged authority over a!other. (o!ti!uous fae1
wathi!g ours also i! 9ust the opposite type of situatio!. 4veryo!e a!
reog!iAe lovers" at least those who are still ourti!g" by how muh of the time
they u!abashedly gaAe i!to eah other=s faes.
7hy is it that most of the time you do!
=
t look at the fae of the perso! you
are o!versi!g withG 7hy may you atually look away at 9ust the mome!t you
se!se he may show a! emotio!al faial e#pressio!G ,art of the a!swer is
polite!ess1bei!g brought up !ot to stare ?at least i! the 5.S. a!d some other
ultures@. Eou do!=t wa!t to be rude a!d i!trusive" taki!g i!formatio! that it is !ot
lear the other perso! is givi!g to you. A!d you do!
=
t wa!t to embarrass the
perso! you are o!versi!g with" or yourself. *f he wa!ts you to k!ow how he
feels" the! he a! say it i! wordsD otherwise you would be oversteppi!g the
bou!ds of o!ve!tio!. 7athi!g someo!e
=
s fae is i!timate. Eou take suh a
liberty o!ly if the other perso! gives it to you by bei!g a publi performer" or if
your soial role bestows it upo! you ?as i!terrogator" employer" 9uryma!" pare!t"
e t . @ 1 or if you avowedly seek to share i!timay" looki!g a!d i!viti!g the look
of the other perso!.
:here is a!other side to it" however. *t is !ot 9ust bei!g polite a!d !ot
wa!ti!g to embarrass or be embarrassed. Ofte! !ot looki!g at the other per1so!
=
s
fae is motivated by !ot wa!ti!g to be burde!ed with that k!owledge or obligated
to do somethi!g about how the perso! feels. By !ot looki!g at his fae you do!=t
k!ow" or a! prete!d !ot to k!ow. 5!less he says it i! words" you are !ot soially
obligated to are for or respo!d to his feeli!gs. *f he is showi!g a!!oya!e or
a!ger o! his fae a!d you see it" a!d he k!ows you see it" the! you may have to
fi!d out whether you are the ause" or if !ot" why he is a!gry. *f he is showi!g
sad!ess" you may have to omfort or aid himD the same is true if he is showi!g
fear. *! ma!y soial i!teratio!s the last thi!g either perso! wa!ts is to
ak!owledge or take a!y respo!sibility for havi!g to deal with the feeli!gs of the
other perso!.
*! additio! to these fairly ommo! reaso!s for !ot looki!g at faes" some
people may have had e#perie!es i! their hildhood whih trai!ed them !ot to
look at ertai! people=s faial e#pressio!s" or at ertai! e#pressio!s" !o matter
who shows them. A hild may lear! that it is da!gerous to look at 2addy
=
s fae
whe! he is a!gry" or da!gerous to look at a!yo!e=s a!gry fae. Suh lear!i!g may
our so early that the grow! perso! avoids seei!g ertai! emotio!s" or ertai!
types of people showi!g ertai! emotio!s" without k!owi!g he is e!gaged i! suh
avoida!e.
*f your u!dersta!di!g of faial e#pressio!s is to improve" the! you must
ree#ami!e whether or whe! you wa!t to k!ow how the other perso! feels. Eou
may have to ou!terat habits you have lear!ed a!d followed without
k!owi!g it" whih lead you to ig!ore a!d miss ma!y faial e#pressio!s of
emotio!.
The Communication Barrage
:he fae is but o!e soure of i!formatio! available duri!g a o!versatio!"
a!d the problem is that messages may be missed beause of the distratio! of the
other" more omma!di!g soures biddi!g for atte!tio!. *! most o!versatio!s it is
sight a!d sou!d" what you see a!d hear" that you rely upo!. *! most o!versatio!s
amo!g people from 7ester! i!dustrialiAed setti!gs" there is !ot muh tatile
stimulatio!" a!d preautio!s are take! to amouflage odors. 7he! liste!i!g" you
gather i!formatio! from at least three soures i! the auditory ha!!el3 the atual
words usedD the sou!d of the voieD a!d suh thi!gs as how rapidly the words are
spoke!" how ma!y pauses there are" how muh the speeh is disrupted by words
like
F
aah
F
or Fummh.
F
7he! looki!g" you gather i!formatio! from at least four
soures i! the visual ha!!el3 the faeD the tilts of the headD the total body postureD
a!d the skeletal musle moveme!ts of the arms" ha!ds" legs" a!d feet. 4very o!e
of these soures i! both the auditory a!d visual ha!!el a! tell you somethi!g
about emotio!.
:he auditory a!d visual ha!!els offer differe!t adva!tages a!d dis1
adva!tages i! ommu!iatio! to the se!der a!d reeiver of messages. :he
auditory ha!!el a! be ompletely tur!ed off by the se!derD he a! simply shut
up a!d thereby ease providi!g a!y i!formatio! to the other perso! he was
o!versi!g with. :his is a! adva!tage for the se!der" a disadva!tage to the
reeiver. :he visual ha!!el is i! some se!se always tur!ed o!. :he se!der must
mai!tai! some body posture" some ha!d positio!" some set to the faeD thus" some
impressio! is always give! to the other perso!.
*f the se!der a! assume that the other perso! is i!terested i! the o!1
versatio!" the use of the auditory ha!!el provides greater likelihood that a
message se!t will get through a!d be reeived. :he liste!er does !ot !eed to poi!t
his ears at the se!der to reeive a messageD the liste!er=s auditory ha!!el is ope!.
Not so with the visual ha!!el. :he other perso! might be i!terested" but fail to
gla!e over at the mome!t a message is se!t. :he se!der may take adva!tage of
this to
F
slot
F
a message i! the visual ha!!el to omme!t to a! o!looker without
the k!owledge of the perso! with whom he is o!versi!g. 6or e#ample" o!e
perso! may sig!al visually to a!other perso! to resue him from a bori!g
o!versatio!" without the bori!g o!1versa!t !otii!g the all for help. O! the
other ha!d" if the se!der does wa!t his message to get through to the other perso!
with whom he is o!versi!g" the! he must wait u!til the other perso! is visually
fi#ed o! him before se!di!g a message i! the visual ha!!el. :hus" whe! a se!der
a!d reeiver share
a! i!terest i! ommu!iati!g" the auditory ha!!el has the adva!tage of more
ertai! reeipt of messages se!t.
O! the other ha!d" the reeiver a! more easily prete!d auditory tha! visual
i!terest. Liste!i!g a! be simulated" with oasio!al !ods a!d
F
umhmms
F
throw!
i!" whe! i! fat the reeiver is liste!i!g to a!other o!versatio! or to his ow!
thoughts. :here are !o tell1tale sig!s of suh auditory disloyalty whih parallel
the out1of1fous look to the gaAe" if the viewer pre1te!ds to be looki!g at the
se!der but is i! fat looki!g at someo!e behi!d or to the side of himD !othi!g to
e)ual the traki!g moveme!ts whih show that the viewer
=
s eyes are followi!g
someo!e else=s ativity. *!ide!tally" beause it is more obvious who is looki!g
tha! who is liste!i!g" both se!der a!d reeiver have more protetio! from
eavesdroppi!g by u!wa!ted lookers tha! by u!wa!ted liste!ers.
Although there is some repetitio! or overlap i! the type of i!formatio!
tra!smitted i! the two ha!!els" there is a !atural divisio! of labor" so that eah
ha!!el better o!veys ertai! messages. 7ords are best for most messages"
partiularly fatual o!es. *f you are tryi!g to tell someo!e where the museum is"
who played the lead i! that movie" whether you are hu!gry" or how muh the
meal osts" you use words. Eou do!=t resort to the visual ha!!el as the primary
tra!smitter of suh messages u!less you a!
=
t speak or be heard" or u!less the
message i!volves showi!g where somethi!g is i! spae ?how you get to the post
offie from here@. :he voie to!e a!d the visual ha!!el soures add )ualifyi!g
messages to what is tra!smitted i! words. Nua!es are added" poi!ts emphasiAed"
i!strutio!s give! as to how seriously to take what is said i! words" et. :he
visual ha!!el also a! be used for fatual messages" by *!dia! sig! la!guage or
the la!guage of the deaf" but the adva!tage is learly with words.
7ords a! also be used to desribe feeli!gs or e#plai! them" a!d typially
are used i! o!ert with other soures to do so. +ere" however" the adva!tage is
with the visual ha!!el" beause the rapid faial sig!als are the primary system
for e#pressio! of emotio!s. *t is the fae you searh to k!ow whether someo!e is
a!gry" disgusted" afraid" sad" et. 7ords a!!ot always desribe the feeli!gs
people haveD ofte! words are !ot ade)uate to e#press what you see i! the look o!
someo!e=s fae at a! emotio!al mome!t. A!d words are !ot trusted as muh as
faes" whe! it omes to emotio!s. *f some1o!e tells you he is a!gry a!d his fae
shows it as well" !othi!g is amiss. But if he says he is a!gry a!d shows !o
evide!e faially" you are suspiious. *f the reverse ours a!d he looks a!gry but
does!
=
t me!tio! a!ger feeli!gs i! his words" you doubt the words but !ot the
a!gerD you wo!der why he does!=t admit how he feels.
4motio! messages a! also be tra!smitted by the sou!d of the voie" body
posture" ha!dIarm moveme!ts" a!d legIfeet moveme!ts. But it is !ot
ertai! whether they tra!smit i!formatio! about emotio! with as muh preisio!
as does the fae. :hey may more simply tell you that someo!e is upset" but !ot
whether the upset feeli!g is a!ger" fear" disgust" or sad!ess. :he larity a!d
preisio! of these other soures of emotio! messages remai!s to be studied. 7e
do k!ow that the fae is a primary" lear" a!d preise sig!al system for the
e#pressio! of the speifi emotio!s.
7ith two ha!!els1the auditory a!d visual1tra!smitti!g i!formatio! from
seve! soures" ommu!iatio! is a barrage. :he speaker se!ds out a barrage of
sig!als a!d may !ot arefully atte!d to or employ all of them i! a! optimal
fashio!" a!d the liste!er is barraged a!d may !ot atte!d to all the sig!als
available. 7ith the visual ha!!el" people fous more o! the fae tha! o! the
other souresD faial e#pressio!s are tu!ed more tha! body moveme!ts" a!d
people look at faes more tha! body moveme!ts. But the auditory ha!!el" i!
partiular the words" usually reeives the most atte!tio!" both from speaker a!d
liste!er" beause here a! be tra!smitted the rihest a!d most varied i!formatio!
about everythi!g but emotio!.
Eou a! miss importa!t i!formatio! about emotio!s i! the fae" the!"
beause it is ompeti!g with these other i!formatio! soures" a!d it may be
somewhat ha!diapped i! its bid for atte!tio!. 4ve! if you foused as muh o!
faial e#pressio!s as o! words" the words would reeive more atte!tio! beause
they always reah us" while o!e has to look to see a faial e#pressio!. :he fae is"
!evertheless" of more importa!e tha! words for tra!smitti!g i!formatio! about
emotio!.
Controlling the Face
6aial e#pressio! may be o!trolled or u!o!trolled. O!e
.
e#pressio! may be
volu!tary" a!other i!volu!taryD o!e may be truthful a!d a!other false. :he
problem is to tell whih is whih.
Suppose someo!e has a! emotio!al e#perie!e1somethi!g happe!s" let us
say" to make him afraid. *f a! e#pressio! of fear omes over his fae" it will have
do!e so automatially. :he perso! does !ot thi!k about how to move his faial
musles to look afraidD the fear e#pressio! is i!volu!tary. But there may be
i!terfere!e" ditated either by lo!gsta!di!g well1i!grai!ed habit or by deliberate"
self1o!sious hoie of the mome!t. :he i!terfere!e may be mi!or" o!ly
)ualifyi!g or modulati!g the e#pressio!" or ma9or" i!terrupti!g or totally
i!hibiti!g the e#pressio!. :he faial e#pressio! of fear would be )ualified if the
perso! added to the fear e#pressio! a bit of a smile" showi!g that he a! Fgri! a!d
bear it.
F
:he faial e#pressio! would be modulated if the perso! ha!ged the
appare!t i!te!sity of the e#pressio!" tryi!g to show o!ly slight worry whe!
e#perie!i!g stro!g fear. :he faial e#pres1
sio! of fear ould be i!terrupted" so that o!ly a trae appearedD or the e#pressio!
might be totally i!hibited so that !othi!g showed o! the fae" or there was o!ly a
stiff appeara!e. Not o!ly a! faial e#pressio!s be i!terfered with" but people
a! simulate emotio! e#pressio!s" attempti!g to reate the impressio! that they
feel a! emotio! whe! they are !ot e#perie!i!g it at all. A perso! may show a!
e#pressio! that looks like fear whe! i! fat he feels !othi!g" or feels sad!ess or
some other emotio!.
6aial e#pressio!s of emotio! are o!trolled for various reaso!s. :here are
soial o!ve!tio!s about what you a! show o! your fae" ultural display rules
that gover! how people ma!age the appeara!e of their faes i! publi. 6or
e#ample" i! the 5!ited States ma!y little boys lear! the ultural display rule"
Flittle me! do !ot ry or look afraid.
F
:here are also more perso!al display rules"
!ot lear!ed by most people withi! a ulture" but the produt of the idiosy!rasies
of a partiular family. A hild may be taught !ever to look a!grily at his father" or
!ever to show sad!ess whe! disappoi!ted" or whatever. :hese display rules"
whether ultural o!es shared by most people or perso!al" i!dividual o!es" are
usually so well1lear!ed" a!d lear!ed so early" that the o!trol of the faial
e#pressio! they ditate is do!e automatially without thi!ki!g or aware!ess.
6aial e#pressio!s are also o!trolled beause of voatio!al !eed or pratie.
Some 9obs seem to re)uire or selet people who are e#pert faial o!trollers.
A!yo!e who is suessful i! suh a 9ob may !eed to be able to put o! o!vi!i!g
simulatio!s ?the ator" or eve! the salesma!@. Or the re)uireme!t may be !ever to
reveal how you atually feel ?the diplomat@. ,eople also o!trol their faial
e#pressio!s of emotio! beause it is to their adva!tage at a partiular mome!t. *f
a pupil heats o! a! e#am" he may o!eal his apprehe!sio! whe! the protor
walks by beause he does!=t wa!t to get aught.
Some of the o!fusio! about faial e#pressio! arises" the!" beause the fae
o!veys both true a!d false emotio! messages. :here are u!o!trolled"
i!volu!tary" true e#pressio!s a!d also )ualified" modulated" or false e#pressio!s"
with lies of omissio! through i!hibitio! a!d lies of ommissio! through
simulatio!. *! order to improve your u!dersta!di!g of faial e#pressio!s of
emotio!" you will have to disti!guish whih is whih. :he first step is to lear!
how the atually felt emotio!s appear o! the fae ?(hapters ; to %@" for without
that k!owledge you a!=t spot the lues to faial o!trol. Later" i! (hapter $$ o!
F
6aial 2eeit"
F
the display rules a!d the various ma!ageme!t teh!i)ues will be
further e#plai!ed. A !umber of suggestio!s will be give! about how to
disti!guish felt from modulated or false faial e#pressio!s. Some of the lues are
i! the shape of the faial e#pressio!" some i! its timi!g" others i! its loatio! i!
the o!versatio!al stream" a!d still others i! how the faial e#pressio! relates to
everythi!g else the perso! is doi!g.
research on facial
expressions
of emotion
:here have bee! hu!dreds of e#perime!ts o! faial e#pressio!s of emotio!.
4lsewhere we have a!alyAed these studies i! detail ?see Refere!e < at the e!d of
this hapter@. +ere we will more briefly desribe o!ly those studies whih are
diretly releva!t to the i!formatio! prese!ted i! this book. :his hapter should
help resolve the doubts of the skepti about the sie!tifi basis for what is said
a!d show! i! subse)ue!t hapters. *t is also provided for those who are urious
about how faial e#pressio!s of emotio! are studied.
$0i (0 E*ot i ons 6oes t 0e
F"(e S0o,7
2oes the fae tell us o!ly whether someo!e feels pleasa!t or u!pleasa!t" or
does it provide more preise i!formatio!" o!veyi!g whih u!pleasa!t emotio! is
e#perie!edG *f the latter" how ma!y of these speifi emotio!s does the fae
show1si#" eight" twelve" or what !umberG :he typial method used to determi!e
9ust whih emotio!s a! be read from the fae has bee! to show photographs of
faial e#pressio!s to observers" who are asked to say what emotio! they see i!
eah fae. :he observers may be give! a pre1determi!ed list of emotio! words to
hoose from" or left to their ow! re1soures to reply with whatever emotio! word
omes to mi!d. :he i!vestigator a!alyAes the a!swers of the differe!t observers
to determi!e what emotio!s they agree about i! desribi!g partiular faes. +e
might fi!d" for e#ample" that ./ pere!t of the observers agree i! desribi!g a
21
partiular fae with the word
F
afraid.
F
:hey might !ot agree about a word to
desribe some other faeD for e#ample" a fae alled Fdisi!terest
F
by some
observers might be
labeled with other emotio!s by other observers. O! the basis of suh results" the
i!vestigator reahes a o!lusio! about whih emotio!s the fae a! o!vey.
:he si# emotio!s that are the sub9et of this book1happi!ess" sad!ess"
surprise" fear" a!ger" a!d disgust1were fou!d by every i!vestigator i! the last
thirty years who sought to determi!e the voabulary of emotio! terms assoiated
with faial e#pressio!s. :here are probably other emotio!s o!veyed by the fae1
shame a!d e#iteme!t" for e#ampleD but these have !ot yet bee! as firmly
established. Beause we will be showi!g !ot o!ly how these si# emotio!s appear
o! the fae" but also how thirty1three differe!t ble!ds of these si# emotio!s
appear" )uite a large portio! of the emotio!al repertoire of the fae will be
represe!ted.
%re ?ugments of Emotion %ccurate!
*t is !ot e!ough to determi!e what emotio!s are read from faial e#1
pressio!s. *t is also ruial to disover whether the i!terpretatio!s of the
observers are orret or !ot. 7he! people look at someo!e
=
s fae a!d thi!k that
perso! is afraid" are they right or wro!gG Are faial e#pressio!s a! a1urate
refletio! of emotio!al e#perie!eG Or are the impressio!s gai!ed from faial
e#pressio! merely stereotypes1all agree about them" but they are wro!gG :o study
this )uestio! the i!vestigator must fi!d some people whom he k!ows to be havi!g
a partiular emotio!al e#perie!e. +e must take some photographs" films" or
videotapes of these people a!d the! show them to observers. *f the observers=
9udgme!ts of the faial e#pressio!s fit with the i!vestigator
=
s k!owledge of the
emotio!al e#perie!e of the perso!s bei!g 9udged" the! auray is established.
Most of the studies of auray i! 9udgi!g faial e#pressio! failed to provide
o!lusive evide!e o!e way or a!other" usually beause the i!vestigator=s
k!owledge of the emotio!al e#perie!e of the people bei!g 9udged was faulty. *!
our a!alysis of the e#perime!ts o!duted over the last fifty years" we did fi!d
o!siste!t a!d o!lusive evide!e that aurate 9udgme!ts of faial e#pressio!
a! be made. Some of these studies were o!1duted i! our ow! laboratory. *!
o!e e#perime!t" photographs were take! of psyhiatri patie!ts whe! they were
admitted to a me!tal hospital" a!d agai! whe! they were less upset a!d ready for
disharge. 5!trai!ed observers were show! these photographs a!d asked whether
eah faial e#pressio! was show! at time of admissio! or at time of disharge.
:he 9udgme!ts were aurate. :hese same photographs were show! to a!other
group of observers who were !ot told they were seei!g photographs of psyhiatri
patie!ts" but i!stead were asked to 9udge whether the emotio! show! was pleasa!t
or u!pleasa!t. Agai! auray was prove!" beause the faial e#pressio!s show!
research on facial e-"ressions of emotion 23
at admissio! were 9udged as more u!pleasa!t tha! those show! at disharge from
the hospital. *! a!other study" other observers were asked to 9udge how pleasa!t
or u!pleasa!t the faial e#pressio!s were" but the faes show! to them were of
psyhiatri trai!ees u!dergoi!g a stress i!terview. 7ithout k!owi!g whih was
whih" the observers 9udged the faial e#pressio!s duri!g stress as more
u!pleasa!t tha! the faial e#pressio!s draw! from a !o!1stressful part of the
i!terview. *! still a!other e#perime!t" observers were show! two films of ollege
stude!ts" o!e take! whe! they had bee! wathi!g a very u!pleasa!t film of
surgery" a!d o!e whe! they had bee! wathi!g a pleasa!t travelogue film. :he
observers aurately 9udged whih film the ollege stude!ts were wathi!g from
their faial e#pressio!s.
All these studies were o!er!ed with spo!ta!eous faial e#pressio!s whih
!aturally our whe! a perso! does !ot deliberately try to show a! emotio! i! his
fae. But what of those situatio!s i! whih a perso! deliberately tries to show a!
emotio!" to look happy or a!gry" et.G Ma!y studies have i!diated that observers
a! aurately 9udge whih emotio! is i!te!ded whe! a perso! deliberately tries
to o!vey a! emotio! through faial e#pressio!.
%re )here #ni$ersal Facial
%x&ressions o' %motion(
Are faial e#pressio!s of emotio! the same for people everywhere" !o
matter what their bakgrou!dG 7he! someo!e is a!gry" will we see the same
e#pressio! o! his fae regardless of his rae" ulture" or la!guageG Or are faial
e#pressio!s a la!guage" the mea!i!g of whih we must lear! a!ew for eah
ulture" 9ust as we !eed to lear! the verbal la!guageG A little more tha! o!e
hu!dred years ago" (harles 2arwi! ?see Refere!e $ at the e!d of this hapter@
wrote that faial e#pressio!s of emotio! are u!iversal" !ot lear!ed differe!tly i!
eah ultureD that they are biologially determi!ed" the produt of ma!=s
evolutio!. Si!e 2arwi!=s time ma!y writers have emphatially disagreed. Cust
ree!tly" however" sie!tifi i!vestigatio!s have o!lusively settled this
)uestio!" showi!g that the faial appeara!e of at least some emotio!s" those
overed i! this book" is i!deed u!iversal" although there are ultural differe!es
i! whe! t h e e#pressio!s are show!.
Researh o!duted i! our laboratory played a e!tral role i! settli!g the
dispute over whether faial e#pressio!s are u!iversal or speifi to eah ulture.
*! o!e e#perime!t" stress1i!dui!g films were show! to ollege stude!ts i! the
5!ited States a!d to ollege stude!ts i! Capa!. ,art of the time" eah perso!
wathed the film alo!e a!d part of the time the perso! wathed while talki!g
about the e#perie!e with a researh assista!t from the perso!
=
s ow! ulture.
Measureme!ts of the atual faial musle moveme!ts" aptured
o! videotapes" showed that whe! they were alo!e" the Capa!ese a!d Ameri1
a!s had virtually ide!tial faial e#pressio!s ?see 6igure $@. 7he! i! the
prese!e of a!other perso!" however" where ultural rules about the ma!age1
me!t of faial appeara!e ?display rules@ would be applied" there was little
orrespo!de!e betwee! Capa!ese a!d Ameria! faial e#pressio!s. :he
Capa!ese masked their faial e#pressio!s of u!pleasa!t feeli!gs more tha!
did the Ameria!s. :his study was partiularly importa!t i! demo!strati!g
what about faial e#pressio! is u!iversal a!d what differs for eah ulture.
:he u!iversal feature is the disti!tive appeara!e of the fae for eah of the
primary emotio!s. But people i! various ultures differ i! what they have
bee! taught about ma!agi!g or o!trolli!g their faial e#pressio!s of emotio!.
*! a!other e#perime!t we showed photographs of the differe!t emotio!
e#pressio!s to observers i! the 5!ited States" Capa!" (hile" Arge!ti!a" a!d
BraAil. :he observers i! these differe!t ultures had to hoose o!e of the
si# primary emotio! words for eah photograph they saw. *f faial e#pres1
sio!s were a la!guage that differs from ulture to ulture" the! a faial e#1
pressio! said to be angry by Ameria!s might be alled disgust or fear by
people i! BraAil" or might !ot mea! a!ythi!g to them. Cust the opposite was
fou!d. :he same faial e#pressio!s were 9udged as showi!g the same emo1
tio!s i! all these ou!tries" regardless of la!guage or ulture ?see 6igure 0@.
4sse!tially the same e#perime!t was arried out i!depe!de!tly at the same
Fig. 6 ,xample of s"ontaneous facial e-"ression
of a 7apanese 8on the left9 and an
American 8on the right9 shon hen
atching a stress film.
Anger 67% 90% 94% 90% 90%
Fi .& 3 Ex"*p-es o1 t0e p0oto.r"p0s /ti-i8e# in " st/#) o1 0o, e*otions "re
9/#.e# "(ross -iter"te (/-t/res
er(ent".e A.ree*ent in How 0oto.r"p0 $"s Judged
A(ross Cultures
UNITE6 A'GEN-
STATES B'A:I! CHI!E TINA ;AAN
<;=>>? <;=42? <;=11>? <;-168? <;=3>?
Fe"r 85@ 67@ 68@ 54@ 66@
6is./st >3@ >7@ >3@ >3@ >2@
H"ppi ness >7@ >5@ >5@ >8@ 122@
time by (arroll *Aard ?Refere!e .@ with observers i! eight differe!t ultures" a!d
the same evide!e of u!iversality was fou!d.
Although we wished to i!terpret our fi!di!gs as evide!e that some faial
e#pressio!s are u!iversal" o!e loophole remai!ed. All the people studied had
some shared visual o!tat" usually !ot diretly but through the mass media. *t
was still possible that faial e#pressio!s might really differ i! all the ultures
studied" but the people might have lear!ed" through movies" televisio!" a!d
piture magaAi!es" what eah other
=
s faial e#pressio!s of emotio! looked like. Or
faial e#pressio!s of emotio! might be similar i! all the ultures we studied
preisely beause the people had all lear!ed how to show emotio! o! their fae
by wathi!g the same ators i! the movies or televisio! a!d imitati!g their faial
e#pressio!s. 7e had !ot elimi!ated the possibility that" amo!g people who did
!ot have the opportu!ity to view mass1media portrayals of faial e#pressio!s of
emotio!" emotio!s would be show! by e!tirely differe!t faial musular
moveme!ts. :he o!ly way to settle this )uestio! was to study visually isolated
people who had !o o!tat with the mass1media" a!d little if a!y o!tat with the
outside world.
7e o!duted a series of e#perime!ts i! the Southeast +ighla!ds of New
Bui!ea" where we were able to fi!d people who met these riteria. Be1ause these
people were i! !o way austomed to taki!g psyhologial tests or partiipati!g
i! e#perime!ts" a!d beause we did !ot k!ow their la!guage but had to work
through tra!slators" we had to modify our e#perime!tal proedure. *! other
ou!tries we had show! a si!gle photograph of o!e or a!other of the emotio!
e#pressio!s a!d give! the observer a hoie amo!g a list of emotio! words. *!
New Bui!ea" we showed the perso! three photographs at o!e" had a tra!slator
read a! emotio! story" suh as FA perso!=s mother died"F a!d asked the observer
to poi!t to the photograph that fit the story. 7e fou!d that these people seleted
the same fae for the same emotio! as did people i! all the other ultures we had
studied. :here was but o!e e#eptio!3 the New Bui!ea!s failed to disti!guish
betwee! the fear a!d surprise faial e#pressio!s.
*! a related e#perime!t" other New Bui!ea!s were told a! emotio! story
a!d eah was asked to show the emotio! o! his ow! fae. 8ideotapes were take!
of these i!te!ded emotio! e#pressio!s" some e#amples of whih are show! i!
6igure -. A!alysis of these New Bui!ea!s= faial e#pressio!s showed agai! that
the same faial e#pressio!s were produed for the same emotio!s as had bee!
fou!d i! other ultures" with the e#eptio! of fear a!d surprise" whih were
o!fused with eah other. 6urther o!firmatio! of the u!iversality of faial
e#pressio!s was obtai!ed by a study of a!other ulture i! 7est *ria!" the wester!
portio! of the isla!d of New Bui!ea. Karl a!d 4lea!or +eider" who were
Anger 67% 90% 94% 90% 90%
skeptial of our evide!e of u!iversality" o!duted the same e#perime!ts with
people eve! more visually isolated tha! those we had studied" a!d they also
obtai!ed evide!e of u!iversality.
:ake! together" our studies" those of *Aard" the +eiders= study" a!d evide!e
from 4ibl14ibesfeldt ?a! ethologist usi!g very differe!t methods@" showed )uite
o!lusively that 2arwi! was orret i! laimi!g that there are u!iversal faial
e#pressio!s of emotio!.
Although the appeara!e of the fae for eah of the primary emotio!s is
ommo! to all peoples" faial e#pressio!s do vary aross ultures i! at least two
respets. 7hat eliits or alls forth a! emotio! will usually differD people
Fig. 3 Video frames of attempts to pose emotion by subjects
from the Fore of New Guinea. The instruction for the top
left photograph was "your friend has come and you are
happy"; for the top right "your child has
died"; for the bottom left
"
you are angry and about to
fight
"
; for the bottom right "you see a dead pig that has
been lying there for a long time."
may beome disgusted or afraid i! respo!se to differe!t thi!gs i! differe!t ul1
tures. Also" ultures differ i! the o!ve!tio!s people follow i! attempti!g to
o!trol or ma!age the appeara!e of their faes i! give! soial situatio!s. ,eople
i! two differe!t ultures may feel sad!ess at the death of a loved o!e" but o!e
ulture may presribe that the hief mour!ers mask their faial e#pressio! with a
mildly happy ou!te!a!e.
Ho, 6oes E"(0 E*ot i on Appe"r on
t 0e F"( e7
As we bega! to fi!d evide!e that there are some faial e#pressio!s of
emotio! whih are u!iversal" a!d before all the studies were ompleted" we bega!
to i!vestigate 9ust what these u!iversal faial e#pressio!s of emotio! look like.
7e sought to o!strut a! tlas of the fae" whih would depit photographially
eah of the u!iversal faial e#pressio!s of emotio!. *t is this Atlas ?Refere!e ;@
whih forms the basis for the photographs show! i! the subse)ue!t hapters of
this book. Our first step i! developi!g the 6aial Atlas was to study what others
had said about the appeara!e of the fae for eah of the primary emotio!s. Some
writers had desribed whih musles were o!trated i! partiular emotio!s"
while others o!er!ed themselves o!ly with the appeara!e of the surfae of the
fae. No!e had systematially o!sidered all the musles or all the o!se)ue!t
ha!ges i! the surfae appeara!e of the fae for the si# primary emotio!s.
,utti!g together what was writte! by 2arwi!" 2uhe!!e" a 6re!h
a!atomist whom 2arwi! had )uoted e#te!sively" +uber ?Refere!e &@" a!
Ameria! a!atomist writi!g thirty years ago" a!d ,luthik ?Refere!e %@" a!
Ameria! psyhologist o!er!ed with emotio!" we saw part of the piture
emerge. 7e o!struted a table whih listed all the faial musles a!d the si#
emotio!s" e!teri!g i!to the table what these me! had writte! about whih musles
were i!volved i! what way for eah emotio!. :here were ma!y gaps" however"
where !o o!e had said a!ythi!g about the i!volveme!t of a partiular musle i! a
partiular emotio!. 7orki!g with Silva! :omki!s ?Refere!e $/@" we filled i!
those gaps with i!formatio! from our ross1ultural studies a!d our shared
impressio!s.
:he !e#t step was to photograph models" who were i!struted to move
partiular faial musles listed i! the table. 7e separately photographed the three
areas of the fae whih are apable of i!depe!de!t moveme!t1the browIforeheadD
the eyesIlids a!d root of the !oseD a!d the lower fae" i!ludi!g the heeks"
mouth" most of the !ose" a!d hi!. :he ompleted Atlas o!sists of a series of
photographs of these three differe!t areas of the fae" eah photograph keyed to
o!e of the si# emotio!s. As might well be e#peted" for eah of the emotio!s
there is more tha! o!e Atlas photograph for at least
research on facial expressions of emotion
o!e faial area. 6or e#ample" for surprise there is o!e browIforehead" o!e
eyesIlidsIroot of !ose" but four differe!t Atlas photographs of the lower fae.
:he !e#t obvious )uestio! was whether the Atlas is orret. Are the si#
emotio!s1happi!ess" sad!ess" a!ger" fear" disgust" a!d surprise1i! atuality
omposed of the faial appeara!es listed i! the AtlasG Or does the Atlas
appeara!e of disgust atually our with a!ger" a!d so forthG 7e have o!1
duted four e#perime!ts o! the validity of the Atlas. :wo of the e#perime!ts
attempted to prove its validity by showi!g that measureme!ts of the fae with the
Atlas orrespo!ded with other evide!e of the sub9etive emotio!al e#perie!e of
the perso!s whose faes were measured. :hese e#perime!ts i!vestigated the
e#perie!tial validity of the Atlas.
:he other two e#perime!ts i!vestigated the soial validity of the Atlas.
Rather tha! attempti!g to prove that the Atlas measureme!ts orrespo!d to the
perso!
=
s e#perie!e" these studies i!vestigated whether the Atlas measureme!ts
a! predit what observers thi!k a perso! is feeli!g whe! they look at his fae.
Although e#perie!tial a!d soial validity should be related" they !eed !ot
!eessarily be so. 7e may !ot look to others how we atually feel" at least all the
time. :hus" it was !eessary to study both e#perie!tial a!d soial validity.
:he studies of e#perie!tial validity drew from materials gathered i! o!e of
the ross1ultural studies of faial e#pressio!s desribed earlier. (ollege stude!ts
i! Capa! a!d i! the 5!ited States had i!dividually wathed pleasa!t a!d
u!pleasa!t movies while we videotaped their faial e#pressio!s. 6rom their
a!swers to )uestio!!aires after the e#perime!t" it was lear that they e#perie!ed
very differe!t emotio!s while wathi!g the two films. *! desribi!g their reatio!s
to the travelogue" the sub9ets had said it was i!teresti!g a!d pleasa!t" a!d aused
them to feel moderate happi!ess. *! desribi!g their re1atio!s to the surgial
film" the sub9ets said they had u!pleasa!t" disgusted" pai!ed" fearful" sad" a!d
surprised feeli!gs. *f the 6aial Atlas is valid" the! measureme!ts based o! it
should be able to disti!guish betwee! the faial e#pressio!s show! whe! these
two differe!t sets of emotio!s were e#perie!ed.
All the faial musular moveme!ts visible o! the videotapes were isolated"
their duratio! was measured" a!d they were lassified i! terms of the Atlas. :his
measureme!t proedure was do!e i! slow motio!" with the measureme!ts made
separately for the three areas of the fae" by three separate teh!iia!s. Suh
preise measureme!t re)uired about five hours for eah mi!ute of videotaped
faial behavior. :he results were very lear1ut. Measureme!ts with the 6aial
Atlas learly disti!guished the two emotio!al o!ditio!s1whether sub9ets had
bee! wathi!g a stressful film or a travelogue. A!d the Atlas was e)ually
suessful with the faial e#pressio!s of Capa!ese sub9ets a!d with Ameria!s"
as it should be" beause it was built to show the u!iversal faial e#pressio!s of
emotio!. O!e limitatio! of this e#perime!t" however" is that it did!=t determi!e
whether the Atlas orretly depits the
faial appeara!es for eah of the si# emotio!s. *t o!ly shows that the Atlas is
orret i! disti!guishi!g betwee! u!pleasa!t a!d pleasa!t e#perie!es.
:he seo!d e#perie!tial validity study provided a partial remedy to this
limitatio!. Ree!t researh o! the physiology of emotio!s suggests that there are
markedly differe!t patter!s of heart rate aeleratio! a!d deeleratio! with the
emotio!s of surprise a!d disgust. Measures of heart rate a!d ski! o!duta!e
had bee! gathered o! the Capa!ese a!d Ameria! sub9ets whe! they were
wathi!g the pleasa!t a!d stressful films. *f the Atlas is orret i! what it says a
surprise fae a!d a disgust fae look like" the! whe! the Atlas says suh faial
e#pressio!s our" there should be a differe!t patter! of heart rate for eah. 7he!
we e#ami!ed the ha!ges i! heart rate whih oi!ided with faial e#pressio!s
the Atlas had desig!ated as either surprise or disgust" the results showed the
predited differe!e.
Although this seo!d study does provide evide!e of the validity of the
Atlas for surprise a!d disgust" it does!=t show that the Atlas is !eessarily valid i!
what it says about the other emotio!s11a!ger" happi!ess" sad!ess" a!d fear.
Logially" if it is show! to be valid for surprise a!d disgust" the Atlas should be
e)ually valid for the other emotio!s" beause it was derived by the same method
for all si# emotio!s. But evide!e is still re)uired" a!d for that we tur! to the third
study" whih e#ami!ed the Atlas i! terms of soial validity. (ould the Atlas
predit how observers will i!terpret faial e#pressio!sG
,hotographs that had bee! take! by ma!y differe!t i!vestigators of faial
e#pressio! were obtai!ed. :hese pitures were show! to observers" who were
asked to 9udge whih of the si# emotio!s was show! i! eah piture. O!ly those
o! whih the observers had agreed about the emotio! e#pressed i! the fae were
further o!sidered. *f the Atlas orretly depits the appeara!e of eah of the si#
emotio!s" the! measureme!ts based o! the Atlas ought to be able to predit the
emotio! see! by the observers i! eah of these photographs. :he Atlas
measureme!ts were made separately for the three areas of the fae by three
separate teh!iia!s" a!d preditio!s were made. 7ith great suess the Atlas
predited the emotio!s see! by observers whe! they looked at eah of these
photographs of faial e#pressio!.
:he fourth study was muh like the o!e 9ust desribed" e#ept that here the
faial e#pressio!s e#ami!ed were those produed by de!tal a!d !ursi!g stude!ts
who had bee! i!struted to attempt to show eah of the si# emotio!s by their
faial e#pressio!. :he problem was for the Atlas to predit for eah photograph
what emotio! the stude!t had bee! i!te!di!g to show. :he measureme!ts made
with the Atlas sueeded.
7hile we were worki!g o! these e#perime!ts" i!depe!de!tly a!d u!k!ow!
to us a Swedish a!atomist" (arl1+erma! +9orts9o ?Refere!e '@" was worki!g
with very differe!t methods o! the same problem. +e photographed his ow! fae
as he o!trated eah of the faial musles. +9orts9o the! looked
research on facial expressions of emotion
at eah of these photographs a!d asked what emotio! these pitures seemed to
show. O! the basis of his ow! 9udgme!t" he the! desribed i! his Atlas the
appeara!e of the faial e#pressio!s for eah emotio!. 7he! we ree!tly met
with +9orts9o" we were all pleased to disover that there was almost omplete
overlap betwee! his Atlas a!d ours.
Although !o o!e of our four e#perime!ts alo!e would validate the Atlas"
take! together a!d i! o!9u!tio! with the i!depe!de!t disovery of the same
6aial Atlas by +9orts9o" the evide!e for the validity of our Atlas is muh more
tha! te!tative. Muh researh remai!s to be do!e to further validate a!d refi!e the
AtlasD but the evide!e is suffiie!t to share what we have already fou!d. :he
i!formatio! prese!ted i! the subse)ue!t hapters about the appeara!e of the
faial e#pressio!s is based o! the Atlas a!d has bee! supported by o!e or more of
our ow! e#perime!ts or by +9orts9o
=
s work. :he photographs show o!ly part of
what is i! our Atlas. 7e have seleted those parts whih are best supported by
evide!e a!d whih are most importa!t for lear!i!g the pratial skill of readi!g
faial e#pressio!s of emotio!. *t is u!likely that a!ythi!g show! is i! error. But it
is likely that we are o!ly telli!g part of the story" that further researh will
determi!e additio!al ways i! whih the faial e#pressio!s of emotio! a! be
show!.
)o* Are Facial
%x&ressions
+ontrolle,(
+ow a! we tell a real faial e#pressio! of emotio! from a simulated o!eG
7he! a perso! does!
=
t feel the way he looks" but is attempti!g to mislead us
about his feeli!gs" is there a!y way to detet his real feeli!gs i! his faial
e#pressio!G *! short" does the fae FleakFG
7e have bee! studyi!g this problem for a !umber of years. 7e started with
films of the faial e#pressio!s of psyhiatri patie!ts duri!g i!terviews. *! ertai!
i!terviews we k!ew from subse)ue!t eve!ts that the patie!ts had bee! misleadi!g
the i!terviewer about their feeli!gs. Study of these films provided the basis for a
theory of !o!verbal leakage!ways to tell" from faial e#pressio! or body
moveme!t" feeli!gs the perso! was attempti!g to o!eal. 7e have bee! testi!g
this theory duri!g the last few years by studyi!g i!ter1views i! whih o!e perso!
purposefully o!eals from a!other the !egative emotio!s e#perie!ed as a result
of wathi!g very u!pleasaiit" stress movies. :he sub9ets i! this e#perime!t try to
o!vi!e the i!terviewer that the film they have see! was atually pleasa!t" a!d
that they e!9oyed it.
Our study of these i!terviews is far from ompleted. 7e have yet to test
ma!y of our hypotheses about faial leakage. +owever" our fi!di!gs to date are
o!siste!t with our hypotheses a!d with our earlier fi!di!gs from the i!terviews
with psyhiatri patie!ts. :he i!formatio! prese!ted i! (hapter
$$ o!
F
6aial 2eeit
F
must be regarded as te!tative. *t is our best 9udgme!t of
what the researh will prove" based o! our theory a!d our ma!y hours of
i!speti!g faial e#pressio!s of people whe! they are lyi!g.
*ow %re the %motions
E-"erience!
7e have !ot diretly studied this )uestio!" a!d had thought i! pla!!i!g this
book that we would be able to rely upo! the sie!tifi literature. 7e were
disappoi!ted to fi!d that despite ma!y studies of emotio! a!d a variety of theories
of emotio!" relatively little atte!tio! has bee! paid to ertai! fu!dame!tal
)uestio!s. 7hat" for i!sta!e" are the differe!t eve!ts whih all forth eah
emotio!G 7hat are the variatio!s i! the i!te!sity of eah emotio!G +ow do the
se!satio!s for eah emotio! differG A!d what are the likely ativities people will
e!gage i! whe! they feel a!gry" disgusted" afraid" et.G
:here were some a!swers" or ideas about some of these matters" for some of
the emotio!s. Of most help were the writi!gs of 2arwi! a!d of :omki!s. Muh of
what we have writte! had to be e#trapolated from our ow! e#perie!es a!d the
ma!y years of thi!ki!g about the si# emotio!s whose faial e#pressio!s we have
bee! studyi!g. *! eah of the !e#t hapters is a setio! o! F:he 4#perie!e
of . . .F whih prese!ts most of what has bee! sie!tifially established about eah
emotio!" a!d muh that has !ot bee! established sie!tifially" although it should
be familar to everyo!e. A !umber of our frie!ds a!d olleagues have heked
these parts of the book a!d fou!d them to fit their ow! lives a!d their k!owledge
of the lives of others. Eou will be able to determi!e the value of these disussio!s
by ompari!g them with your ow! e#perie!e a!d that of your frie!ds. *f
somethi!g that is said about a!ger" for e#ample" does!=t fit your e#perie!e or
that of your frie!ds" we may be wro!g. *f it does!=t fit your e#perie!e" but makes
se!se to frie!ds" you will have disovered a way i! whih your e#perie!e ?or
your frie!ds
=
@ of that emotio! is speial.
:eferences
6or those i!terested i! lear!i!g more about faial e#pressio!" a list of some
of the most importa!t works o! this topi follows.
1, C-A./E$ 0A.1#&2 "he Expression o# the Emotions in $an and nimals%
Lo!do!3 Coh! Murray" $.&0. ?(urre!t editio!3 5!iversity of (hiago ,ress"
$%'<.@ :his is the semi!al book o! faial e#pressio!s" i! whih 2arwi!
prese!ted his observatio!s o! faial e#pressio!s i! a!imals" huma! hildre!"
bli!d huma!s" a!d members of differe!t ultures.
0. *RAN45S 4*BL14*B4S64L2:" Ethology& the 'iology o# 'ehavior% New
Eork3 +olt" Ri!ehart K 7i!sto!" $%&/. A leadi!g ethologist desribes his
work" primarily o! a!imals. O!e hapter deals with his study of faial
e#pressio!s i! huma!s i! various visually isolated ultures" a!d prese!ts his
o!lusio! that faial e#pressio!s of emotio! are u!iversal.
-. ,A5L 4KMAN" 4d." Darwin and Facial Expression( Century o# )e!
search in )eview% New Eork3 Aademi ,ress" $%&-. Separate hapters
review a!d i!tegrate the studies o!duted over the last hu!dred years o!
faial e#pressio!s i! i!fa!ts a!d hildre!" i! !o!huma! primates" a!d i!
people from differe!t ultures. :he book o!ludes that ma!y of 2arwi!=s
ideas about faial e#pressio! have bee! supported.
;. ,A5L 4KMAN a!d 7ALLA(4 8. 6R*4S4N" Facial ction Coding
*ystem% ,alo Alto3 (o!sulti!g ,syhologists ,ress" $%&.. (omplete atlas"
i!ludi!g photographs a!d film strips" for lear!i!g to measure a!d sore
faial behavior. :his publiatio! is desig!ed for the serious researh worker.
<. ,A5L 4KMAN" 7ALLA(4 8. 6R*4S4N" a!d ,+O4B4 4LLS7OR:+"
Emotion in the Human Face% 4lmsford" New Eork3 ,ergamo! ,ress" $%&0.
:his ritial review a!d i!tegratio! of the )ua!titative researh o! huma!
faial e#pressio! o!duted over a fifty1five1year period prese!ts a!swers to
seve! ma9or researh )uestio!s" suggestio!s for further re1searh" a!d
guideli!es about how to o!dut suh researh.
'. (ARL1+4RMAN +COR:SCO" $an+s Face and $imic ,anguage% Stude!t1
literature" Lu!d" Swede!" $%&/. A! a!atomist desribes the faial mus1
ulature a!d the partiular musular moveme!ts assoiated with the
emotio!s. 2rawi!gs of the fae are used to show both the musle move1
me!ts a!d the ha!ged appeara!e of the surfae of the fae.
&. 4RNS: +5B4R" Evolution o# Facial $usculature and Facial Expression%
Baltimore3 :he Coh!s +opki!s ,ress" $%-$. A! a!atomist disusses the
evolutio! of the faial musulature from the lower vertebrates through the
primates. A ma9or emphasis is o! differe!es i! the faial musulature
amo!g differe!t ge!eti huma! groups" with some atte!tio! to emotio!al
e#pressio!.
.. (ARROLL 4. *LAR2" "he Face o# Emotion% New Eork3 Appleto!1
(e!tury1(rofts" $%&$. :his historial review of theories of emotio! is a
prese!tatio! of the author
=
s ow! theory" based largely o! the work of Silva!
:omki!s" a!d o! researh aross ultures a!d amo!g hildre!. O!ly slight
atte!tio! is paid to how the emotio!s appear o! the fae.
%. ROB4R: ,L5:(+*K" "he Emotions% New Eork3 Ra!dom +ouse" $%'0.
A!other historial review of theories of emotio!" this book prese!ts the
author=s ow! theory a!d researh i! support of it. O!ly slight atte!tio! is
paid to how the emotio!s appear o! the fae.
$/.S*L8AN S. :OMK*NS" ##ect& -magery& Consciousness& vols. * a!d **.
New Eork3 Spri!ger ,ublishi!g (o." $%'0" $%'-. A! e#traordi!ary"
ompliated" a!d fasi!ati!g theory that emphasiAes the importa!e of
34
emotio! i! the psyhology of huma! behavior. Broad i! its sope" this work
o!siste!tly emphasiAes the role of the fae i! huma! life.
The %x&erience o' ur&rise
Surprise is the briefest emotio!. *t is sudde! i! its o!set. *f you have time to
thi!k about the eve!t a!d o!sider whether or !ot you are surprised" the! you are
!ot. Eou a! !ever be surprised for lo!g" u!less the surprisi!g eve!t u!folds !ew
surprisi!g eleme!ts. *t does!=t li!ger. 7he! you ease bei!g surprised" its
disappeara!e is ofte! as sudde! as was it o!set.
Surprise is triggered both by the u!e#peted a!d by what might be alled
the Fmise#petedF eve!t. Suppose a ma!=s wife appears i! his offie. *f she
ustomarily omes at that time to drop off his lu!h he will !ot be surprised. :he
appeara!e of his wife is !either u!e#peted !or mise#peted. *f his wife rarely
omes to his offie" but her impe!di!g visit is a!!ou!ed by his seretary
sayi!g" F* a! see your wife omi!g up the street"
F
he will !ot be surprised whe!
she arrives" beause there will have bee! time to a!tiipate a!d perhaps figure
out a! e#pla!atio! for this out1of1the1ordi!ary eve!t. *f his wife walks i!
u!a!!ou!ed a!d it is u!usual for her to appear at her husba!d
=
s offie" the! the
eve!t is a! unexpected surprise1a! u!usual eve!t whih was u!a!tiipated. *t is
alled u!e#peted rather tha! mise#peted beause at that mome!t the surprised
perso! was !ot e#peti!g a!y1thi!g i! partiular to happe!. *f" however" the
offee ve!dor always omes by at that time a!d always gives a harateristi
k!ok o! the door" a!d it is the ma!
=
s wife" !ot the offee ve!dor who omes i!"
the eve!t is a mise#peted surprise. :here was a! aroused speifi a!tiipatio!
for somethi!g differe!t to happe! at that mome!t. *! mise#peted surprise the
eve!t !eed !ot be u!usual to be surprisi!gD it is the o!trast with what is
e#peted at that mome!t that is surprisi!g. *f" at the mome!t that the offee
ve!dor was
surprise
e#peted" the seretary ame i!" there still might be surprise" probably slight
surprise. *f" i! additio!" the eve!t that is o!trary to what is e#peted is also
u!usual" the! the surprise will be greater. :he wife at that mome!t would be more
surprisi!g tha! the seretary.
Almost a!ythi!g a! be surprisi!g" provided it is either u!e#peted or
mise#peted. A sight" sou!d" smell" taste" or touh a! be surprisi!g. 7he! o!e
bites i!to a pastry that looks as if it is filled with hoolate ream" the taste of
savory pork a!d mushrooms a! be a surprise. :he taste was mise#peted. Not
o!ly physial se!satio!s trigger surprise. A! u!a!tiipated or misa!tiipated idea"
omme!t" or suggestio! of a!other perso! a! be surprisi!g. So a! a !ovel
thought or feeli!g of your ow!. :he teh!i)ue of ma!y mystery stories is !ot 9ust
to make the reader afraid ?that is the ghost or horror1story ge!re@" but also to
surprise the reader with whodu!!it. Ma!y 9okes rely upo! mise#petatio! to
ahieve their humor. Eour amuseme!t depe!ds upo! bei!g take! i! by the plot of
the 9oke" a!d surprised by the twist e!di!g.
*f you have time to a!tiipate a! eve!t a!d do so orretly" the! you a!!ot
be surprised. *f the ma! i! our e#ample ould have see! his wife approah his
offie" he might have bee! surprised at his first sight of her" but by the time his
wife k!oked o! his door 1 !o surprise. Or if he had k!ow! his wife was goi!g to
be !ear his offie shoppi!g that mor!i!g" !o surprise. Surprise lasts o!ly u!til
you have evaluated 9ust what it was that ourred. O!e you have determi!ed the
!ature of the surprisi!g eve!t" you are !o lo!ger surprised. 5sually there is a
ready e#pla!atio!1F* was shoppi!g" ra! out of heks" ame by to get some bla!k
heks from you" met the offee ve!dor i! the hallway" a!d got your offee from
him.F *f the eve!t resists i!terpretatio!" the surprise li!gersD you may beome
disorie!ted" fearful" or mystified. Suppose a woma! is greeted o! the doorstep by
the husba!d whom she had thought was killed i! the war. Surprise. But it e!ds
whe! he e#plai!s" F*=m your husba!d=s twi! brother.F or F* was missi!g i! atio!"
a!d had am!esia.
F
*f the i!terpretatio! is eve! more u!likely tha! the eve!t" she
may be surprised all over agai!" fearful or mystified1
F
*
=
m the spirit of your
husba!d retur!ed to talk to you.
F
O!e you have evaluated the u!e#peted or mise#peted eve!t" you move
)uikly from surprise i!to a!other emotio!. F7hat a happy surprise"
F
you say" !ot
realiAi!g that surprise itself is !eutral i! hedo!i to!e. *t is" rather" the followi!g
emotio! that gives a positive or !egative to!e to the e#perie!e" depe!di!g upo!
the !ature of the eve!t. Surprise tur!s to pleasure or happi!ess" if the eve!t is or
foretells somethi!g you like. 2isgust greets the !o#ious or distasteful eve!t. *f the
eve!t is provoative of aggressio!" surprise yields to a!ger. A!d if the eve!t
poses a threat whih you a!!ot
surprise
obviously mitigate" you feel fear. 6ear is the most ommo! se)uel to surprise"
perhaps beause u!e#peted eve!ts are ofte! da!gerous" a!d ma!y people ome
to assoiate a!ythi!g u!e#peted with da!ger. *! a later hapter we will show
how the reog!itio! of fear a!d surprise a! be o!fused beause of similarities
i! their faial ma!ifestatio!s.
Beause the e#perie!e of surprise is brief" with a!other emotio! )uikly
followi!g it" the fae ofte! shows a blend of surprise a!d the subse)ue!t emotio!.
Similarly" if o!e is already e#perie!i!g a! emotio! whe! a surprisi!g eve!t
ours" a ble!d is evide!t o! the fae. A kee! observer who pays atte!tio! to
fleeti!g faial e#pressio!s might ath a pure surprise e#pressio!. Most of us"
however" are more familiar with the appeara!e of surprise i! ombi!atio! with
eleme!ts of a seo!d emotio!. :hus" the wide1ope! eyes of surprise may e!dure
for a! i!sta!t" as a gri! spreads over the lower fae. Or the raised brow of surprise
may mome!tarily appear with the strethed1bak mouth of fear. *! the !e#t
hapter we will show fear1surprise ble!dsD i! subse)ue!t hapters we will show
surprise1disgust" surprise1a!ger" a!d surprise1happy ble!ds.
Surprise varies i! i!te!sity from mild to e#treme" depe!di!g upo! the eve!t
itself. :he u!e#peted appeara!e of a wife i! her husba!d
=
s offie would
presumably be less surprisi!g tha! the u!e#peted appeara!e of a! old hildhood
frie!d !ot see! for years. :he startle reatio! has bee! o!sidered to be the most
e#treme form of surprise" but it has speial harateristis whih disti!guish it
from surprise. :he startle reatio! differs from surprise i! faial appeara!e. :he
eyes bli!k" the head moves bak" the lips retrat" a!d there is a
F
9umpi!g
F
or
F
starti!g
F
moveme!t. A sudde! a!d e#treme ha!ge i! stimulatio!" best
e#emplified by the sou!d of a gu! or a ar bakfiri!g" produes the startle
reatio!. 5!like surprise" where orret a!tiipatio! of a! eve!t preve!ts the
e#perie!e" the startle reatio! a! be eliited by eve!ts you a!tiipate.
Suessive loud reports from a gu! o!ti!ue to all forth the startle reatio!"
although the feeli!g a!d appeara!e dimi!ish. 5!like the surprise e#perie!e"
whih is !either pleasa!t !or u!pleasa!t" the startle e#perie!e is usually
u!pleasa!t. No o!e likes the way it feels. Although people speak of a startli!g
idea" or bei!g startled by what someo!e said" this may be a figure of speeh. *t is
!ot lear whether a per1so! a! be startled by a!ythi!g other tha! a sudde!
e#treme sou!d" sight" or touh. Eou may be e#tremely surprised by what someo!e
says" show a! e#treme surprise faial e#pressio!" a!d desribe the ourre!e as
startli!g. :hus" the term startle is used to desribe the most e#treme surprise
reatio!" a!d also for a reatio! related to but differe!t from surprise. :he startle
re1atio! is also losely related to fear" a!d i! the !e#t hapter whe! we dis1
surprise
ti!guish fear from surprise" we will also further e#plai! the relatio!ship of the
startle to both surprise a!d fear.
:he e#perie!e of eah of the emotio!s we will disuss a! be e!9oy1able. *t
is obvious that happi!ess is a! e!9oyable emotio!" but surprise" fear" a!ger"
disgust" a!d eve! sad!ess also a! be e!9oyed though obviously they usually are
!ot. Some people rarely e!9oy bei!g happy" but i!stead feel guilty or ashamed of
their pleasure. 4!9oyme!t of the emotio!s" or the i!ability ever to e!9oy them" is
probably the result of lear!i!g duri!g hildhood" but little is k!ow! about 9ust
how this ours.
(ertai!ly" there are people who love bei!g surprised. A surprise party" a
surprise gift" a surprise visit delights them. :hey orga!iAe their lives" i! part at
least" so that there is a high likelihood of bei!g surprised. :hey seek the !ovel.
:ake! to the e#treme" a perso! FadditedF to surprise" who thrives o! it more tha!
a!y other emotio!" would have to sarifie pla!!i!g. +is life might well te!d to
be disorga!iAed so that he did !ot through a!tiipatio! elimi!ate the ha!e of
surprise.
:here are also people who a!=t sta!d bei!g surprised. :hey will tell you"
F
,lease do!=t ever surprise me"
F
eve! if the surprise is goi!g to be a pleasa!t o!e.
:hey do!=t wish to be sub9et to the u!e#peted. :hey orga!iAe their lives to
redue !ovelty a!d to avoid e#perie!es i! whih they will !ot k!ow what is
omi!g !e#t. :ake! to a! e#treme" if a perso! a!=t tolerate surprise" he will be
overly pla!!ed" alulati!g every o!ti!ge!y" !ever reog!iAi!g the u!e#peted
if he a! o!strue it as preditable. *magi!e the dilemma of a sie!tist who dreads
surprisesD he a! o!ly prove or disprove his hypotheses but a! !ever disover
a!ythi!g he did!=t a!tiipate.
-he .ppearance of /urprise
,hotographs of two people" ,atriia a!d Coh!" are used i! this a!d the !e#t
five hapters to show the faial bluepri!ts. Appe!di# * desribes what we
o!sidered i! maki!g these photographs" how the pitures were made" a!d who
these two people are.
:here is a disti!tive appeara!e i! eah of the three faial areas duri!g
surprise. :he eyebrows are raised" the eyes are ope!ed wide" a!d the 9aw drops
ope!" parti!g the lips.
the surprise brow
surprise
:he eyebrows appear urved a!d high. *! 6igure ;" you see ,atriia=s surprise
brow ?B@ a!d her !ormal or !eutral brow ?A@. :he ski! below the
Figure 5
. 0
Figure 4
. 0
surprise
brow has bee! strethed by the lifti!g of the brow" a!d is more visible tha! usual
?Arrow $@. :he lifti!g of the eyebrows produes lo!g horiAo!tal wri!kles aross
the forehead ?Arrow 0@. Not everyo!e shows these wri!kles. Most you!g hildre!
do !ot show them" eve! whe! the eyebrows are raised" a!d some adults do !ot
either. Some people have horiAo!tal wri!kles1li!es ethed perma!e!tly i! their
faes1eve! whe! the eyebrows have !ot bee! moved" but this is u!usual u!til
middle age. *f there are suh perma!e!t wri!kles i! the !eutral fae" the wri!kles
beome still deeper a!d more appare!t whe! the eyebrows are raised i! surprise.
Although the surprise brow is usually 9oi!ed by wide1ope! eyes a!d dropped
9aw" it sometimes appears i! a! otherwise !eutral fae. 7he! this happe!s" the
faial e#pressio! !o lo!ger sig!ifies a! emotio!D it has differe!t mea!i!gs" some
of whih are related to surprise. *! 6igure <" you see the surprise brow with the
rest of the fae u!i!volved or !eutral ?B@" a!d a full !eutral fae ?A@. 7he! the
brow is held i! plae for a few seo!ds or more" this is a! emblem whih mea!s
doubt or )uestio!i!g. 6re)ue!tly it is show! by a perso! who is liste!i!g to what
someo!e is sayi!gD it registers without words a )uestio! or doubt about what is
bei!g said. :he )uestio!i!g or doubti!g may be serious or !otD ofte! this emblem
will e#press mok doubt" the liste!er
=
s i!redulity or amaAeme!t about what she
has 9ust heard. *f 9oi!ed by a head moveme!t" sideways or bakwards" it is a!
e#lamatio!. *f the surprise brow is 9oi!ed by a disgust mouth" the! the mea!i!g
of the emblem ha!ges slightly to skeptial disbelief" or if the head rotates bak
a!d forth" i!redulous e#lamatio! ?see 6igure 0." (hapter '@.
6igure < reveals somethi!g else that is very importa!t whe! looki!g at faial
e#pressio!s. ,atriia seems to show the doubt or )uestio!i!g aross her e!tire
faeD but this is a omposite photograph. :he brow is the o!ly part of the fae that
has bee! ha!ged from the !eutral piture o! the left. *f you over the brow with
your ha!d" you a! see that this is so. 7ith ma!y faial e#pressio!s a ha!ge i!
9ust o!e area gives the impressio! that the rest of the faial features have ha!ged
as well.
*f the surprise brow is held very briefly" still other mea!i!gs are o!veyed.
*f it ours with a tilt of the head or a slight moveme!t of the head up a!d dow!"
it is a greeti!g emblem" what has bee! alled a! eyebrow1flash" see! throughout
Mela!esia" a!d laimed by o!e i!vestigator to be u!iversal. :he )uik brow1raise
may also be employed as a o!versatio!al pu!tuator. 7hile a perso! is talki!g
she may )uikly raise a!d lower her brows to emphasiAe a partiular word or
phrase. :he e#pressio! ae!ts the spoke! word as italis do the writte! word.
Other brow moveme!ts a!d moveme!ts i! other parts of the fae are also used as
pu!tuators" a!d we will me!tio! some of t h e later.
surprise
Fi ./r e 6
the eyes
:he eyes are ope!ed wide duri!g surprise" with the lower eyelids rela#ed
a!d the upper eyelids raised. *! 6igure '" ,atriia a!d Coh! show the ope! eyes of
surpriseD for eah the surprise eyes are show! o! the left a!d the !eutral eyes o!
the right. Note that i! surprise the white of the eyes1the slera 1 s hows above the
i ri s1 t he olored e!ter part of the eye. :he slera may also show below the iris"
but this will depe!d upo! how deeply set the eyes are" a!d whether the 9aw has
bee! dropped so far ope! as to streth the ski! below the eye. :hus" the white of
the eye showi!g below the iris is !ot as reliable a! i!diatio! of surprise as is the
white above the iris.
5sually the surprise eye is aompa!ied by the surprise brow or the
surprise mouth or both" but it a! our alo!e. 7he! the upper eyelid is raised"
e#posi!g the slera without a!y other i!volveme!t of the brows or mouth" it is
almost always a very brief atio! lasti!g a fratio! of a seo!d. :his wide!ed eye
a! be a mome!tary show of i!terest" or a! our i! additio! to or i! plae of a
word like Fwow.
F
:he wide!ed eye a! also be used as a o!versatio!al
pu!tuator" ae!ti!g a partiular word as it is spoke!.
lower fae
:he 9aw drops duri!g surprise" ausi!g the lips a!d teeth to part. 6igure
& shows that the ope!ed mouth of surprise is rela#ed" !ot te!seD the lips
are !ot tighte!ed" !or are they strethed bak. *!stead" the mouth looks as
if it atually fell ope!. :he mouth may be 9ust slightly ope!" moderately ope!
as show! i! 6igure &" or more widely ope!" a!d this varies with 9ust how
i!te!se the surprise is. 7e will show a! e#ample of this variatio! below.
:he 9aw may be dropped without a!y moveme!t i! the rest of the fae.
6igure . shows the surprise lower fae" the dropped 9aw" with the rest of the
fae u!i!volved" a!d for ompariso! the !eutral fae. :he mea!i!g of this
atio! is to be dumbfou!ded. *t ould our if ,atriia were atually dumb1
fou!ded" or as a! emblem whe! she wa!ts to state that she felt dumbfou!ded
surprise
Figure 7
Figure !
at some other time" or as a mok e#pressio! whe! she wa!ts to play at bei!g
dumbfou!ded. 6igure ." like 6igure <" demo!strates how ha!gi!g o!e part of the
fae reates the impressio! of a total ha!ge. Look at the eye area i! .BD it
probably looks a little more surprised tha! the eyes i! the !eutral piture .A. But
this is a!other omposite photographD if you over. the mouths of both pitures
with your ha!ds" you will see that the eyes a!d browIforehead are the same i!
both pitures. ?*! disussi!g 6igures < a!d . we used the terms emblem, mock
expression, a!d punctuator. *f you do!
=
t remember how we defi!ed these terms"
please hek bak i! (hapter 0@.
slight to extreme surprise
:he e#perie!e of surprise varies i! i!te!sity" a!d the fae reflets the
differe!es. Although there are slight ha!ges i! the brows ?goi!g up a bit higher@
a!d the eyes ?wide!i!g a!d ope!i!g a bit more@" the ma9or lue to the i!te!sity of
the surprise is i! the lower fae. Slight surprise is show! i!
Fi ./r e >
A B
surprise
6igure %A" moderate surprise i! %B. :he brows a!d eyes are ide!tial i! the two
pituresD o!ly the e#te!t of the 9aw1drop has bee! varied. *! more e#treme
surprise the mouth would be ope!ed eve! wider. 7ith e#treme surprise there
ofte! will be a! e#lamatio! suh as FohF or Fwow.F
four types of surprise
Surprise may be show! i! 9ust two areas of the fae" with the third area
u!i!volved. 4ah of these two1area surprise faes has a slightly differe!t
mea!i!g. 6igure $/ shows these four types of surprise. Before we e#plai! what
message we thi!k eah piture o!veys a!d how the differe!es i! faial
appeara!e are respo!sible for these differe!t messages" you might look at eah
piture a!d ask yourself" F7hat is the messageG
F
a!d
F
+ow does this fae differ i!
appeara!e from the other faesG
F
*! $/A" ,atriia is showi!g a )uestio!i!g surprise" a rather u!ertai!
surprise. :he words that go with it might be somethi!g like F*s that soGF or FOh"
reallyGF :his faial e#pressio! is e#atly the same fae as $/2" e#ept that the
surprise mouth has bee! overed with a !eutral mouth. *f you over the mouths i!
$/A a!d $/2 with your fi!gers" you will see that they are the same piture e#ept
for the mouths. Surprise looks )uestio!i!g whe! o!ly the eyes a!d brow
moveme!ts of the full1fae surprise e#pressio! our.
*! $/B" ,atriia shows asto!ished surprise" or amaAed surprise. :he words
that go with this e#pressio! might be somethi!g like F7hatG
F
or a voaliAatio!
suh as
F
Aauuh
F
with a sudde! i!spiratio! of breath. *f you over the brow a!d
forehead i! $/B a!d i! $/2 with your fi!gers" you will see that they are the same
piture e#ept for the browIforehead. Surprise looks amaAed whe! o!ly the eyes
a!d mouth moveme!ts of the full1fae surprise e#pressio! our.
*! $/(" ,atriia shows a more daAed surprise" or less i!terested surprise" or
surprise as show! by someo!e who is e#hausted or drugged. *f you over the eyes
i! *O( a!d $/2" you will see that they are the same piture e#ept for the eyes.
Surprise looks daAed whe! o!ly the brow a!d mouth moveme!ts from the full1
fae surprise e#pressio! our.
6igure $/2 shows the full surprise e#pressio!" with all three faial areas
i!volved. *ts message is1surprise.
!e'ie
6igure $$ shows the full1fae surprise e#pressio!s. Note eah of the
disti!tive lues to surprise.
Figure 81
surprise
Figure 11
1 : h e brows are raised" so that they are urved a!d high.
1 : h e ski! below the brow is strethed.
1+oriAo!tal wri!kles go aross the forehead.
1 : h e eyelids are ope!edD the upper lid is raised a!d the lower lid draw!
dow!D the white of the eye1 t he slera1shows above the iris" a!d ofte!
below as well.
1 : h e 9aw drops ope! so that the lips a!d teeth are parted" but there is !o
te!sio! or strethi!g of the mouth.
making faces
A!other way to review what you have lear!ed about the surprise faial
e#pressio!s is atually to o!strut some of the faes you have see! i! this
hapter. (ut out the four piees of the !eutral faial e#pressio!s of Coh! a!d
,atriia o! the bak page. Now you have what you !eed to make some of the
differe!t surprise faial e#pressio!s.
$. :ake the ( piees a!d plae them over the faes i! 6igure $$. 7hat is the
e#pressio!G Eou have see! ,atriia
=
s fae before" but !ot Coh!=s
e#pressio!. *t is )uestio!i!g or disbelief ?6igure <@.
=< sur"rise
0. ,ut B over the faes i! 6igure $$. 7hat is the e#pressio!G Eou saw
,atriia
=
s e#pressio! before i! 6igure ." a!d Coh!
=
s is the same. *t is
dumbfou!ded.
-. ,ut A o! the pitures a!d the! put 2 o! as well. :his is a faial e#pressio!
you have!=t see! before but whih was disussed o! page ;/. Eou have 9ust
the surprise eyes" a!d if the e#pressio! ours for a mome!t" it mea!s
i!terest or a! e#lamatio!. Leave 2 where it is a!d i!terha!ge A a!d B.
:his wi$$ give you the impressio! of the eyes shifti!g bak a!d forth from
!eutral to surprise" as they would i! life.
;. Leave 9ust A o!. :he e#pressio! is asto!ishme!t ?6igure $/B@. Now put 2
bak o! a!d remove A. :he e#pressio! is )uestio!i!g surprise. By
swithi!g bak a!d forth betwee! A a!d 2 you a! see most dramatially
how the mea!i!gs of the e#pressio!s ha!ge.
fear
T0e Exper i en( e o1 Fe"r
,eople fear harm. :he harm may be physial or psyhologial" or both. :he
physial harm may vary from somethi!g mi!or" suh as a vai!atio! pu!ture" to
atual life1e!da!geri!g i!9uries. ,syhologial harm a! also vary from mi!or
i!sults or disappoi!tme!ts to e#treme assaults o! o!e=s well1bei!g" re9etio! of
o!e
=
s love" attaks o! o!e=s worth. :he psyhologial harm may i!volve damage
?to self1esteem" o!fide!e" se!se of seurity@" or loss of love" frie!dship"
possessio!s" et. +arm may i!volve both physial pai! a!d psyhologial
sufferi!gD for e#ample" a tee!ager bei!g beate! up by a rival i! view of his
girlfrie!d may be both physially a!d psyhologially bruised.
Survival depe!ds o! lear!i!g to avoid or esape from situatio!s that ause
severe pai! a!d the likelihood of physial i!9ury. Eou lear! to a!tiipate da!ger
early. Eou evaluate what is ourri!g" alert to the possibility of harm. 8ery ofte!
you feel fear i! adva!e of harm. Eou fear both real a!d imagi!ed threats of
harm. Eou fear a!y eve!t" perso!" a!imal" thi!g" or idea that appears da!gerous.
*f you are told that !e#t week you are goi!g to have to u!dergo a series of
e#tremely pai!ful rabies i!9etio!s" you are likely to feel fear well before the pai!
from the first !eedle. *f you see the boss storm i! to work" obviously a!gry at
somethi!g a!d ready to e#plode" you may well beome afraid before his atte!tio!
tur!s to you. :he fear of da!ger" the a!tiipatio! of eve! physial pai!" a! ofte!
be more miserable tha! the pai! itself. Ofte!" of ourse" the fear of da!ger
mobiliAes efforts to avoid or dimi!ish the impe!di!g harm.
6ear is so ofte! e#perie!ed i! adva!e of harm1you are so suessful i! spotti!g
da!ger before pai! hi t s1 t hat it is possible to forget that you a!
be aught u!awares. :hi!ki!g" pla!!i!g" evaluati!g" a!d a!tiipati!g do !ot
always protet or eve! war! you. Sometimes you are harmed without !otie"
a!d whe! that happe!s you feel fear without muh" if a!y" prior thought about
what is happe!i!g. 6ear may the! be e#perie!ed virtually simulta!eously with
harm. A sudde! sharp pai! auses fear. Eou do !ot pause to thi!k about
whether you are hurti!g or what is hurti!g. Eou hurt a!d are afraid. *f the pai!
o!ti!ues a!d there is time to evaluate what is ourri!g" you may beome eve!
more afraid1FAm * havi!g a heart attakG
F
*f you bur! your ha!d i! the flame of
the kithe! stove" you feel pai! a!d fear ?a!d perhaps distress as well1see
(hapter %@. Cust as you would reoil without pausi!g to o!sider why it is that
the stove was o! whe! you thought it was off" so you would feel fear without
pausi!g to evaluate how badly you were bur!ed" ut" et. 6ear e#perie!ed
simulta!eously with harm a! also our with psyhologial sufferi!g. *f the
boss omes up to the offie worker who is doAi!g off at his desk a!d shouts"
F
Eou
=
re fired" you laAy idiot"
F
fear is e#perie!ed ?a!d perhaps the startle
reatio! as well@. :he perso! does !ot !eed time to o!sider what is happe!i!g"
although suh o!sideratio! may ause the fear to i!rease1
F
Oh my Bod" *=m !ot
goi!g to be able to pay my re!t.F Or a!other emotio! may take the plae of fear
or ble!d with it1
F
+e=s got !o right to talk to me like that1after * spe!t all of last
!ight worki!g to meet his deadli!e.F
6ear differs from surprise i! three importa!t ways. 6ear is a terrible e#1
perie!e" a!d surprise is !ot. Surprise is !ot !eessarily pleasa!t or u!pleasa!t"
but eve! mild fear is u!pleasa!t. Stro!g f e ar 1 t e r r or 1 i s probably the most
traumati or to#i of all emotio!s. *t is aompa!ied by ma!y ha!ges i! the
body. :he ski! of a terrified perso! may beome pale. +e may sweat. +is
breathi!g may beome rapid" his heart pou!d" his pulse throb" his stomah may
beome )ueasy or te!se. +is bladder or bowel may ope!" a!d his ha!ds tremble.
+e may fi!d it hard !ot to move bakwards away from the threate!i!g eve!t"
a!d eve! if he is froAe! i! immobility his posture is o!e of withdrawal. Eou
a!!ot be e#tremely afraid for lo!g periods of time" for this state of terror
depletes a!d e#hausts you.
:he seo!d way fear differs from surprise is that you a! be afraid of
somethi!g familiar that you k!ow full well is goi!g to happe!. Eou a! k!ow
that the de!tist is about to all you i!to his offie1there is !o surprise i! store
for you" beause he has hurt you before1but you a! be very muh afraid. Eou
a! be waiti!g to be alled to the podium to deliver a leture" or sta!di!g i! the
wi!gs waiti!g for your ue to appear o! stage i! a play" a!d have stage fright
eve! if you are a! e#perie!ed leturer or ator. :here are ma!y suh
e#perie!es" ausi!g some people to e#perie!e fear the seo!d" te!th" or
twe!tieth time they k!ow they are goi!g to be i! a partiular situatio!. 7he!
fear is felt sudde!ly" whe! there is !o a!tiipatio! of
da!ger but the fear is simulta!eous with harm" the e#perie!e may be ti!ged with
surprise. :hus" i! ma!y of these sudde! fear e#perie!es" you will e#perie!e a
ble!d of surprise a!d fear or of startle a!d fear.
A third way i! whih fear differs from surprise is i! its duratio!. Sur1prise
is the briefest emotio!" but u!fortu!ately fear is !ot. Surprise always has a short
duratio!. 5!a!tiipated fear" or fear e#perie!ed simulta!eously with harm" a!
have a short duratio!" but fear a! also our gradually. +ome late at !ight alo!e
i! the house" the first slight sou!d a! start slight apprehe!sio!. As you thi!k
about what may be ourri!g" as you mag!ify a!d elaborate eah subse)ue!t
s)ueak of the floorboards" your apprehe!sio! may slowly grow to fear" or eve!
terror. 7he! you are surprised you feel surprised for o!ly a brief time" o!ly u!til
you have evaluated what the surprisi!g eve!t was. 6ear a! last muh lo!gerD you
a! fully k!ow the !ature of the fear1i!spiri!g eve!t a!d remai! )uite afraid. :he
whole time the air1pla!e is i! flight you may be sitti!g i! fear" a!tiipati!g a
rash. :here is a limit to huma! e!dura!e" however" a!d fear will e#haust you
physially if it is e#perie!ed i! its most e#treme state o!ti!uously. Surprise
usually re1edes )uikly as you evaluate the eve!t a!d move i!to o!e or a!other
emotio!" depe!di!g upo! how you feel about what surprised you. 6ear li!gers.
4ve! after the da!ger has passed" you may still feel the se!satio!s of fear. *f the
da!ger is e#tremely )uik i! omi!g a!d goi!g" so that you do!=t k!ow what a
spot you were i! u!til you are !o lo!ger i! it" as i! a !ear miss i! a! automobile"
you may e#perie!e the fear o!ly afterward.
6ear varies i! i!te!sity from apprehe!sio! to terror. +ow i!te!se the
e#perie!e of fear is depe!ds upo! the eve!t or your appraisal of the eve!t. 7he!
the fear is e#perie!ed simulta!eously with harm" the! the e#te!t of the fear will
likely be a refletio! of how severe the pai! is. 7he! the pai! o!ti!ues" the fear
may beome more i!te!se if you a!tiipate eve! worse pai! or i!tratable pai!.
7he! the fear e#perie!ed is i! respo!se to da!ger" to the threat of harm rather
tha! to harm itself" the i!te!sity of the fear depe!ds upo! your evaluatio! of the
e#te!t of the impe!di!g harm a!d your ha!es of opi!g with it" avoidi!g it"
redui!g it" survivi!g it. *! a threate!i!g situatio! you may merely feel
apprehe!sive if you k!ow you a! avoid the threat by flight" or if you k!ow that
the pai! will !ot be truly harmful. But whe! flight is !ot possible" a!d if the harm
a!tiipated is great" your apprehe!sio! may tur! to terror as you beome
immobiliAed" froAe! i! a posture of helpless!ess.
6ear may be followed by a!y of the other emotio!s" or by !o emotio! at all.
Eou may beome a!gry" attaki!g the age!t that posed the da!ger" or a!gry or
disgusted with yourself for havi!g plaed yourself i! 9eopardy" or for havi!g
respo!ded to 9eopardy with fear. Sad!ess may follow fear if the harm is e!duri!g"
or if i! other ways the da!ger had a regrettable o!se1
)ue!e. :here may be a! e#te!ded se)ue!e of emotio!sD you may feel fear" the!
a!ger" the! sad!ess" et. 6ear may also be e#perie!ed as a ble!d with a!other
emotio! if the eve!t provokes two feeli!gs at o!e. 6or e#ample" someo!e
threate!s you a!d you feel both afraid of the attak a!d a!gry at the provoatio!.
+appi!ess may also follow fear. Eou a! be happy that the threat has bee!
avoided or" eve! if the harm has bee! e!dured" you a! feel happy that it is over.
Some people are able to e!9oy the emotio! of fear. :he threat of harm is a
halle!ge that is thrilli!g a!d has purpose. Suh people are alled brave"
ourageous" or dari!g. :hey may be soldiers" mou!tai! limbers" gamblers" rae1
trak drivers" et. Ma!y more people e!9oy pseudo1fear e#perie!es" suh as
those offered i! a! amuseme!t park roller1oaster. :here is a threat of harm" but it
is k!ow! !ot to be a real threat" a!d there is little the perso! a! do to meet the
threat. :here are" of ourse" people for whom fear is e#tremely diffiult to
e#perie!e. :hey a!!ot eve! tolerate a pseudo1fear e#perie!e. 6ear is so
overwhelmi!g for them that they pla! their lives with great autio!" seeki!g
various protetio!s or avoidi!g that whih they k!ow will frighte! them. Suh
people gai! little satisfatio! from e!1duri!g a!d survivi!g fearD the fear
e#perie!e is altogether too to#i a! e#perie!e for them.
)he %""earance of Fear
:here is a disti!tive appeara!e i! eah of the three faial areas duri!g fear.
:he eyebrows are raised a!d draw! togetherD the eyes are ope! a!d the lower lid
is te!sedD a!d the lips are strethed bak.
the fear +row
:he eyebrows appear raised a!d straighte!ed. 6igure $0 shows the fear brow
?B@ a!d the surprise brow ?A@. Note that i! the fear brow" the brows are lifted ?$@
as they are i! the surprise brow" but i! additio! to the lift they are draw! together
so that the i!!er or!ers of the brow ?0@ are loser together i! fear tha! i!
surprise. :he drawi!g together of the brow gives a more straighte!ed appeara!e
to the outer or!ers of the eyebrow i! fear tha! i! surprise. *! the fear brow there
are usually horiAo!tal wri!kles aross the forehead ?-@" but typially they do !ot
ru! aross the e!tire forehead" as they do i! surprise ?;@.
Although the fear brow is ommo!ly 9oi!ed by the fear eyes a!d fear mouth"
it sometimes appears i! a! otherwise !eutral fae. 7he! this happe!s the faial
e#pressio! o!veys a message related to fear. *! 6igure $-B Coh!=s e#pressio! is
omposed of the fear brow with the rest of the fae u!i!volved
fear
% @ Figure 82
Figure 83
or !eutral. 6igure $-A shows" for ompariso!" Coh!
=
s ompletely !eutral
e#pressio!. 7he! the brow is held i! the fear positio!" as i! $-B" the mea!i!g of
the e#pressio! is worry or slight apprehe!sio!" or o!trolled fear. 6igure $-
agai! demo!strates that ha!gi!g o!ly o!e area of the fae ha!ges the total
impressio!. *t appears that the worry is show! also i! Coh!
=
s eyes a!d eve! a bit
i! his mouth. But this is a omposite photograph i! whih the fear brow has bee!
pasted over the forehead of the !eutral piture o! the left. *f you over with your
ha!d the browIforehead i! the two pitures i! this figure" you will see that the
eyes a!d mouth are the same.
the fear eye
:he eyes are ope!ed a!d te!se duri!g fear" the upper eyelid raised a!d the
lower eyelid te!se. 6igure $; shows the fear eyes ?A@" !eutral eyes ?B@" a!d
surprise eyes ?(@. Note that i! both the fear a!d surprise eyes the upper lid is
raised" e#posi!g the slera ?white@ above the iris ?$@. Although fear a!d surprise
share this upper lid harateristi" they differ i! regard to the lower lid" whih is
te!se a!d raised i! fear ?0@ a!d rela#ed i! surprise. :he te!sio! a!d raisi!g of the
lower eyelid i! fear may be suffiie!t to over part of the iris ?-@.
5sually the fear eye will be show! with the fear brow a!d the fear mouth"
but it may our alo!e with the rest of the fae u!i!volved. *! suh a! i!sta!e it
will be a brief e#pressio!" i! whih the eyes mome!tarily tGke
o! the fear appeara!e. *f this happe!s it is usually a ge!ui!e e#pressio! of
fear" but the fear is either slight or bei!g o!trolled.
the fear mouth
:he mouth ope!s i! fear" but the lips are te!se a!d may be draw! bak
tightly. *! 6igure $<" ,atriia shows two types of fear mouth ?A a!d B@" a!d for
ompariso! the surprise mouth ?(@ a!d !eutral mouth ?2@. :he fear mouth
show! i! $<A is )uite similar to the surprise mouth ?$<(@" but it differs i! a!
importa!t way1 t he lips are !ot rela#ed as they are i! surpriseD there is te!sio!
i! the upper lip a!d the begi!!i!g trae of the or!ers of the lips bei!g draw!
bak. In the other type of fear mouth ?$<B@" the lips are strethed a!d te!se
with the or!ers draw! bak.
Figure 8;
C 9
Figure 8<
Figure 87
fear
Although the fear mouth is usually 9oi!ed by the fear eyes a!d brow" they
a! eah our alo!e" a!d their mea!i!g the! differs. *! 6igure $' ,atriia shows
the more ope! fear mouth" with the rest of the fae !eutral o! the right" a!d for
ompariso! the surprise mouth" with the rest of the fae !eutral o! the left. 7he!
the fae o! the right is show!" it mea!s worry or apprehe!sio!D it refers to a
mome!tary feeli!g at the begi!!i!g of a fear e#perie!e. *! o!trast" the faial
e#pressio! o! the left" disussed i! the previous hapter" shows a dumbfou!ded
e#pressio! a!d may our whe! the perso! atually is dumbfou!ded or is
playi!g at bei!g dumbfou!ded. :he more strethed fear mouth may also our
with the rest of the fae u!i!volved" but whe! this happe!s it will usually be a
mome!tary" )uik e#pressio!" i! whih the lips are strethed bak a!d the!
retur!. 6igure $& shows this strethed fear mouth with the rest of the fae
u!i!volved" a!d for ompariso! Coh!=s !eutral fae. *f this e#pressio! flashes o!
a!d off the fae )uikly" it ould mea! that Coh! is atually afraid but tryi!g !ot
to show itD or that Coh! is a!tiipati!g a fearful or pai!ful e#perie!eD or that
Coh! is !ot feeli!g fear but referri!g to or me!tio!i!g a fearful or pai!ful eve!t.
A! e#ample of this last" emblemati fear e#pressio! is a perso!" i! desribi!g a
ree!t automobile aide!t" )uikly flashi!g the streth mouth" referri!g to the
fear or pai! he e#perie!ed the!.
slight to extreme fear
6ear varies i! its i!te!sity from apprehe!sio! to terror" a!d the fae reflets
these differe!es. *!te!sity is show! i! the eyes" with the raisi!g of the upper lid
a!d the te!si!g of the lower lid i!reasi!g as the i!te!sity of the fear i!reases.
4ve! more evide!t are the ha!ges i! the fear mouth. *! 6igure $. ,atriia
shows i!reasi!g i!te!sity of fear" lokwise" starti!g with $.A" by i!reased
strethi!g a!d ope!i!g of the mouth. :hough $.( may seem more fearful tha!
$.A" o!e agai! these are omposite photographs a!d the fear eyes a!d forehead
are e#atly the sameD o!ly the mouth differs.
to+ay fear expressions
6ear may be show! i! 9ust two areas of the fae" with the third area u!1
i!volved. 4ah of these two1way fear faes has a slightly differe!t mea!i!g.
6igure $% shows the two types of two1way fear e#pressio!s. Coh!
=
s e#pressio! i!
$%A is apprehe!sive fear" as if Coh! is 9ust realiAi!g that a harmful eve!t is
impe!di!g. :his e#pressio! has this mea!i!g beause the lower fae is !ot
i!volved1fear is show! o!ly i! the brow a!d eyes. (ompare Coh!=s e#pressio! i!
$%A with the piture of Coh! i! 6igure $-B. Coh! is apprehe!sive i! both" but
more apprehe!sive i! 6igure $%A tha! i! 6igure $-B"
Fi ./r e 1>
A B
Figure "0
beause fear is o!ly i! the brow i! 6igure $-B" but i! the eyes a!d brow i! 6igure
$%A.
Coh!=s e#pressio! i! $%B shows more of a froAe!" horrified fear. *!ter1
esti!gly" the i!te!sity of this e#pressio! of fear is !ot redued by the lak of
i!volveme!t of the brow ?it is a !eutral brow@. *!stead" the abse!e of brow
i!volveme!t auses the e#pressio! to appear immobiliAed or froAe!.
,atriia shows these differe!t types of fear e#pressio!s with some subtle
variatio!s. *! $%( her e#pressio! is apprehe!sive fear beause fear is show! o!ly
i! the brows a!d eyes" !ot i! the mouth. *t is 9ust the same as Coh!=s e#pressio!
above it ?$%A@. *! $%2 ,atriia=s e#pressio! is horror. *t is like Coh!
=
s e#pressio!
i! $%B beause fear is show! i! the eyes a!d mouth o!ly. +er e#pressio! differs
from Coh!
=
s beause ,atriia is usi!g the less strethed fear mouth. +er fae looks
shoked more tha! horrified beause this fear mouth has more similarity to the
surprise mouth. (ompare this e#pressio! of ,atriia ?$%2@ with her e#pressio! i!
$'B. She looks o!ly apprehe!sive" !ot shoked" i! 6igure $'B beause fear is
o!ly i! the mouth. :he shok eleme!t appare!t i! her e#pressio! i! $%2 omes
from the additio! of the fear eyes.
+len of fear an sur"rise
6ear may our simulta!eously with sad!ess" a!ger" or disgustD a!d a ble!d
e#pressio! o!sisti!g of fear a!d o!e of these other emotio!s a! be show! o! the
fae. 6ear may also our partially masked by a happy look" a!d a ble!d
e#pressio! will be show!. :hese ble!ds of fear with sad!ess" a!ger" disgust" or
happi!ess will be prese!ted i! subse)ue!t hapters" whe! eah of these other
emotio!s is e#plai!ed. :he most ommo! ble!d with fear is surprise" beause
ofte! fearful eve!ts are u!e#peted o!es" a!d it is ommo! to be both surprised
a!d afraid at the same mome!t" or almost the same mome!t. *! most of these
ble!ded e#pressio!s" where part of the fae shows surprise a!d part shows fear"
the domi!a!t impressio! is that of fear.
6igure 0/ shows two types of fear1surprise ble!ds" a!d for ompariso! full1
fae fear e#pressio!s o! the left side of the figure. Movi!g your eyes from left to
right" you a! see i!reasi!g surprise ble!ded with the fear. 6or both Coh! a!d
,atriia the differe!e betwee! the pitures o! the far left a!d far right is more
appare!t tha! the differe!e betwee! the ad9ae!t pitures. :his is beause the
pitures that are ad9ae!t differ i! o!ly o!e faial area" while the pitures o! the
two sides differ from eah other i! two faial areas.
*! 0/B the surprise eleme!t is o!ly i! the forehead a!d brow" with the rest of
the fae showi!g fear. :he impressio! differs very subtly from the piture o! the
left. *! 0/4" surprise agai! is registered o!ly i! the browIfore1
fear
head" with fear i! the rest of the fae" but the differe!e is more appare!t from
the full1fae fear show! to its left. :he differe!e is more appare!t for ,atriia
tha! Coh!" probably beause ,atriia shows the more surprise1like mouth. *t is
also easier to see surprise eleme!ts i! her ble!d pitures beause of
physiog!omi differe!es betwee! her eyesIforehead a!d Coh!
=
s.
:he pitures o! the far right of 6igure 0/ show surprise i! both the
browIforehead a!d eyes" with fear o!ly i! the mouth. :hough this is the same for
both ,atriia a!d Coh!" Coh!
=
s e#pressio! ?0/(@ o!veys more of a fear message
tha! does ,atriia=s ?0/6@. Agai!" this is beause of the type of fear mouth i! the
pitures. Coh!=s is the fear mouth that differs most from the surprise mouth.
,atriia=s fear mouth is the o!e that is most similar to the surprise mouth. *! ase
you thi!k that ,atriia looks totally surprised i! 0/6" with !o fear eleme!t
ble!ded" ompare this piture with her piture i! 6igure $$" a!d you will see the
differe!e.
6igure 0$ shows two other types of fear1surprise ble!ds. ,atriia
=
s e#1
pressio! shows surprise o!ly i! the mouth" with fear i! the eyes a!d brow. She
looks afraid" but !ot as afraid as i! the straight fear e#pressio! show! i! 0/2.
Figure 28
*! 6igure 0$ there is more of a dumbfou!ded eleme!t to ,atriia=s fear
beause of the surprise mouth. (ompare ,atriia=s e#pressio! i! 6igure 0$ with
her e#pressio! i! $%(. :he brows a!d eyes are the same" but replai!g the !eutral
mouth ?6igure $%(@ with a surprise mouth ?6igure 0$@ adds a! eleme!t of fear
a!d ha!ges the apprehe!sive fear of 6igure $%( to a greater but more
i!redulous fear.
Coh!=s e#pressio! i! 6igure 0$ shows the last way i! whih fear a!d surprise
a! be ble!ded. *! this i!sta!e Coh! shows fear o!ly i! the eyes. Cust the
tighte!i!g of the lower eyelid ha!ges his e#pressio! from surprise to fearful
surprise. (ompare Coh!=s e#pressio! i! 6igure 0$ with his e#pressio! i! 6igure
$$" i! order to see the differe!e betwee! this fear1surprise ble!d a!d the straight
surprise e#pressio!.
'e Ai e,
6igure 00 shows two full1fae fear e#pressio!s. Note eah of the disti!tive
lues to fear.
Fi ./r e 33
B
fear
1 : h e brows are raised a!d draw! together.
1 : h e wri!kles i! the forehead are i! the e!ter" !ot aross the e!tire
forehead.
1 : h e upper eyelid is raised" e#posi!g slera" a!d the lower eyelid is
te!sed a!d draw! up.
1 : h e mouth is ope! a!d the lips are either te!sed slightly a!d draw! bak
or strethed a!d draw! bak.
maki!g faes
$. ,ut the ( piees over the faes i! 6igure 00. 7hat is the e#pressio!G Eou
have see! Coh!=s e#pressio! before i! 6igure $-" a!d ,atriia
=
s is the same"
if a little more subtle. 7orry" slight apprehe!sio!" o!trolled fear are the
possible messages.
0. ,ut B over the faes i! 6igure 00. :he e#pressio!G ,atriia
=
s e#pressio!
mea!s worry or apprehe!sio! ?6igure $'B@. Coh!=s e#pressio! may have
this mea!i!g" or it may be o!trolled fear" or if it flashes o! a!d off very
)uikly" it may be a! emblemati fear e#pressio! ?6igure $&@.
-. ,ut both A a!d 2 o! the faes i! 6igure 00. :his is a faial e#pressio! you
were!=t show! before but whih was disussed o! page <0. *t has the fear
eyes" whih might be show! mome!tarily i! a highly o!trolled fear" or a
very slight fear.
;. :ake off A. :he e#pressio! is the same as i! the left side of 6igure $%1
apprehe!sive fear.
<. Remove 2 a!d replae A. :his is the e#pressio! show! o! the right side
of 6igure $%D it is the more horrified" froAe! fear. By i!terha!gi!g A a!d
2 you a! best see how the mea!i!g of the e#pressio! ha!ges.
flashi!g faes
A!other way to pratie what you have lear!ed is to flash some of the
photographs before your eyes a!d try to ide!tify the orret emotio!. Eou a!
do this" usi!g seleted figures from the preedi!g hapters. :he proedure is
somewhat omple#1but most people fi!d it a useful step to atually beome able
to spot these faial e#pressio!s i! real life.
Eou will !eed3
$.A part!erD your part!er will selet photos a!d flash them for you.
0.A! L1shaped ardboard maskD your part!er will !eed to over up
other photos that may be o! the same page so you will see o!ly the
fae bei!g flashed.
-.A list of the faes to be flashed a!d a prese!tatio! orderD the basi list
is give! below but your part!er will !eed to re1order this list so you
wo!=t k!ow whih photo is omi!g !e#t1a!d" of ourse" it=s importa!t to
k!ow the order of prese!tatio! so you a! ompare your a!swers later.
;. A! a!swer sheet" !umbered from $ to 00" for you to reord your a!swers.
Eour task is to figure out whih emotio! is show! i! eah piture.
)ist of Faces for Flashing Faces* "ractice +ne,
Figure umber! <A
%A
$/A
$/B *O(
$/2
$$" right photo
$A
$B $'B $&" right photo
$.B
$A
$B
$(
$2 0/( 0/6 0$" left
photo 0$" right photo
0A
0B
"nswers!
Neutral
Slight Surprise
Muestio!i!g Surprise Asto!ished
Surprise 2aAed Surprise
6ull 6ae Surprise 6ull 6ae
Surprise Neutral
7orry
7orry or Apprehe!sio!
6ear 4mblem or (o!trolled 6ear 6ear
Apprehe!sive 6ear +orrified
6ear
Apprehe!sive 6ear +orrified or Shoked
6ear 6ear1Surprise Ble!d 6ear1Surprise
Ble!d 6ear1Surprise Ble!d 6ear1
Surprise Ble!d 6ull 6ae 6ear
6ull 6ae 6ear
Eour part!er should show eah piture for o!ly one seo!d. +eIshe should
the! )uikly remove it from view a!d fi!d a!d mask the !e#t photo to be prese!ted
while you reord your a!swer. Buess if you have to" but go through all 00
prese!tatio!s before heki!g your a!swers.
*f you get them all right the first time" you=re doi!g very well. Eou=re a! e#pert
o! 64AR a!d S5R,R*S4H *f you missed some e#pressio!s" re1read what the te#t
said about those partiular figures. :he! have your part!er re1order the photos a!d
try the omplete set agai!.
*f you do!
=
t get them all right the first time" do!
=
t be disouraged. Ma!y
pereptive people take three or four attempts to get them all orret.
After (hapter & a!d (hapter %" you=ll fi!d additio!al e#erises with
flashi!g faes1i!ludi!g additio!al emotio!s. Eou=ll fi!d sueedi!g e#erises
muh easier if you=ve thoroughly mastered 64AR a!d S5R,R*S4 at this poi!t"
before goi!g o!.
d i s g u s t
The %x&erience o' -isgust
2isgust is a feeli!g of aversio!. :he taste of somethi!g you wa!t to spit out"
eve! the thought of eati!g somethi!g distasteful" a! make you disgusted. A
smell that you wa!t to blok out of your !asal passage" or move away from" alls
forth disgust. A!d agai!" eve! the thought of how some1thi!g repulsive might
smell a! bri!g out stro!g disgust. :he sight of some1thi!g you thi!k might be
offe!sive to taste or smell a! make you disgusted. Sou!ds might also make you
disgusted" if they are related to a! abhorre!t eve!t. A!d touh" the feel of
somethi!g offe!sive" suh as a slimy ob9et" a! make you disgusted.
:he tastes" smells" touhes that you fi!d disgusti!g are by !o mea!s
u!iversally so. 7hat is repulsive to people i! o!e ulture may be attrative to
people i! a!other ulture. :his is most easily e#emplified with foods1dog meat"
bull=s testiles" raw fish" alves= brai!s are by !o mea!s u!iversally appetiAi!g.
4ve! withi! a ulture there is !o u!a!imity about what is disgusti!g. 7ithi! our
ow! soiety some delight i! raw oysters" others a!=t eve! bear to see them eate!.
7ithi! a family there may be disagreeme!tD hildre! ofte! fi!d ertai! foods
disgusti!g whih they will later ome to fi!d appetiAi!g.
2isgust usually i!volves getti!g1rid1of a!d getti!g1away1from respo!ses.
Removi!g the ob9et or o!eself from the ob9et is the goal. Nausea a!d vomiti!g
a! our with the most e#treme" u!o!trolled" primitive e#perie!e of disgust.
:his reatio! a! be brought o! !ot o!ly by tasti!g somethi!g repulsive" but by
the sight or smell of somethi!g repulsive. Of ourse" !ausea a!d vomiti!g our
without disgust" a!d likewise disgust ours without !ausea or vomiti!g.
*t is !ot o!ly tastes" smells" a!d touhes or the thought" sight" or sou!d
disgust :;
of them that a! bri!g forth disgust but also the atio!s a!d appeara!e of people"
or eve! ideas. ,eople a! be offe!sive i! their appeara!eD to look at them may be
distasteful. Some people e#perie!e disgust whe! seei!g a deformed" rippled
perso!" or a! ugly perso!. A! i!9ured perso! with a! e#posed wou!d may be
disgusti!g. :he sight of blood or the wit!essi!g of surgery makes some people
disgusted. (ertai! huma! atio!s are also disgusti!gD you may be revolted by
what a perso! does. A perso! who mistreats or tortures a dog or at may be the
ob9et of disgust. A perso! who i!dulges i! what others o!sider se#ual
perversio! may be disgusti!g. A philosophy of life or way of treati!g people that
is o!sidered debasi!g a! make those who regard it that way feel disgusted.
2isgust a! vary i! i!te!sity. At the opposite e!d from the !ausea1vomiti!g
disgust is a mild dislike" a tur!i!g1away from the ob9et of disgust. *! this mild
disgust" the getti!g1away1from or getti!g1rid1of impulses may be o!tai!ed or !ot
ated upo!" but there is dislike for the ob9et. Eou might have a mild reatio! of
disgust to the smell of a !ew dish prepared by your host" but be able to bri!g
yourself to try it. A perso! with ra!id body odor might make you feel slight
disgustD you would dislike o!tat with him" but be able to ma!age it. 7he! you
hear how your frie!d disipli!ed his hild" you might feel mild disgust if you
disapproved of his method" but your frie!d1ship might be able to survive itD you
might still be able to have o!tat with him.
(o!tempt is a lose relative of disgust" but it differs i! some ways.
(o!tempt is o!ly e#perie!ed about people or the atio!s of people" but !ot about
tastes" smells" or touhes. Steppi!g o!to dog droppi!gs might all forth disgust"
but !ever o!temptD the idea of eati!g alves
=
brai!s might be disgusti!g" but it
would !ot evoke o!tempt. Eou might" however" feel o!temptuous toward
people who eat suh disgusti!g thi!gs" for i! o!tempt there is a! eleme!t of
o!dese!sio! toward the ob9et of o!tempt. 2isdai!ful i! disliki!g the perso!s
or their atio!s" you feel superior ?usually morally@ to them. :heir offe!se is
degradi!g" but you !eed !ot !eessarily get away from them" as you would i!
disgust. Sor! is a varia!t of o!tempt" i! whih the ob9et of o!tempt is derided
for his faili!gs" ofte! with some eleme!t of humor whih amuses the perso!
showi!g the sor! a!d hurts the reipie!t.
Ofte! disgust or o!tempt will be e#perie!ed together with a!ger. Eou a!
be a!gry at someo!e for bei!g disgusti!g. 6or e#ample" if a ma! dri!ks too muh
at a party a!d begi!s ati!g i! a sloppy way" his wife may be both disgusted a!d
a!gry" a!gry that he is bei!g disgusti!g. Or the hild molester may be the ob9et
of both disgust for his se#ual at a!d a!ger for his moral wro!gdoi!g. *f a
perso!=s atio!s make you disgusted rather tha! a!gry" it is usually beause they
pose !o threatD your respo!se is to get away
68 #i s./s t
from him rather tha! to defe!d yourself or attak him. Ofte! disgust will be used
to mask a!ger" beause i! parts of our soiety there is a taboo agai!st e#pressi!g
a!ger. ,arado#ially" people may well prefer to be the reipie!t of a!ger tha! of
disgust. *f you are disgusti!g" you are repulsive i! your offe!se. 7hether you
prefer to ause disgust or a!ger depe!ds upo! the i!te!sity of the disgust or
a!ger" a!d whether it is see! as aimed at a partiular at or at you yourself.
2isgust a! ble!d !ot o!ly with a!ger but also with surprise" fear" sad!ess"
a!d happi!ess. 4ah of these reatio!s will be disussed a!d show!. ,eople a!
e!9oy disgust" although it is probably !ot o!e of the most fre)ue!t patter!s of
affet e!9oyme!t. Some people may eve! seek a bad smell or taste" flirti!g with
disgust for the pleasure they obtai! i! bei!g disgusted by some1thi!g. *! ma!y
ultures hildre! are disouraged from uriosity about matters whih might ause
them or others to feel disgust. :hey are trai!ed to be ashamed of e!9oyi!g feeli!g
repulsed. :hose adults who fi!d some pleasure i! bei!g disgusted may hide this
from others" they may feel guilty about what they regard as a perversio!" or they
may !ot eve! realiAe they e!9oy bei!g disgusted. Muh more ommo!" a!d more
soially aeptable tha! e!9oyi!g disgust" is the affet patter! of e!9oyi!g
o!tempt. ,eople who are full of o!1tempt for others are ofte! the ob9et of
respet a!d admiratio! beause of the power a!d pri!iple implied i! their
disdai! a!d distaste. Some people perfet o!temptuous!ess as their predomi!a!t
i!terperso!al style3 *t is displayed to1ward everyo!e worthy of their o!tempt.
+aughty" smug" a!d superior" they look dow! at the world a!d may e!9oy status
for mai!tai!i!g that lofty posture. Ma!y people" of ourse" a!!ot e!9oy feeli!g
o!temptuous. *t is da!gerous for them to ak!owledge suh a presumptuous
feeli!g. Some people a!!ot tolerate the feeli!g of disgust. :he e#perie!e is so
to#i that eve! a slight whiff of disgust may preipitate aute !ausea.
T0e Appe"r "n( e o1 6i s./s t
:he most importa!t lues to disgust are ma!ifested i! the mouth a!d !ose
a!d to a lesser e#te!t i! the lower eyelids a!d eyebrow. :he upper lip is raised"
while the lower lip may be raised or loweredD the !ose is wri!kledD the lower
eyelids are pushed up" a!d the eyebrow is lowered.
the lower face
*! 6igure 0-" ,atriia shows that i! disgust the upper lip is raised ?$@"
ausi!g a ha!ge i! the appeara!e of the tip of the !ose. :he raised upper lip
may or may !ot be 9oi!ed by wri!kli!g alo!g the sides a!d bridge of the !ose ?0@.
:he more e#treme the disgust" the more likely it is that the !ose1
Figure 23
wri!kli!g will also be appare!t. :he lower lip may be raised a!d slightly forward
?-@" or lowered a!d slightly forward ?;@. :he heeks are raised" a!d this produes
a ha!ge i! the appeara!e of the lower eyelid" !arrowi!g the ope!i!g of the eye
a!d produi!g ma!y li!es a!d folds below the eye ?<@. :hough the eyebrow is
typially dow! i! disgust" this is a fairly u!importa!t eleme!t. ,atriia looks
disgusted i! 6igure 0- eve! though the brow a!d upper eyelid are from a !eutral
piture. (ompare 6igure 0- with 6igure 0;" i! whih the brow is dow!" a!d you
will see that the disgust e#pressio! seems more omplete" slightly more i!te!seD
but the differe!e betwee! 6igures 0- a!d 0; is !ot great.
:he faial o!figuratio! show! i! 6igure 0; a! our whe! the per1so! is
!ot atually disgusted" but usi!g a! emotio! emblem" referri!g to somethi!g
disgusti!g. 6or e#ample" if ,atriia had 9ust said" F7he! * ate i! this restaura!t
last week" * saw a okroah"
F
she might be showi!g o!e of the disgust emotio!
emblems. But she would use her fae i! suh a way that it would be obvious to
others she is !ot disgusted !ow. She might )uikly wri!kle her !ose" slightly
raisi!g her heeks a!d upper lipD or she might 9ust raise her upper lip without
wri!kli!g her !ose. :here are two lues that these are emotio! emblems rather
tha! faial e#pressio!s of emotio!1that ,atriia does !ot atually feel the emotio!
at this mome!t" a!d does!
=
t wa!t those
seei!g her to thi!k she does3 :here is o!ly a partial i!volveme!t of the fae
1 e i t he r the !ose1wri!kleIheek1raiseIslight lip1raise" or the lip1raiseI!o !ose1
wri!kle" but probably !ot both. A!d the e#pressio! is a brief flash rather tha! o!e
that lasts for a few seo!ds. A mok1disgust e#pressio! might em1ploy the full
e#pressio! see! i! 6igure 0;" but it would be held o! the fae for a! u!duly lo!g
time1playi!g at bei!g disgusted.
Although !ot ommo!" some people will use either the !ose1wri!kle or the
slight raised upper lip as a o!versatio!al pu!tuator" ae!ti!g a partiular word
or phrase. 4arlier we me!tio!ed that some people use the )uikly raised surprise
brow or the )uikly ope!ed surprise eyelids as o!versatio!al pu!tuators. Later
we will see that the lowered" draw!1together brow of a!ger is a!other
o!versatio!al pu!tuator" a!d that the draw!1together a!d raised brow of
sad!ess is yet a!other. In eah ase the faial moveme!t fu!tio!s muh like a
moveme!t of the ha!ds" to emphasiAe a partiular word or phrase" italiiAi!g it.
Little is k!ow! as to why some people use the fae to pu!tuate rather tha! or i!
additio! to the ha!ds. A!d little is k!ow! about whether the partiular faial
pu!tuator employed1surprise brow" disgust !ose1wri!kle" or sad brow" et.1
mea!s a!ythi!g psyhologially. *t might reflet somethi!g about a perso!=s
perso!alityD or it might be the result of his u!witti!gly imitati!g a partiular
perso!" suh as a
isgust ;6
pare!t" i! hildhood whe! he a)uired speehD or perhaps it is determi!ed by the
!euroa!atomy.
variations in intensity
2isgust may vary i! i!te!sity from slight to e#treme. *! slight disgust there
will be less !ose1wri!kli!g" a!d the raise of the upper lip will also be less
pro!ou!ed tha! i! 6igure 0;. *! more e#treme disgust" both the !ose1wri!kli!g
a!d the upper1lip raisi!g will be greater tha! that show! i! 6igure 0;. :he !asal1
labial fold" the wri!kle ru!!i!g from the !ostrils dow! to the outer lip or!ers"
may beome appare!t a!d deeper. *! e#treme disgust the to!gue may ome
forward a!d show i! the mouth or atually protrude from the mouth ?6igure '$@.
contem"t e-"ressions
(o!tempt is show! by a variatio! o! the losed1lips disgust mouth. 6igure
0< shows three o!tempt e#pressio!s. Coh! shows the u!ilateral o!1tempt mouth"
with slight pressi!g of the lips a!d a raisi!g of the or!ers o! o!e side. ,atriia=s
e#pressio! i! 0<B is esse!tially the same as Coh!=s e#ept that her upper lip is
raised o! o!e side" e#posi!g the teeth. :his adds the sor!ful" s!eeri!g !ote to the
e#pressio!. :he piture of ,atriia i! 0<( shows a milder form of o!tempt" with
a barely !otieable lifti!g of the upper lip o! o!e side of her fae. 6igure 0'
shows a ble!d of eleme!ts of o!tempt a!d disgust. :he o!tempt is show! i! the
tight" slightly raised or!ers of the mouth with lip pressed agai!st lip. :his is very
similar to Coh!=s fae i! 0<A" e#ept that the e#pressio! is bilateral rather tha!
u!ilateralD the or!ers are tighte!ed o! both sides of ,atriia=s mouth. :he hi!t of
disgust i! ,atriia=s fae i! 6igure 0' omes from the slight forward a!d upward
positio! of the lower lip" a!d the slightly wri!kled !ose. (ompare it with the
lower lip i! ,atriia=s piture i! 0;B a!d you will see the similarity.
+lens
2isgust a! ble!d with surprise. 6igure 0& shows a full1fae disgust ?0&A@"
a surprise fae ?0&B@ a!d a ble!d of disgust ?0&(@ ?lower fae a!d lower eyelid@
a!d surprise ?browIforehead" upper eyelid@. :his e#pressio! might our if
,atriia had bee! disgusted by somethi!g u!e#peted a!d the surprise had !ot
ompletely faded away. More usually" the e#pressio! i! 0&( would !ot atually
be a! e#pressio! of the ble!ded feeli!gs of disgust a!d surpriseD rather" the
surprise brow1raise would have bee! added as a! emblem to emphasiAe the
disgust e#pressio!. Eou might be able to imagi!e ,atriia maki!g a sou!d like
Fuuh
F
i! 0&A" while i! the omposite piture i! 0&( she might be sayi!g" FOh"
my Bod" how disgusti!gH
F
0
Figure "6
1
Figure "5
Figure 24
:he eleme!ts of disgust a!d surprise are ombi!ed i! a!other e#pressio!"
whih is !ot a ble!d of the two messages" but produes a !ew message. 6igure 0.
shows the surprise browIforehead a!d the disgust lower fae" i!ludi!g the lower
eyelid. ,atriia=s e#pressio! also i!ludes a! upper1eyelid droop" a!d her mouth is
the o!tempt1disgust ble!d from 6igure 0'. Coh!=s e#pressio! shows a disgust
lower fae !ot show! before" where the upper lip a!d heeks are raised" with
slight !ose1wri!kli!g" a raisi!g a!d slight forward moveme!t of the lower lip" a!d
!o loweri!g of the eyebrow. :his lower fae of Coh!=s is a variatio! of the lower
fae show! i! 6igure 0-B by ,atriia. :hese faes i! 6igure 0. o!vey disbelief.
(ompare this figure with 6igure <B" whih shows the surprise brows a!d the rest
of the fae !eutral" whih had the message of )uestio!i!g. By addi!g the disgust
mouth" as i! 6igure 0." the message ha!ges to disbelief" i!redulity" skeptiism.
6re)ue!tly" suh a faial e#pressio! is aompa!ied by bak a!d forth lateral
moveme!ts of the head.
2isgust a! also ble!d with fear. *! 6igure 0% Coh! shows fear ?0%A@"
disgust ?0%B@" a!d a ble!d of disgust ?lower fae a!d lower eyelid@ a!d fear ?0%(@
?browIforehead a!d upper eyelid@. :his ble!d has the mea!i!g of dreadi!g
somethi!g disgusti!g.
Fi ./r e 3>
C
76 #i s./s t
Most ofte!" disgust ble!ds with a!ger. :his will be show! i! the !e#t
hapter. 2isgust1happi!ess a!d disgust1sad!ess ble!ds will be show! i! the
hapters that e#plai! those emotio!s.
'eAi e,
2isgust is show! primarily i! the lower fae a!d i! the lower eyelid
?6igure -/@.
1 : h e upper lip is raised.
1 : h e lower lip is also raised a!d pushed up to the upper lip" or is
lowered a!d slightly protrudi!g.
1 : h e !ose is wri!kled.
1 : h e heeks are raised.
1 Li !e s show below the lower lid" a!d the lid is pushed up but !ot te!se.
1 : h e brow is lowered" loweri!g the upper lid.
Fi ./r e 32
making faces
7ith disgust you a!!ot make the variatio!s i! faial e#pressio! by
ha!gi!g o!e part of the fae" as you were able to do with fear a!d surprise. :he
reaso! for this is the o!!eted!ess aross faial areas of the musle moveme!ts
i!volved i! disgust.
:he musles that raise the upper lip also raise the heek" a!d bag a!d fold
the ski! u!der the eyelids. :herefore" putti!g the B piee o! the faes i! 6igure
-/ would reate somethi!g whih a!atomially a!
=
t our. :he eyes show! i! B
ould !ot look that way if the mouth area looked the way it does i! 6igure -/.
:he musles respo!sible for wri!kli!g the !ose also raise the heek"
slightly raise the lower lip" a!d bag a!d fold the ski! u!der the lower eyelids.
:herefore" putti!g the 2 piee o! the faes i! 6igure -/ would reate some1thi!g
whih a!atomially a!=t our. *f the !ose is as wri!kled as it is i! that figure"
the upper lip would have to be raised a!d the tip of the !ose ha!ged i! the
o!figuratio!.
:he musles that lower the brow also lower the upper eyelid" !arrowi!g the
eye. :herefore" if you put the A piee o! 6igure -/ it would reate somethi!g
odd. :he piture would still show the lowered eyelid eve! though you had
removed the lowered brow.
anger
)he E-"erience of %nger
A!ger is probably the most da!gerous emotio!. 7he! a!gry" you are most
likely to hurt others purposefully. *f you k!ow that someo!e is a!gry" if you
omprehe!d what made him a!gry" the! his attak is u!dersta!dable eve! if you
o!dem! his failure to o!trol himself. *t is the perso! who attaks without
k!ow! provoatio!1who does!=t seem to have bee! a!gry1whom you 9udge as
biAarre or raAy. ,art of the e#perie!e of a!ger is the risk of losi!g o!trol.
7he! a perso! says he was a!gry" that ofte! seems to e#plai! why he did
somethi!g he !ow regrets. F* k!ow * should!=t have said that to him ?hit him@" but
* was furiousD * lost my head.F (hildre! are speifially taught !ot to attak their
pare!ts or other adults physially whe! they are a!gry. :hey may eve! be taught
to o!trol a!y visible sig! of a!ger. Boys a!d girls are usually trai!ed differe!tly
about a!ger" girls bei!g taught !ot to show a!ger toward a!yo!e" while boys are
e!ouraged to e#press a!ger toward their peers if provoked. Adults are k!ow! by
how they ma!age the feeli!g of a!ger1Fslow1bur!er"F Fshort1fused"F
F
e#plosive"
F
Fhothead"
F
Fool"F et.
A!ger a! be aroused i! a !umber of differe!t ways. 6rustratio! resulti!g
from i!terfere!e with your ativity or the pursuit of your goals is o!e route. :he
frustratio! may be speifi to a task you are e!gaged i! or more ge!erally to a
path or diretio! i! your life. Eour a!ger will be more likely a!d more i!te!se if
you believe that the age!t of the i!terfere!e ated arbitrarily" u!fairly" or
spitefully. *f a perso! wa!ts to frustrate you" or frustrates you simply beause he
fails to o!sider how his atio!s might affet your ativity" you are more likely to
be a!gry tha! if you thi!k he has !o hoie. :he frustrati!g obstale !eed !ot be a
perso!. Eou a! beome a!gry at a!
anger
ob9et or !atural eve!t that frustrates you" although you may feel a bit em1
barrassed or less 9ustified i! your a!ger.
,resumably" your ourse of atio! whe! you are a!gry beause of frustratio!
is to remove the obstale by a physial or verbal attak. Of ourse" the frustrator
may be more powerful tha! you are a!d u!o!er!ed with your protestatio!s. Eet
a!ger may still be aroused a!d made ma!ifest diretly to him1you may urse him"
beat him" et. Or you may ma!ifest your a!ger i!diretly" shouti!g a!d ursi!g
the frustrator whe! he is !ot arou!d to pu!ish you for your a!ger. Eou may
e#press your a!ger symbolially" by attaki!g somethi!g that represe!ts him" or
by displai!g your a!ger o!to a safer or more o!ve!ie!t target" a sapegoat.
A seo!d ma9or provoatio! to a!ger is a physial threat. *f the perso!
threate!i!g i!9ury is i!sig!ifia!t a!d obviously u!able to hurt you" you are more
likely to feel o!tempt tha! a!ger. *f the perso! threate!i!g i!9ury is obviously
muh more powerful tha! you are" you will probably feel fear rather tha! a!ger.
4ve! if the math is fairly e)ual" you may well e#perie!e a ble!d of a!ger a!d
fear. :he ourse of atio! whe! a!ger is aroused by a threat of physial i!9ury
may be to attak a!d fight" to war! verbally or bluff" or to flee. 4ve! i! flight"
though you are presumably afraid" you may still also o!ti!ue to feel a!ger.
A third ma9or soure of a!ger is someo!e
=
s atio! or stateme!t whih auses
you to feel psyhologially" rather tha! physially" hurt. A! i!sult" a re9etio!" a!
atio! whih shows disregard for your feeli!gs" may a!ger you. Eou must are i!
some way about the perso! who psyhologially hurts you i! order to feel hurt
a!d a!gry about it. A! i!sult from someo!e you have little regard for" a re9etio!
by someo!e whom you would !ever o!sider as frie!d or lover" may at best all
forth o!tempt or surprise. At the other e#treme" if the hurt omes from someo!e
you are greatly about" you may feel sad!ess i!stead of or i! additio! to a!ger. *!
some i!sta!es" you may are so muh about the perso! who has hurt you" or be
so u!able to be a!gry with him ?or with a!yo!e@" that you ratio!aliAe his hurtful
ats by fi!di!g some basis i! your ow! atio!s for his hurtful behaviorD you the!
feel guilty rather tha! a!gry. ,ut i! other terms" you beome a!gry with yourself
rather tha! with the o!e who hurt you. Agai!" as with frustratio!" if the perso!
who hurts you appears to have do!e so deliberately" you are more likely to be
a!gry with him tha! if the hurt seems aide!tal or otherwise out of his o!trol.
A fourth ma9or type of a!ger is oasio!ed by observi!g someo!e do
somethi!g whih violates your dearly held moral values. *f someo!e treats
a!other perso! i! a ma!!er you o!sider immoral you may beome a!gry eve!
though you are !ot diretly affeted. A! obvious e#ample is the a!ger you may
feel whe! observi!g a! adult pu!ish a hild i! a fashio! you o!sider
too severe. *f you hold differe!t moral values what you pereive as a! adult=s
le!ie!y toward a hild may a!ger you. :he vitim !eed !ot be as helpless as is a
hild i! order for you to be a!gered. :he husba!d who leaves his wife" or vie
versa" may a!ger you" if you believe that marriage is
F
u!til death us do part.
F
4ve!
if wealthy you may be a!gered by the eo!omi e#ploitatio! of ertai! groups i!
your soiety" or by the gover!me!t pamperi!g wastrels. Moral a!ger is ofte! self1
righteous" although we te!d to apply that term o!ly if we disagree with the moral
value held by the a!gered perso!. A!ger about the sufferi!g of others" a!ger felt
beause our moral values are bei!g violated" is a very importa!t motive for soial
a!d politial ats. Suh a!ger i! additio! to other fators may motivate attempts
to ha!ge soiety" whether it be by soial reform" prayer" assassi!atio!" or
terrorism.
:wo other eve!ts that a! ause a!ger are related but probably less im1
porta!t tha! the o!es disussed so far. A perso!=s failure to meet your e#1
petatio!s may arouse your a!ger. +is failure !eed !ot diretly hurt youD i! fat it
might !ot be direted at you per se. Most ommo!ly this is a pare!tal reatio! to
a hild. Eour impatie!e a!d irritatio! with his failure to follow i!strutio!s or
otherwise meet your e#petatio!s !eed !ot re)uire that the per1so! hurt you by
his failure to omplyD it is the failure to meet e#petatio!s itself that is a!geri!g.
A!other ause of a!ger is a!other perso!=s a!ger direted at you. Some
people harateristially reiproate a!ger. :his may be partiularly pro!ou!ed
if there is !o appare!t basis for the other=s a!ger at you" or if his a!ger seems i!
your evaluatio! !ot to be 9ustified. A!ger whih i! your view is !ot as righteous
as it is i! his a! make you )uite a!gry.
:hese are o!ly a few of the almost i!fi!ite !umber of auses of a!ger. 2epe!di!g
upo! the life history of the i!dividual" a!ythi!g a! eliit a!ger.
:he e#perie!e of a!ger very ofte! i!ludes ertai! se!satio!s. *! his ow!
aou!t of the physiology of a!ger" 2arwi! )uoted Shakespeare3
But whe! the blast of war blows i! our ears"
:he! imitate the atio! of the tiger3
Stiffe! the si!ews" summo! up the blood"
:he! le!d the eye a terrible aspetD
Now set the teeth" a!d streth the !ostril wide" +old
hard the breath" a!d be!d up every spirit :o his fu$$
heightH O!" o!" you !oblest 4!glish.
<Henr) %B At -" s.l.@
Blood pressure i!reases" the fae may redde!" the vei!s o! the forehead a!d
!ek may beome more appare!t. Breathi!g ha!ges" the body may be1ome
more eret" the musles te!se" a!d there may be a slight moveme!t forward
toward the offe!der.
anger
*! i!te!se a!ger or rage" it may be impossible to stay still" the impulse to
strike may be so very great. Although attak" or fighti!g" may be a ommo! part
of the a!gry respo!se" it !eed !ot our at all. A furious perso! may o!ly use
wordsD he may shout a!d sream" or be more o!trolled a!d o!ly say !asty thi!gs"
or be eve! more o!trolled a!d !ot betray his a!ger i! his words or voie. Some
people habitually tur! a!ger i!ward upo! them1selves a!d at the most make a
9oke at the e#pe!se of the a!ger1provoki!g perso! or at their ow! e#pe!se.
:heories about the basis of ertai! psyhosomati disorders laim that ertai!
physial ill!esses our amo!g people who a!!ot e#press a!ger" who vitimiAe
themselves rather tha! beomi!g a!gry at those who provoke them. (urre!tly" a
lot of atte!tio! is direted to people who supposedly a!
=
t e#press a!ger" a!d
various therapeuti a!d )uasi1therapeuti e!terprises fous speifially o!
teahi!g people how to e#press their a!ger a!d how to tolerate the a!ger of
others.
A!ger varies i! i!te!sity" from slight irritatio! or a!!oya!e to rage or fury.
A!ger may build gradually" starti!g with irritatio! a!d slowly aumulati!g" or it
may our sudde!ly" full1blow!. ,eople differ !ot o!ly i! terms of what makes
them a!gry or what they do whe! they are a!gry but also i! terms of how lo!g it
takes them to beome a!gry. Some people have short fuses" a!d are k!ow! for
e#plodi!g i! a!ger" rarely goi!g through the a!!oya!e stage !o matter what the
provoatio!. Others may rarely be aware of feeli!g more tha! a!!oya!eD !o
matter what the provoatio! they !ever beome really a!gry" at least i! their view
of themselves. ,eople also differ i! how lo!g they remai! a!gry o!e the
provoatio! has passed. Some people appear to stop bei!g a!gry )uikly" while
others harateristially e#perie!e li!geri!g feeli!gs of a!ger. *t may take suh
people hours to get over bei!g a!gry" partiularly if what made them a!gry
stopped before they had a ha!e to show their a!ger ompletely.
A!ger a! ble!d with a!y of the other emotio!s. 7e have already disussed
oasio!s o! whih a perso! may feel a!ger1fear" a!ger1sad!ess" or a!ger1disgust.
A perso! may also feel a!gry a!d surprised" or a!gry a!d happy at the same time"
showi!g sor! or smug!ess.
Some people take o!siderable pleasure i! the e#perie!e of bei!g a!gry.
:hey e!9oy argume!t. +ostile e#ha!ges a!d verbal attaks are !ot o!ly e#iti!g
to them but are the soure of satisfatio!. ,eople may eve! e!9oy the physial
e#ha!ge of blows i! a k!ok1dow! drag1out physial fight. *!timay a! be
established or reestablished by a vigorous a!gry e#1ha!ge betwee! two people.
(ertai! married ouples are k!ow! for their repetitive patter! of !ear1viole!t or
eve! viole!t fights" followed immediately by se#ual passio! a!d i!timay. Some
feeli!gs of se#ual e#iteme!t may our with a!gerD it is !ot k!ow! whether this
is ommo! or peuliar to sadism. (ertai!ly ma!y people e#perie!e a positive
feeli!g of relief after a!ger" if
o!ly beause the a!ger is over" the threat or obstale removed. But that is !ot the
same as atually e!9oyi!g bei!g a!gry duri!g the e#perie!e of a!ger.
4!9oyme!t of a!ger is far from the o!ly affetive patter! i! regard to this
emotio!. Ma!y people beome )uite upset with themselves if they be1ome
a!gryD they try !ever to allow themselves to feel a!ger or show it. Never
beomi!g a!gry may beome a! e#pliit part of their life philosophy or life work.
,eople may be afraid of feeli!g a!gry. :hey may beome sad" ashamed" or
disgusted with themselves if they ever feel or show a!ger. Suh people are
usually o!er!ed about losi!g o!trol over impulses to attak. :heir o!er!
may be 9ustified" or they may e#aggerate the harm they a! do or have do!e.
)he %""earance of %nger
Although there are disti!tive ha!ges i! eah of the three faial areas
duri!g a!ger" u!less ha!ges our i! all three areas it is !ot lear whether or !ot
a perso! is atually a!gry. :he eyebrows are lowered a!d draw! together" the
eyelids are te!sed" a!d the eye appears to stare i! a hard fashio!. :he lips are
either tightly pressed together or parted i! a s)uare shape.
the anger +row
:he eyebrows are draw! dow! a!d together. 6igure -$ shows the a!ger
brow at the left a!d the fear brow o! the right. *! both the a!ger a!d fear brows"
the i!!er or!ers of the eyebrows are draw! together. But i! a!ger the brow is
also lowered" while i! fear the brow is raised. *! a!ger the brow may atually
appear to be a!gled dow!ward or 9ust to be lowered i! a flat fashio!. :he drawi!g
together of the i!!er or!ers of the eyebrow usually produes vertial wri!kles
betwee! the eyebrows ?$@. No horiAo!tal wri!kles will appear i! the forehead i!
a!ger" a!d if there is a!y trae of suh li!es" they are the perma!e!t wri!kles of
the fae ?0@.
Figure 38
anger
*! a!ger the lowered" draw!1together eyebrow is usually aompa!ied by
the a!ger eye a!d the a!ger mouth" but sometimes the a!ger brow may appear
with the rest of the fae u!i!volved or !eutral. 7he! this happe!s the faial
e#pressio! may or may !ot sig!ify a!ger. *! 6igure -0 both Coh! a!d ,atriia
show the a!ger brow with the rest of the fae u!i!volved o! the left" a !eutral
fae i! the middle" a!d for ompariso! the fear brow with the rest of the fae
u!i!volved o! the right. Although the faial e#pressio! o! the right learly
looks worried or apprehe!sive ?as disussed i! (hapter <@" the fae o! the left"
showi!g the draw!1together a!d lowered brow" may have a!y of the followi!g
mea!i!gs3
1 : h e perso! is a!gry but is tryi!g to o!trol or o!eal a!y sig! of a!ger.
1 : h e perso! is slightly a!!oyed" or a!ger is i! the begi!!i!g stage.
1 : h e perso! is i! a serious mood.
1 : h e perso! is o!e!trati!g or fousi!g o! somethi!g i!te!tly.
1 * f it is a mome!tary ha!ge" i! whih the a!ger brow appears for 9ust a
mome!t a!d the! retur!s to a !eutral positio!" it a! be a!other o!1
versatio!al pu!tuator" ae!ti!g a partiular word or phrase.
the anger eyesAlis
*! a!ger the eyelids are te!sed" a!d the eye appears to stare out i! a
pe!etrati!g or hard fashio!. *! 6igure -- ,atriia a!d Coh! show the two types
of a!ger eyes" the !arrower versio! o! the left a!d the wider versio! o! the
right. *! all four pitures the lower eyelid is te!sed" but it is raised more i! o!e
type of a!ger eye ?A@ tha! i! the other ?B@. 7ith both types of a!ger eyes" the
upper eyelid appears to be lowered. :he a!ger eyesIlids show! i! 6igure --
a!!ot our without the i!volveme!t of the brow" be1ause the lowered brow
is respo!sible for the !arrowi!g of the upper part of the eye" pushi!g agai!st the
upper eyelid. :he lower eyelid ould be te!se a!d raised" a!d the hard" fi#ed
stare ould our alo!e" but its mea!i!g would be ambiguous. *s the perso!
slightly a!gryG *s the perso! o!trolli!g the appeara!e of a!gerG *s the perso!
havi!g trouble fousi!gG *s the perso! o!e!trati!g" determi!ed" seriousG 4ve!
with both the browIforehead a!d eyeIlid i!volveme!t ?two faial areas" as
show! i! 6igure --@" there is the same ambiguity about what the e#pressio!
mea!s. *t might have a!y of the mea!i!gs 9ust listed.
the anger mouth
:here are two basi types of a!ger mouth. *! 6igure -; ,atriia shows two
e#amples of the losed" lip1pressed1agai!st1lip mouth o! the top" a!d of the
ope!" s)uare mouth o! the bottom. :he lip1pressed1agai!st1lip mouth ours i!
two )uite differe!t ki!ds of a!ger. *t ours whe! the perso! is
Figure 3"
anger
e!gagi!g i! some form of physial viole!e" bodily attaki!g a!other perso!. A!d
it ours whe! the perso! is attempti!g to o!trol a verbal" shouti!g a!ger" a!d
presses the lips together i! a! attempt to keep from shouti!g or sayi!g somethi!g
hostile. :he ope!1mouthed a!ger ours duri!g speeh" whe! the perso! may be
shouti!g or verbally e#pressi!g a!ger.
:ypially these a!gry mouths appear with the a!gry eyes a!d brow" but they
a! appear with the rest of the fae u!i!volved. :he message" how1ever" is
ambiguous" 9ust as it is if a!ger is show! o!ly i! the brows or o!ly
Figure 34
B
i! the eyelids. *f a!ger is show! o!ly i! the mouth" the lip1pressed1agai!st lip
mouth may sig!ify slight a!ger" o!trolled a!ger" physial e#ertio! ?suh as
lifti!g a heavy ob9et@" or o!e!tratio!. :he ope!" s)uare mouth is also
ambiguous if the rest of the fae is u!i!volved" for it may be ourri!g with
!o!a!gry shouti!g ?yelli!g at a baseball game@ or ertai! speeh sou!ds.
two faial areas
*! 6igure -- we showed that if a!ger is appare!t i! 9ust two faial areas" the
brows a!d eyelids" the message is ambiguous. :he same is true if the a!ger is
show! i! the two areas of the mouth a!d eyelid. 6igure -< shows omposite faes
i! whih a!ger is registered i! the lower fae a!d lower eyelid" with the
browIforehead from a !eutral fae. :he mea!i!gs of these faial e#pressio!s
ould be a!y of those 9ust me!tio!ed. #he facial signals for anger are ambiguous
unless there is some registration of the anger in all three facial areas. :he a!ger faial
e#pressio! is differe!t i! this way from the e#pressio!s of the emotio!s we have
disussed so far. Surprise or fear a! be show! u!ambiguously i! the browsIeyes
or the eyesImouth. 2isgust a! be show! u!ambiguously i! the mouthIeyes. *!
subse)ue!t hapters o! sad!ess a!d happi!ess you will see that these emotio!s
a! also be show! i! a! u!ambiguous fashio! with o!ly two areas of the fae
i!volved. *t is o!ly
Figure 3;
anger
with a!ger that there is ambiguity if the sig!als are limited to o!ly two areas of
the fae. :he ambiguity i! these two1way a!gers a! be redued by the to!e of
voie" body posture" ha!d moveme!ts" or words spoke!" as well as by the o!te#t
i! whih the e#pressio! ours. *f you were to see the e#pressio! show! i! 6igure
-< or 6igure -- whe! ,atriia was de!yi!g that she was a!!oyed" le!hi!g her
fi st s1 or were show! this e#pressio! right after you told her somethi!g you
e#peted she would !ot like1you would be likely to be orret i! 9udgi!g her
a!gry. Some people may have a te!de!y to show a!ger primarily i! o!e or
a!other faial area whe! they are o!trolli!g their a!ger. 7he! that is so" those
who k!ow them well1members of their family or lose frie!ds1may lear!
somethi!g about them a!d the e#pressio! ?as show! i! 6igures -< or --@ whih"
while ambiguous for most people" would !ot be ambiguous to a! i!timate.
:he ambiguity of a!ger whe! it is show! i! o!ly two faial areas a! be
demo!strated i! a!other set of photographs i! whih a slightly differe!t a!ger
e#pressio! is show! i! the eyelids. *! 6igure -'A the eye appears to be bulgi!g
out a!d the lower lid is te!se" but !ot as te!se as i! 6igure --. *f this ours with
the brow lowered but the mouth u!i!volved" as show! i! -'A" the message is
ambiguous. ,atriia might be e#perie!i!g o!trolled a!ger" slight a!ger" i!te!t
o!e!tratio!" or determi!atio!. *f a slight te!sio! is added to the lower fae" the!
the e#pressio! loses its ambiguity. O! the right -'B shows the brows a!d eyes are
the same as i! -'A" but there is a slight te!sio! i! the upper lip" a slight te!sio! i!
the omers of the lips a!d protrusio! i! the lower lip" a!d slight !ostril dilatio!.
6igure -'B is importa!t also i! showi!g that there !eed !ot be e#treme sig!s of
a!ger i! all three faial areas as lo!g as there is some registratio! i! eah. :he
browIforehead i! 6igure -'B shows o!ly part of the a!ger sig!al. :he brow is
lowered but !ot draw! together" a!d we have 9ust outli!ed how mild the te!sio! is
i! the lower fae. :ogether these partial sig!s i! the browIforehead a!d lower
fae" with the te!sed lower eyelid a!d bulgi!g eye" are suffiie!t to sig!al a!ger.
full anger expressions
*! 6igure -& ,atriia shows two types of a!ger eyesIlids with the two types
of a!ger mouth. (ompari!g the top with the bottom pitures" o!e sees the same
eyesIlids but differe!t mouths. (ompari!g the left with the right pitures" o!e
sees the same mouth but differe!t eyes.
As we have already e#plai!ed" the two types of mouth i! a!ger are related to
what the perso! is doi!g. :he losed1mouth a!ger show! i! the top pitures a!
our as the perso! e!gages i! physial viole!e" or if the perso! tries to s)uelh
a! impulse to shout. 7hat is ourri!g i! the pitures show! at the bottom is the
shouti!g or verbal a!ger. :he more ope!1a!ger eye i! the pitures o! the right
makes the message slightly more emphati.
figure 3<
Figure 37
intensity of anger
:he i!te!sity of the a!ger e#pressio! a! be ma!ifest i! how muh te!sio!
there is i! the eyelids or how muh bulge i! the eye. *t a! also be show! i! how
tightly the lips are pressed together. *! 6igure -& the lip1presses are severe
e!ough to ause a bulge below the lower lip a!d a wri!kli!g i! the hi!. *! less
i!te!se a!ger the lip1press would be less severe" the bulge a!d hi!1wri!kli!g less
appare!t or !ot visible. :his is show! i! 6igure -'B. Similarly" how wide ope!
the mouth is i! the ope!1mouth a!ger e#pressio! is also related to i!te!sity. Less
i!te!se a!ger a! also be show! i! o!ly o!e part of the fae" or i! o!ly two parts
of the fae" as i! 6igures -- or -<. But" as we war!ed earlier" here it is !ot lear
whether the perso! is 9ust slightly a!gry" )uite a!gry but o!trolli!g the
appeara!e of a!ger" or !ot a!gry but o!e!trati!g" determi!ed" or perple#ed.
anger )lends
:he ble!d e#pressio!s show! i! previous hapters were aomplished by the
two ble!ded emotio!s registeri!g i! differe!t areas of the fae. 4ve! though
limited to o!ly part of the fae" eah of the ble!ded emotio!s was still o!veyed
i! the total message. 7ith a!ger" however" u!less the e#pressio! is registered i!
all three areas of the fae" the message beomes ambiguous. O!e o!se)ue!e of
this is that those a!ger ble!ds i! whih o!e or two faial areas register a!other
emotio! usually result i! the a!ger message bei!g overwhelmed by the other
emotio! i! the ble!d. ?A!other o!se)ue!e of this is that a!ger is easily masked1
o!ly o!e faial area !eed be o!1trolled or overed to redue ertai!ty about the
a!ger message.@ Eou will see some e#amples of these ble!ds i! whih the a!ger
message is almost lost. :here are two e#eptio!s for whih the a!ger message
remai!s salie!t. 6irst" i! disgust1a!ger ble!ds" the a!ger part of the message is
retai!ed. :his may be beause disgust a!d a!ger ble!d so fre)ue!tly" or beause
of similarities i! faial appeara!e a!d situatio!al o!te#t betwee! these two
emotio!s. :he seo!d e#eptio! is that the ble!d may be aomplished by a
differe!t teh!i)ue. A ble!d !eed !ot re)uire that differe!t faial areas show the
differe!t emotio!s. *t a! also be ahieved by ble!di!g the appeara!e of the two
emotio!s withi! eah area of the fae. Beause the a!ger message is registered i!
all three faial areas with this type of ble!d" the a!ger message is by !o mea!s
lost or swamped by the other emotio!. 6igure -. shows suh a ble!d.
,robably the most ommo! ble!d for a!ger is with disgust. *! 6igure -.(
,atriia shows a! a!ger1disgust ble!d i! whih the two emotio!s are mi#ed
withi! eah faial area. *t seems to say" F+ow dare you show me suh a
disgusti!g thi!gHF :his figure also shows a! a!ger e#pressio! ?-.A@ a!d a disgust
e#pressio! ?-.B@ for ompariso!. *!spet the mouth i! -.(. *t is both a lip1press
as i! a!ger a!d a! upper1lip raise as i! disgust.:he !ose is wri!kled
A B
Fi ./r e 3>
as i! disgust. :he lower eyelids have some of the te!sio! of the a!ger e#pressio!
but also the baggi!g a!d foldi!g be!eath the lid harateristi of disgust" whih is
aused by the !ose1wri!kli!g a!d the raisi!g of the heeks. :he upper eyelid
appears lowered a!d te!se" a ha!ge that a! our with either a!ger or disgust.
But the lowered brow is i!termediate betwee! a!ger a!d disgust1the brows are
o!ly partially draw! together.
*! 6igure -% Coh! shows two other a!ger1disgust ble!ds" i! whih the
ble!di!g is aomplished by separate faial areas rather tha! mi#i!g withi! faial
areas. *! -%A a!ger is registered i! the brows a!d eyes a!d disgust i! the mouth.
*! -%B" Coh! shows a o!tempt1a!ger ble!d" with o!tempt i! the mouth a!d
a!ger i! the eyes a!d brow.
*t is possible to be surprised a!d a!gry at the same mome!t. Suppose Coh!
was already a!gry" a!d some !ew u!e#peted a!ger1provoki!g eve!t happe!ed.
*! 6igure ;/ Coh! shows a! a!ger1surprise ble!d" with surprise i! the mouth a!d
a!ger i! the brow a!d eyes. Notie" however" that the surprise eleme!t1the
shok1 i s the domi!a!t message. *t is !ot ertai! that he is also a!gry. :his faial
e#pressio! ould 9ust as well our with perple#ed surprise ?remember" the
lowered draw!1together brow had perple#ity as o!e of its mea!i!gs@.
Ma!y provoatio!s or threats may i!spire both fear a!d a!ger" a!d the two may be
ble!ded for )uite a period of time" as the perso! attempts
Figure =1
to ope with the situatio!. 6igure ;$ shows two suh a!ger1fear ble!ds. *! ;$B
a!d ;$( fear is show! i! the mouth a!d a!ger i! the brows a!d eyes. Agai! !ote
that the a!ger part of the ble!d message is !ot domi!a!t" but )uite weak
ompared with the fear message. *! fat" these two faial e#pressio!s" ;$B a!d
;$( ould our whe! there was !o a!ger at all" but i!stead perple#ed fear" or
fear i! whih the perso! was o!e!trati!g. ,atriia=s e#pressio! i! ;$A has bee!
i!luded beause it shows a ombi!atio! of a!ger a!d fear eleme!ts ?fear brows
a!d eyes a!d a!ger mouth@. but it is o!e whih we doubt is a! atual ble!d. *t is
more likely that this ombi!atio! would our if ,atriia were afraid a!d
attempti!g to keep from sreami!g" pressi!g her lips together i! a! attempt to
o!trol her fear.
A!ger a! also ble!d with happi!ess ?(hapter .@ a!d with sad!ess ?(hapter
%@ .
:eview
A!ger is ma!ifested i! eah of the three faial areas ?6igure ;0@.
1 : h e brows are lowered a!d draw! together.
8ertial li!es appear betwee! the brows. 8
:he lower lid is te!sed a!d may or may !ot be raised.
Figure 4
. 0
Figure =2 F
:he upper lid is te!se a!d may or may !ot be lowered by the atio! of the
brow.
1 : h e eyes have a hard stare a!d may have a bulgi!g appeara!e. 1 : h e
lips are i! either of two basi positio!s3 pressed firmly together" with the
or!ers straight or dow!D or ope!" te!sed i! a s)uarish shape as if shouti!g.
:he !ostrils may be dilated" but this is !ot esse!tial to the a!ger faial
e#pressio! a!d may also our i! sad!ess.
1 :h e r e is ambiguity u!less a!ger is registered i! all three faial areas.
making faces
*! these e#erises you will be able to make the a!gry faes beome
ambiguous.
$. ,ut the A piee over eah of the faes i! 6igure ;0. Eou have made the
same fae as i! 6igure -<" whih ould be a!ger or a!y of the other
mea!i!gs disussed.
0. ,ut B over eah of the faes i! 6igure ;0. Eou have reated a! e#1
pressio! that was!=t show! before" i! whih a!ger is registered i! 9ust the
mouth. :his ould be o!trolled a!ger or slight a!gerD or it ould be
musular e#ertio!" o!e!tratio!" shouti!g to someo!e" or speeh.
-. anger
-. ,ut ( over the faes i! 6igure ;0. :his is the same as show! i! 6igure -0.
Agai! the message is ambiguous3 o!trolled or slight a!ger" o!e!tratio!"
determi!atio!" et.
;. ,ut 2 over the faes i! 6igure ;0. :his is the same as i! 6igure -- a!d agai!
is ambiguous" with the same hoie i! messages as listed 9ust above.
flashi!g faes
(hek the i!strutio!s for 6lashi!g 6aes o! pages '-1';. Now" you a! add
disgust a!d a!ger faes" a!d ble!ds of a!ger" disgust" fear a!d surprise. 6irst
pratie the a!ger" disgust a!d ble!ds of these two emotio!s listed below. 7he!
you have them perfet" add the list of fear a!d surprise pitures you pratied
earlier ?page ';@. ,ratie u!til you are able to get them all
orret.
.ist o' Faces 'or Flashing Faces, /ractice T*o0
Figure umber!
0;A
0;B
0A
0B
0( 0&( 0." left
photo
0." right photo
0%(
-A"lower left photo
-B"upper right photo
-'B -&" upper right
photo -&" lower left
photo -.(
-A
-B ;$
B
"nswers!
6ull 6ae 2isgust 6ull
6ae 2isgust
(o!tempt
(o!tempt
(o!tempt
Surprise12isgust Ble!d or 4mphati 2isgust
2isbelief
2isbelief
6ear12isgust Ble!d
(o!trolled" Slight A!ger or ,erple#ed"
(o!e!trati!g et.
Slight A!ger" (o!trolled A!ger" (o!e!trati!g et.
(o!trolled or Slight A!ger
6ull 6ae A!ger
6ull 6ae A!ger
A!ger12isgust Ble!d
A!ger12isgust Ble!d
A!ger1(o!tempt Ble!d
6ear1A!ger Ble!d or ,erple#ed 6ear
happiness
The Experience o' )a&&iness
+appi!ess is the emotio! most people wa!t to e#perie!e. Eou like bei!g
happy. *t feels good. Eou hoose situatio!s" if you a!" i! whih you will
e#perie!e happi!ess. Eou may orga!iAe your life i! order to i!rease your happy
e#perie!es. +appi!ess is a positive emotio!. By ompariso! fear" a!ger" disgust"
a!d sad!ess are !egative emotio!s" a!d most people do !ot e!9oy them. Surprise
is !either positive !or !egative. *! order to u!der1sta!d the e#perie!e of
happi!ess" we !eed to disti!guish it from two losely related states whih ofte!
our with happi!ess1pleasure a!d e#iteme!t.
Although our la!guage assig!s almost sy!o!ymous mea!i!gs to the words
pleasure, happiness, a!d en$oyment, here we wa!t to restrit the term pleasure to
refer solely to positive physical sensations. :his pleasure is the opposite of the
physial se!satio! of pai!. ,ai! hurts" while pleasure is i!tri!sially good or
rewardi!g i! the way it feels. Eou value" appreiate" a!d prefer pleasurable
se!satio!s. 7e do !ot k!ow all the ways that pleasure se!satio!s a! be evoked.
(ertai!ly tatile stimulatio! a!d taste a! bri!g o! pleasurable se!satio!s" a!d so
a! some sou!ds a!d sights. 5sually you feel happy whe! you e#perie!e
pleasurable se!satio!s" u!less you have bee! pu!ished for havi!g suh se!satio!s
a!d feel guilty about them or about your way of obtai!i!g pleasure. Ofte! you
feel happy i! a!tiipatio! of a! eve!t whih you k!ow will ause pleasurable
se!satio!s" or happy" i! a o!1te!ted way" afterward. But you do !ot !eed to
e#perie!e pleasurable se!satio!s to be happy. :here are other routes to
happi!ess whih do!=t i!volve pleasurable se!satio!s.
%xcitement is o!sidered by the psyhologist Silva! :omki!s to be a
happiness
primary emotio!" differe!t from but e)ual i! importa!e to surprise" a!ger" fear"
disgust" sad!ess" a!d happi!ess. 7e agree" but have hose! !ot to disuss this
emotio! for two reaso!s. :here is !ot yet suffiie!t evide!e that its appeara!e
is u!iversal" although we believe that to be the ase. Also" it would be hard to
show the appeara!e of this emotio! i! still photographsD the faial sig!s are
subtle. 7e will desribe e#iteme!t o!ly suffiie!tly to disti!guish it from
happi!ess.
4#iteme!t is the opposite of boredom. Eou beome e#ited whe!
somethi!g arouses your i!terest. Ofte! it is somethi!g !ovel. *f it is familiar" it is
!ot merely repetitive. Eou beome atte!tive" i!volved" a!d )uite aroused with
what has e#ited you. *! boredom" !othi!g holds your atte!tio!" !othi!g seems to
be happe!i!g" !othi!g is !ew" !othi!g i!terests you. Eou may be happy at the
prospet of somethi!g e#iti!g" partiularly if it is goi!g to relieve a bored stateD
a!d ofte!" you are happy after e#iteme!t. But that is o!ly o!e ki!d of happi!ess"
for you a! be happy without e#iteme!t as a! aompa!ime!t. *t is also )uite
possible to be e#ited a!d i! !o way happyD e#iteme!t a! ble!d i!stead with
fear" as i! a terroriAed state" or with a!ger" as i! a state of fury.
*! se#ual e#perie!es you a! a!d usually do e#perie!e all three states1
pleasure from the eroti se!satio!s prior to a!d duri!g orgasm" e#iteme!t prior
to orgasm" a!d happi!ess i! a!tiipatio! of the se#ual e!ou!ter a!d happy
o!te!tme!t subse)ue!t to the drop i! e#iteme!t followi!g orgasm. :hough this
is the likely ombi!atio!" it is !ot a !eessary o!e. :he emotio! subse)ue!t to
orgasm may be disgust or sad!ess. Or duri!g the e#iteme!t1pleasure phase" you
might e#perie!e fear or disgust" a!d this may e!d the e#iteme!t a!d abort the
se#ual e!ou!ter. Or a!ger may oi!ide with se#ual arousal" e#iteme!t" a!d
pleasure" a!d may or may !ot i!terrupt the e!ou!ter.
Ma!y people thi!k of happi!ess as either pleasure or e#iteme!t or
both" faili!g to disti!guish amo!g these e#perie!es. ,leasure a!d e#iteme!t
are separate e#perie!es whih ofte! i!volve happi!ess" a!d thus a! be o!1
sidered two possible routes to happy feeli!gs. 4ah of these routes i!volves
a somewhat differe!tly olored happy e#perie!e" so that we a! speak of plea1
sure1happi!ess or e#iteme!t1happi!ess. :he third route is relief1happi!ess.
7he! pai! stops" you are usually happy. Similarly" whe! hu!ger or
thirst is met" you are happy. :he same is usually true for the !egative emo1
tio!s. 7he! you are !o lo!ger afraid" whe! a!ger e!ds" whe! the disgust is
over" whe! the sad!ess lifts" ommo!ly you feel happy. *t is the happi!ess
of relief. *t may also i!volve happi!ess i! aomplishme!t" if it is by your
ow! efforts that the e#perie!e of the !egative emotio! or se!satio! is termi1
!ated. As with pleasure a!d e#iteme!t" some people fail to disti!guish relief
from happi!ess. 6or some people it is the o!ly ki!d of happi!ess they e#peri1
happiness
0
e!e ofte!. :heir lives are primarily orga!iAed to obtai! relief rather tha! to
e#perie!e pleasure or e#iteme!t. Relief1happi!ess is a somewhat differe!t
e#perie!e1the se!satio!s" the images" the likely atio!s" the ge!eral feeli!gs
registered1from pleasure1happi!ess" e#iteme!t1happi!ess" or happi!ess reahed
by the fourth route.
:he fourth type of happi!ess i!volves the self1o!ept. Somethi!g happe!s
that e!ha!es your view of yourself" somethi!g that affirms or further elaborates
a favorable self1o!ept. *f you fi!d that somebody likes you" you will ofte! feel
happy1!ot beause you e#pet the perso! to ause pleasurable physial se!satio!s
or se#ual e#iteme!t" but beause bei!g liked makes you feel good about
yourself. *f someo!e tells you that you have do!e a good 9ob at somethi!g" you
feel happy. ,raise" frie!dship" the esteem of others is rewardi!g a!d makes you
feel happy. *t is !ot the ki!d of happi!ess i! whih you usually will burst out
laughi!g. *t is a more o!te!ted" smili!g happi!ess. :his ki!d of happi!ess
origi!ally develops from e#perie!es i! whih those who gave approval1suh as
pare!ts1also physially stroked" fed" a!d relieved pai!. As a hild develops" soial
approval beomes rewardi!g i! itself. As with happi!ess e#perie!ed by the other
routes" a!tiipati!g or rememberi!g a boost to your self1o!ept will produe
happy feeli!gs.
*f you thi!k of the situatio!s a!d eve!ts that ause you to feel happy" you
will probably fi!d that they i!volve o!e or more of the four routes desribed. 6or
e#ample" the e!9oyme!t you e#perie!e while e!gagi!g i! a sports ativity may
i!volve e#iteme!t1happi!ess assoiated with the o!test" pleasure1happi!ess
from the moveme!ts a!d e#ertio!s" self1o!ept happi!ess beause you are
playi!g well" a!d relief1happi!ess beause you have!=t let the team dow!" missed
a shot" or broke! your !ek" et. *t is !ot !eessary to our purpose here to laim
that these are the o!ly routes to happi!ess. :here may well be more" but we
believe these four are ommo! a!d importa!t" a!d their desriptio! should make
lear what we mea! by the happi!ess e#perie!e.
+appi!ess varies !ot o!ly i! type" as we have disussed" but also i!
i!te!sity. Eou a! be mildly happy" a!d you a! e#perie!e estasy or 9oy.
+appi!ess a! be show! sile!tly or audibly. *t a! vary from a smile to a broad
gri! a!d" at some stage alo!g the li!e" there a! be hukli!g as well" or laughter
or" i! the most e#treme form" laughter with tears. :he prese!e of laughi!g or
hukli!g does !ot i!diate the i!te!sity of the happi!ess. Eou a! be e#tremely
happy a!d !ot laughD laughi!g or hukli!g ours with partiular types of happy
e#perie!es. ,lay of o!e ki!d or a!other" i! hildre! or adults" if suffiie!tly
e#iti!g" will ofte! produe the laughi!g type of happi!ess. (ertai! 9okes a!
produe the laughi!g happi!ess.
Smiles" whih are part of the happi!ess faial e#pressio!" ofte! our whe! a
perso! is !ot happy. Eou smile to mask other emotio!s" or to )ualify
happiness
them. Smiles may omme!t o! a!other emotio! bei!g show!" suh as smili!g
after a fear e#pressio! to let the !urse k!ow that" though afraid" you will !ot flee
but let her take blood from your arm. Smiles may i!diate submissive!ess to
a!ythi!g u!pleasa!t" !ot 9ust to the i!flitio! of pai!. (ommo!ly" smili!g may be
a submissive respo!se to ward off or all a halt to a!other
=
s attak. Smiles may
also be used to make a te!se situatio! more omfortableD by smili!g you a!
ause the other perso! to smile also" beause it is hard to resist retur!i!g a smile.
7e will disuss these uses of the happi!ess faial e#pressio! i! (hapter $$"
F6aial 2eeit.
F
+appi!ess a! ble!d with a!y of the other emotio!s. *! this hapter we will
show ble!ds of happi!ess with surprise" a!ger" disgust" o!tempt" a!d fear. *! the
!e#t hapter happi!ess1sad!ess ble!ds will be show!.
*! disussi!g eah of the emotio!s" we have suggested that hildhood
e#perie!es leave their impri!t" that perso!ality may be show! i! how eah
emotio! is e#perie!ed. 7e have suggested that people differ i! whether they a!
e!9oy" tolerate" or fi!d bearable the feeli!gs of surprise" fear" disgust or a!ger
?a!d sad!ess" as will be desribed i! the !e#t hapter@. :he same is true with
feeli!gs of happi!ess. Not everyo!e feels happy i! the same way. Not all four
routes1pleasurable se!satio!" e#iteme!t" relief" e!ha!eme!t of self1o!ept1are
available to everyo!e. O!e route may be used more tha! a!other beause of
partiular perso!ality harateristis. O!e route may be bloked" with the perso!
u!able to e#perie!e happi!ess by that mea!s. 7e a! give o!ly a few e#amples
here.
A hild may grow up sub9et to so muh ritiism" or with so little ap1
preiatio! by others of his worth" that as a! adult he hu!gers for praise"
affirmatio!" a!d frie!dship. :he self1o!ept route may be the most heavily
travelled" but he may !ot be able to be happy for lo!g. :he praise of others may
!ever be e!ough" or !ot be trusted as ge!ui!e. 7ith a similar hildhood that fails
to build a! ade)uate self1o!ept" 9ust the opposite patter! may be evide!t i!
adult life. A perso! may be so disouraged that the self1o!ept route is !ot
employed at all. +e may be dista!t from others" u!able to e!9oy frie!dship" !ot
seeki!g praise or reward for aomplishme!t.
Muh has bee! writte! about people who have trouble as adults i! ahievi!g
happi!ess i! their se#ual ativities. (hildre! are taught by some pare!ts to
distrust or despise the
F
pleasures of the body.F As adults" se# for these i!dividuals
may be e#perie!ed with a!#iety or guilt rather tha! plea1sure. Other se!sual
e#perie!es may similarly be devoid of pleasure" or e!9oyed o!ly at the ost of
subse)ue!t shame. A hild may grow up afraid of e#iteme!t" havi!g lear!ed that
it is da!gerous to beome e#ited1that it displeases others a!d is ofte!
u!ma!ageable. +appi!ess is a )uieter e#perie!e for suh a perso!. Or a perso!
may beome addited to e#iteme!t" seeki!g greater halle!ges" ever spurred o!
to seek happi!ess i! e#iteme!t.
103
)he %""earance of *a""iness
7e will be o!er!ed here o!ly with the appeara!e of the fae i! the
!o!laughi!g happi!ess e#pressio!" for whe! laughter ours as well there is little
problem i! determi!i!g that the perso! is happy. 4ve! i! the sile!t happy
e#pressio!" reog!itio! is remarkably simple" e#ept perhaps for some of the
ble!ds. :he ease i! reog!iAi!g the happy e#pressio! has bee! show! i! studies
of ma!y differe!t ultures.
:here is a disti!tive appeara!e i! the eyelids a!d lower fae" while the
browIforehead is !ot !eessarily i!volved i! the happy e#pressio!. *! 6igure ;-"
,atriia shows three happy faial e#pressio!s. *! eah" the or!ers of the lips are
draw! bak a!d slightly up. :he lips may remai! together i! a smile ?A@" the lips
may be parted" with the teeth a!d 9aw together i! a gri! ?B@" or the mouth may be
ope!ed a!d the teeth parted i! a wide gri! ?(@. *! wide1mouth gri!s o!ly the
upper teeth may show" or both upper a!d lower teeth may be e#posed" or the
gums" upper a!dIor lower" may also be show!. *! himpa!Aees these differe!t
types of gri!s have differe!t related mea!i!gs" but there is !o evide!e as yet that
for huma!s there is a!y ommo! differe!e i! the mea!i!g of the differe!t gri!s
,atriia also shows wri!kle li!es ru!!i!g from the !ose out a!d dow! to the
area beyo!d the or!ers of the mouth. :hese
F
!aso1labial folds
F
our partly as a
result of the pulli!g bak a!d up of the or!ers of the lips a!d are a harateristi
sig! of the happy faial e#pressio!. *! additio!" the heek beomes raised whe!
there is a pro!ou!ed smile or gri!" i!te!sifyi!g the !aso1labial folds. :he ski!
below the lower eyelid is pushed up" a!d li!es are formed below the eye. F(row
=
s1
feetF wri!kli!g is also formed at the outer or!er of the eyes. Not everyo!e shows
row=s1feet3 they beome more appare!t with age. *! ,atriia=s pitures they are
hidde! by her hair. :he more e#treme the smile or gri!" the more pro!ou!ed will
be the !aso1labial folds" the raisi!g of the heek" the row=s feet" a!d the li!es
u!der the eyes. 7ith the wide1mouth gri!" as show! i! ;-(" the heek may be
lifted far e!ough to atually !arrow the eyes. *! happi!ess there may also be a
sparkle i! the eyes" a gliste!i!g.
intensity
:he i!te!sity of a happy e#pressio! is primarily determi!ed by the positio!
of the lips" but the lip positio! is usually aompa!ied by deepe!i!g of the !aso1
labial fold a!d more pro!ou!ed li!es u!der the lower eyelid. *! ;-( ,atriia
shows more i!te!se happi!ess tha! i! ;-B1 he r gri! is broader" the !aso1labial
folds more pro!ou!edD her eyes !arrower" with more li!es u!der!eath them. :he
e#pressio! i! ;-A is slightly less i!te!se tha! ;-B. :his is !ot beause her mouth
is ope! i! ;-B a!d losed i! ;-A"
Figure
103
Figure
but beause the spreadi!g bak of the or!ers of her lips ?a!d the !aso1labial
folds@ is greater i! ;-B tha! i! ;-A. *f the drawi!g bak of the or!ers of
the lips a!d !aso1labial folds is about the same" the! whether the mouth is a
losed smile or a! ope! gri!" the i!te!sity is about the same. *! 6igure ;; Coh!
shows a! e#ample of a smile a!d a gri! whih are about the same i! i!te!sity.
:he smile of happi!ess a! be muh slighter tha! those show! i! 6igures
;- a!d ;;. *! 6igure ;< ,atriia shows two suh very slight happy smiles"
with her !eutral fae below for ompariso!. Note that both of these smiles
are less i!te!se tha! her smile i! ;-A" but that the smile is there" beause
these pitures do look happy whe! ompared with her !eutral piture i!
6igure ;<(. Both of ,atriia=s smili!g faes i! 6igure ;< are omposed of
9ust the slight te!si!g a!d slight drawi!g bak of the or!ers of the lips.
:his is easiest to see if you over the rest of her fae with your ha!d a!d
ompare 9ust the lips i! the three pitures. Note also the begi!!i!g trae
of a !aso1labial fold i! both smili!g pitures as ompared to the !eutral
o!e. Eou a! also see that her heeks are slightly raised i! the smili!g pi1
tures as ompared to the !eutral piture" maki!g her fae look somewhat
fuller. :here is !o !otieable ha!ge i! the lower eyelid" whe! the smile is
Figure
happiness
this slight. Although the eyes themselves look more happy i! the smili!g pitures
tha! i! the !eutral o!e" this o!ly reflets the lower fae" beause the eyes a!d
browIforehead are the same i! all three pitures. :he smili!g o!es are
omposites" i! whih the !eutral eyes a!d forehead have bee! ombi!ed with the
lower eyelids a!d mouth from the smili!g photographs.
blends
+appi!ess ofte! ble!ds with surprise. Somethi!g u!e#peted ours" a!d the
evaluatio! of it is favorable. 6or e#ample" a frie!d !ot see! for ma!y years walks
without prior war!i!g i!to the restaura!t where you are eati!g lu!h. *! 6igure
;'A ,atriia shows a surprise1happy ble!d. (ompari!g it with the surprise1o!ly
piture ?6igure ;'B@" !ote that the differe!e is solely i! the lower fae. *! the
ble!d e#pressio! her mouth is !ot o!ly dropped ope! as i! surprise" but the
or!ers of her lips have begu! to draw bak as i! a smile. :his ble!d is
aomplished by mi#i!g eleme!ts of both surprise a!d happi!ess i! the lower
fae. ?Eou saw a! e#ample of a!other mi#ed ble!d i! 6igure -..@ A happy1
surprise e#pressio! would o!ly be show! for a mome!t" beause the surprise
would last o!ly briefly. By the time she evaluated the surprisi!g eve!t a!d bega!
to feel a!d show happi!ess" her surprise would )uikly fade. *! 6igure ;'(
,atriia shows a ombi!atio! of surprise a!d happy eleme!ts ?surprise
browsIforehead a!d eyes with happy lower fae" i!ludi!g lower eyelid@" but it is
!ot a ble!d e#pressio!. She is !ot surprised a!d happy simulta!eously" beause
the happi!ess is too far adva!edD she is already i!to a gri!" a!d if there was
surprise it should have already passed. :his type of faial e#pressio! will our"
however" if the per1so! is addi!g a! e#lamatory !ote to a happy e#pressio!.
4!thusiasm or emphasis might also be show! i! this way. Or suh a! e#pressio!
a! our i! greeti!g" the surprise eleme!ts held to be ertai! that the other
perso! realiAes it is a! Fu!e#peted pleasure.F *! suh a happy e#pressio! the
raised brow a!d ope! eye might remai! for a few seo!ds with the gri!.
+appi!ess ble!ds with o!tempt" produi!g a smug" sor!ful or superior
e#pressio!. *! 6igure ;& Coh! shows a o!tempt e#pressio! ?;&A@" a happy
e#pressio! ?;&B@" a!d a ble!d of the two below ?;&(@. Notie that his mouth
remai!s i! the o!tempt positio!" but the heeks are raised a!d the lower eyelid
wri!kled from the happy e#pressio!. :he happy1o!tempt ble!d a! also our
with the u!ilateral raised lip of o!tempt ombi!ed with a smili!g lip.
+appi!ess also ble!ds with a!ger. Most ommo!ly" a smile or slight gri! is
used to mask a!ger" i! whih ase the perso! looks happy" !ot a!gry. A smile or
slight gri! sometimes appears after a! a!gry e#pressio! as a omme!t o! the
a!ger" sayi!g esse!tially it is !ot too serious" or the perso!
Figure
0!
0!
Figure =7
881 ha""iness
does!=t i!te!d to at o! his a!ger" or the perso! who is the ob9et of the a!ger will
be forgive!. *! suh a! i!sta!e the smile or gri! does!=t look very ge!ui!e" a!d
is !ot ble!ded with a!ger" but added afterward. *t is possible" however" for a
perso! to be both happy a!d a!gry at the same time" e!9oyi!g his a!ger" his
triumph over a!other perso!. :wo e#amples of suh delight1a!ger are show! i!
6igure ;.. *! eah ase the happi!ess is show! i! the lower fae" a!d a!ger i! the
browIforehead a!d eyelids. :hese are
F
*
=
ve gothaF e#pressio!s.
+appi!ess also ombi!es with fear. Most ommo!ly" the e#pressio! is !ot a
ble!d" but either a omme!t or a mask. *! 6igure ;% Coh! shows a fear e#pressio!
?;%A@" happi!ess ?;%B@ a!d a ombi!atio! of the two ?;%(@ ?smile with fear eyes
a!d browIforehead@. :his smili!g fear e#pressio! might our if Coh!" feari!g the
de!tist=s drill" smiles for a mome!t as he gets i!to the de!tal hair to omme!t o!
the fat that he is goi!g to gri! a!d bear it. A! u!suessful attempt to mask fear
ould also result i! this e#pressio!. *t ould be a ge!ui!e ble!d if Coh! felt both
afraid a!d happy1as" for e#1ample" while o! a roller1oaster. :he ble!ds of
happi!ess with sad!ess will be show! i! the !e#t hapter.
Figure =4
Figure ;1
!e'ie
+appi!ess is show! i! the lower fae a!d lower eyelids ?6igure </@.
1 (or !e r s of lips are draw! bak a!d up.
1 : h e mouth may or may !ot be parted" with teeth e#posed or !ot. 1 A
wri!kle ?the !a!o1labial fold@ ru!s dow! from the !ose to the outer edge
beyo!d the lip or!ers. b
:he heeks are raised.
1 : h e lower eyelid shows wri!kles below it" a!d may be raised but !ot
te!se. t
(row=s1feet wri!kles go outward from the outer or!ers of the eyes
?overed by hair i! 6igure </@.
maki!g faes
Beause the moveme!ts arou!d the mouth a!d heeks also ha!ge the
appeara!e of the lower eyelids" a!d beause there is !o disti!tive browI
forehead moveme!t i! happi!ess" you a!!ot make most of the faes show! i!
this hapter. Eou a!" however" make a few faes that will demo!strate these
poi!ts to you.
ha""iness 66<
$. ,ut A o! either of the faes i! 6igure </. :here is !o ha!ge i! the e#1
pressio!. Beause the brows are !ot i!volved i! these happy faes" overi!g
the brow with the !eutral brow i! piee A has !o effet.
0. ,ut B o! </A. *t does!=t look odd" but a!atomially it is !ot possible. *f that
mouth moveme!t ours" with those !aso1labial folds" the lower eyelid must
be wri!kled a!d lifted. ,ut B o! </B. *t should be more obvious that this
fae a!!ot our a!atomially.
-. ,ut 2 o! either of the faes i! 6igure </. Eou have reated a faial
e#pressio! i! whih there are
F
smili!g eyes.
F
:his look ould result from a
slight te!si!g of the eyelid a!d raisi!g of the heek" whih would be
diffiult to !ote o! a still photograph. Or this appeara!e ould be this
perso!
=
s perma!e!t wri!kles. *! a!y ase the happi!ess lues are very slight"
at best.
sadness
The %x&erience o' a,ness
*! sad!ess your sufferi!g is muted. Eou do !ot ry aloud but more sile!tly
e!dure your distress. A!ythi!g a! make you sad" but most ofte! you are sad
about losses. Loss through death or re9etio! by a loved o!e. Loss of a!
opportu!ity or reward through your ow! mistake! effort" or irumsta!e" or
a!other
=
s disregard. Loss of your health" or of some part of your body through
ill!ess or aide!t. Sad!ess is rarely a brief feeli!g. Eou are usually sad for at
least mi!utes a!d more typially for hours or eve! days.
Sad!ess is a passive" !ot a! ative feeli!g. 2arwi! wrote of sad perso!s that
they !o lo!ger wish for atio!" but remai! motio!less a!d passive" or may
oasio!ally rok themselves to a!d fro. :he irulatio! beomes la!guidD
the fae paleD the musles flaidD the eyelids droopD the head ha!gs o! the
o!trated hestD the lips" heeks a!d lower 9aw all si!k dow!ward from
their ow! weight. ?$%'<" p. $&'@ $
Eou suffer i! sad!ess. *t is !ot the sufferi!g of physial pai!D it is the
sufferi!g of loss" disappoi!tme!t" or hopeless!ess. :he sufferi!g i! sad!ess a!
be e#treme" but i! its e#tremity it is more tolerable tha! the sufferi!g of fear. Eou
a! e!dure sad!ess for lo!ger periods of time a!d survive.
Sad!ess is a variatio! or form of distress" whih is the most ge!eral !egative
emotio!. 2istress is most easily a!d ofte! aroused by physial pai!.
From 1( 2arwin+ The ex&ression o' the emotions in man an, animals1
1hicago3 4ni,ersity of 1hicago #ress+ 965( .epro"uce" by permission
of the Publisher,
sadness
Loss a! also all forth distress. Eou suffer i! distress" but the sufferi!g is loud"
!ot )uietD the ry is audible" !ot muted. :here is ativity rather tha! passivity. *!
distress you attempt to ope with that whih aused the distress. :he opi!g may
be purposefully removi!g the soure of distress1for e#ample" removi!g a tak
from your heel. Ofte! the opi!g i! distress appears purposeless beause there is
little that a! be do!e to remove the soure of distress" as for e#ample" the
waili!g while mour!i!g the death of a loved o!e. Sad!ess ofte! follows distress if
the distress is prolo!ged or if the opi!g atio!s to remove the soure of distress
are u!suessful. As distress li!gers" the ries beome muted" the ativity
dereases" the sufferi!g is more sile!t. Ofte! a memory or someo!e
=
s atio! will
restimulate the distress" a!d the se)ue!e reyles1loud omplai!i!g distress
followed agai! by sad!ess. :he word sadness a! also be applied whe! distress is
o!trolled deliberately1whe! the loud" ative eleme!ts are !ot visible" but o!ly
the more soially aeptable sig!s of sad!ess.
*f your hild has 9ust bee! killed by a! automobile" your immediate re1atio!
will !ot be sad!ess. *t will be distress or perhaps shok or a!ger ble!ded with
distress. :he sad!ess will ome later" hours or maybe eve! days later" whe! you
are still sufferi!g the loss but have stopped weepi!g a!d audible ryi!g" at least
for a period of time. *! distress there is more of a protest agai!st the lossD i!
sad!ess you are resig!ed to the loss. Brief a!d mour!i!g imply the cause of the
feeli!g1death of a loved o!e 1 but !ot whether the perso! is i! distress or sad!ess.
:ypially there is a se)ue!e i! whih distress is followed by either disbelief or
sad!ess" whih reyles bak to distress as some !ew remembra!e of the
deeased or some !ew remi!der of his death ours" a!d over a!d over agai! the
se)ue!e repeats. As time elapses" all that may remai! are periods of sad!ess"
perhaps lasti!g over mo!ths or years.
*! a roma!ti loss the patter! is similar. :he re9eted lover i!itially shows
distress. :here will be ryi!g a!d protestatio!" perhaps also shok a!d a!ger" or
some ombi!atio! of these. Sad!ess omes later" perhaps followed by disbelief i!
the re9etio!" a!d a reyli!g of the whole sufferi!g e#perie!e. *f the re9eted
lover !ever showed distress1if there was !ever a!y ryi!g or agitatio!1you would
suspet that this is a highly o!trolled perso!" or some1o!e who does!=t are that
muh about the lost lover" or a perso! e#hibiti!g stereotypial Ameria!
masuli!e behavior. *t is !ot proper for me! to show distress i! publi" eve! at
fu!eralsD they are limited to sad!ess. :he ry must be i!hibited" the agitated
moveme!ts a!d the protestatio!s held i! hek or show! o!ly as a!ger. Although
a!ger is ofte! e#perie!ed with distress or sad!ess" it is also ofte! used as a mask
to over distress. *!teresti!gly" while soial o!ve!tio!s prohibit the appeara!e
of distress a!d i! its plae allow the show of a!ger for me!" 9ust the opposite is
presribed for wome!. 7ome!
6 sadness
who are followi!g the Ameria! stereotyped dema!ds of Ffemi!i!ityF will !ot
show a!ger toward others ope!ly but i!stead will tur! a!ger i!ward upo!
themselves" or show distress" a!gry tears" or sulki!g.
7he! sad!ess results from o!trolli!g distress" it probably appears the same
as the sad!ess that is the aftermath of show! distress" but the e#perie!e is likely
to feel differe!t. 7he! you o!trol the appeara!e of distress" your fae may look
sad" but the e#perie!e you are havi!g" what you are aware of" the se!satio!s"
images" memories" a!d o!er!s" all are ha!ged by the !eessity to o!trol your
behavior. *t does!=t feel the same as if you were ryi!g i! distress" a!d it does!
=
t
feel the same as if you had bee! previously ryi!g i! distress a!d were !ow i! the
post1distress sad!ess.
Sad!ess varies i! i!te!sity from slight feeli!gs of bei!g Fblue
F
or gloomy to
the e#treme felt duri!g mour!i!g. Sad!ess is !ot !eessarily less i!te!se tha!
distressD both vary i! their i!te!sity. Beause sad!ess is )uieter" less turbule!t"
less voal" less protesti!g tha! distress" it is easier o! others to be i! the prese!e
of someo!e who is sad. But the perso! may feel worse i! sad!ess tha! i! distress"
as he has beome more resig!ed to his loss a!d sufferi!g a!d is better able to
reflet o! its mea!i!g.
Sad!ess a! ble!d with a!y of the emotio!s" but most ofte! ble!ds with
a!ger a!d fear. :he death of a loved o!e a! eliit a!ger as well as distress a!d
sad!ess1a!ger at the fores respo!sible for the death" a!ger at the loved o!e for
dyi!g" a!ger at the self for bei!g so vul!erable. A!d as 9ust me!tio!ed" a!ger a!
be e#aggerated or simulated to o!eal the distressed or sad e#pressio!. *f you
lear! that your leg must be amputated" you might well feel fear of the da!ger a!d
physial pai! as well as distress or sad!ess about the impe!di!g bodily loss.
Sad!ess a! ble!d with disgust i! a disappoi!ted disgust or disdai!. A!d sad!ess
a! ble!d with happi!ess i! a bitter1sweet feeli!g or i! a se!time!tal resembla!e
of a mela!holi time from the past.
Some people e!9oy the e#perie!e of sad!ess. :here are viarious sad!ess
e#perie!es whih some people seek" 9ust as others seek the pseudo1fear
e#perie!e i! the roller oaster. Some people purposefully make themselves sad"
or fi!d opportu!ities to ry by atte!di!g movies or readi!g !ovels k!ow! as tear1
9erkers. Others a! !ever show distress" a!d fi!d sad!ess1eve! viarious sad!ess1
a !o#ious e#perie!e. :hey are o!sidered old" !o!empatheti people who do
!ot are about others suffiie!tly to be moved by their sufferi!g or death.
-he .ppearance of /adness
7e have hose! to fous upo! sad!ess rather tha! distress beause disstress is
more obvious i! its appeara!e. *t is more readily u!derstood" also"
sadness
beause it is typially aompa!ied by audible ryi!g. Not so with sad!ess. *! its
most e#treme form" there may be !o faial lue to sad!ess other tha! the loss of
musle to!e i! the fae. Suh sad e#pressio!s a!!ot be show! i! photographs.
7ith less severe sad!ess" a!d whe! the perso! moves i! tra!sitio! from distress
to sad!ess" there are disti!tive faial lues. :he faial e#pressio!s we will show
here for suh sad messages may also our whe! distress is slight or 9ust
begi!!i!g.
:here is a disti!tive appeara!e i! eah of the three faial areas duri!g
sad!ess. :he i!!er or!ers of the eyebrows are raised a!d may be draw! together.
:he i!!er or!er of the upper eyelid is draw! up" a!d the lower eye1lid may
appear raised. :he or!ers of the lips are draw! dow!" or the lips appear to
tremble.
the sad!ess brow
:he i!!er or!ers of the eyebrows are raised" a!d may be draw! together. *!
6igure <$ Coh! a!d ,atriia show the sad browIforehead" with a! otherwise
!eutral fae o! the left a!d a fear browIforehead" with a! other1wise !eutral fae
o! the right for ompariso!. *! Coh!=s piture !ote that the i!side or!ers of the
eyebrows are raised ?$@ i! sad!essD this differs from the raisi!g a!d drawi!g
together of the whole eyebrow i! his fearIbrow forehead. Although the same
differe!e i! musular atio! has ourred i! the pitures of ,atriia" it is muh
less appare!t. :here are two ways to see that the same thi!g has happe!ed i!
,atriia=s browIforehead as i! Coh!
=
s. Look at the shape of the ski! u!der her
eyebrows i! <$( a!d ompare it with <$2. Notie the tria!gular shape i! the sad
brow ?0@ !ot prese!t i! the fear brow" whih results from the musles pulli!g the
i!!er or!er of the eyebrow up. Eou a! see the same effet i! Coh!=s piture.
A!other way to observe ,atriia
=
s versio! of the sad!ess brow is to ompare the
total impressio! give! by her fae o! the left with her fae o! the right. O! the
left the total impressio! is slight sad!ess" as ompared to the slight worry o! the
right" eve! though both pitures are omposites a!d differ o!ly i! the
browIforehead. :he same differe!es are more obvious i! the pitures of Coh! i!
6igure <$.
:hese pitures of the sad browIforehead i! 6igure <$ also show the sad!ess
upper eyelid. 7e ould !ot show the sad!ess browIforehead without the upper
eyelid" beause the musular moveme!t that affets the brow i! this emotio! also
pulls the i!!er or!er of the upper eyelid. *! the sad!ess pitures of Coh! a!d
,atriia the upper eyelid is pulled up at the i!!er or!er or top of the lid.
5sually the sad browIforehead ?a!d upper eyelid@ will be aompa!ied by
the sad lower eyelid a!d lower fae. But it a! our alo!e. 7he! this is show!
with the rest of the fae u!i!volved" the e#pressio! a! mea! that the perso! is
feeli!g a little sad" or that the perso! is o!trolli!g the e#pressio! of a more
i!te!se sad!ess. Or whe! it is flashed o! a!d off duri!g o!versa1
A B
Fi ./r e 53
tio!" it a! pu!tuate a phrase or 9oi! the voie i! stressi!g a partiular word.
:his is a! alter!ative to the use of the raised brow ?(hapter ;" 6igure ;@ or the
lower brow ?(hapter &" 6igure -$@" whih also are used as Fpu!tuators.
F
saness +rowAforehea an eyelis
:he faes i! 6igure <0 differ from the sad!ess pitures i! 6igure <$ o!ly i!
that the sad lower eyelid has bee! substituted for the !eutral lower eyelid i!
6igure <$. Raisi!g the lower lid i!reases the sad!ess o!veyed. ,atriia looks
sadder i! 6igure <0 tha! she does i! <$(" eve! though these pitures differ i!
o!ly o!e respet1the lower eyelid.
:he piture of Coh! i! 6igure <0 !ot o!ly has the sad lower lid but also the
eyes are slightly ast dow!. Ofte! i! sad!ess the gaAe is dow! rather tha!
straight ahead" partiularly if there is shame or guilt ble!ded i! with the sad!ess.
:here is still some eleme!t of o!trol whe! the mouth is !eutral" as i! these
pituresD but the sad!ess is more pro!ou!ed tha! i! the faes show! i! 6igure
<$.
the sa mouth
*! 6igure <-A a!d <-B ,atriia shows two sad!ess mouths. :he mouth that is most
ofte! o!fused with it" a disgust1o!tempt mouth" is show! i!
Figure ;3
saness 828
<-(. In all three pitures the eyes a!d browIforehead are !eutral. *! 6igure <-A
,atriia shows the or!ers of the lips dow!" i! 6igure <-B she shows the loose1lip
harateristi of the mouth whe! it is trembli!g" or whe! the perso! is about to
ry or is tryi!g to withhold ryi!g. :he disgust1o!tempt mouth is show! i! <-(
to emphasiAe how it differs from sad!ess.
7he! sad!ess is show! o!ly i! the mouth ?!o i!volveme!t of the eye1lids or
forehead@" the faial e#pressio! is ambiguous. :his is !ot the ase with all of the
other emotio!s ?happi!ess" surprise" fear" a!d disgust show! o!ly i! the mouth
yield !o!ambiguous faial e#pressio!s@. :he e#pressio! i! <-A might be a pout"
but this is !ot ertai!. :he message i! <-B is ompletely ambiguousD it might be
mild distress" defia!e" or a!ythi!g.
full0face saness and intensity
*! 6igure <; ,atriia shows sad!ess aross all three areas of the fae" with
eah of the sad!ess mouths. :he faes i! 6igure <; are of moderate i!1te!sity.
Less i!te!se sad!ess is o!veyed by less i!volveme!t of the differe!t faial areas.
:he slightest sad!ess was see! i! <$(. :he !e#t step of i!1
Figure ;=
@
"" sadness
reasi!g i!te!sity was i! <0A. More i!te!se sad!ess tha! that show! i! 6igure <; is
)uite possible" but it has to do with teari!g i! the eyes a!d moveme!ts of the lips"
suh as trembli!g" whih are !ot possible to depit i! still photographs. More i!te!se
sad!ess might be show! by a rather bla!k appeara!e due to marked loss of musle
to!e.
sadness )lends
*! 6igure << Coh! a!d ,atriia show a ble!d of sad!ess ?browIeyelids@ with fear
?mouth@. *t might our if ,atriia" for e#ample" sadde!ed after a !atural disaster i!
whih she had lost her home" !ow is told that everyo!e must evauate the area
beause there is a !ew da!gerD the! fear or apprehe!sio! might ble!d with sad!ess.
:he faes show! i! 6igure << ould also our whe! there is distress" without ryi!g"
about atual or impe!di!g physial pai!. :he ry or sream might well follow soo!
with suh a faial e#pressio!.
6igure <'( shows the ble!d of sad!ess ?mouth@ with a!ger ?browIforehead a!d
eyesIlids@" with full faial e#pressio!s of a!ger ?<'A@ a!d sad!ess
Figure ;;
Figure 56
Figure ;7
sadness "5
?<'B@ for ompariso!. :his faial e#pressio! might our" for e#ample" if ,atriia
had 9ust approahed a rekless driver who had ru! over her dog. Sadde!ed at the
death of her pet" a!gry at the driver for his areless!ess" she might ble!d the two
feeli!gs i! this e#pressio!. Or ,atriia might have bee! solded by her mother.
6eeli!g both sadde!ed by the temporary loss of love a!d a!gry at her mother" she
might ble!d the two i! a sulky a!ger" or pout. *! 6igure <&( Coh! shows a!other
ble!d of sad!ess ?browsIeyes@ with a!ger ?mouth@" a!d also full a!ger ?<&A@ a!d
sad!ess ?<&B@ e#pressio!s for ompariso!. :his sad!ess1a!ger ble!d is most likely
the result of attempti!g to mask or at least o!trol the sad e#pressio! with the
a!ger mouth. Or it ould be a sadde!ed but determi!ed e#pressio!. +owever"
Coh!=s maski!g attempt would !ot be very o!vi!i!gD he is )uite literally
keepi!g a Fstiff upper lip.
F
6igure <. shows two e#amples of sad!ess ?browsIforehead a!d eyesI upper
eyelids@ a!d disgust ?mouth a!d lower eyelids@. 8iewi!g a battlefield" Coh! might
feel sad about the loss of life a!d disgusted with ma!ki!d for suh slaughter.
6igure <% shows ble!ds of sad!ess ?browsIforehead@ with happi!ess
Figure 5!
Figure 59
?mouth@D i! ,atriia=s e#pressio! the eyelids are sad" i! Coh!=s the upper eyelids
are sad while the lower eyelids are happy. :hese e#pressio!s ould our with
!ostalgi" bittersweet e#perie!es" or whe! the happy e#pressio! is bei!g used
as a mask1Flaughi!g o! the outside" ryi!g o! the i!side" beause *=m still i!
love with you.F Or whe! someo!e says Fheer up" it=s !ot so badD let=s see a
smile.F
!e'ie
6igure '/ shows two full sad!ess e#pressio!s. Note eah of the disti!tive
lues to sad!ess.
1 : h e i!!er or!ers of the eyebrows are draw! up.
1 : h e ski! below the eyebrow is tria!gulated" with the i!!er or!er up.
1 : h e upper eyelid i!!er or!er is raised.
1 : h e or!ers of the lips are dow! or the lip is trembli!g.
making faces
$. :ake faial piee ( a!d plae it over the faes i! 6igure '/. 7hat does does it
look likeG *t should look slightly sad" beause you have made
Figure <1
the e#pressio! i! whih sad!ess is show! o!ly i! the brow" as i! 6igure <$.
Note that there is o!e differe!eD you are !ot able to get the sad!ess upper
eyelid to over the top of the !eutral eye as it would appear i! sad!ess
?show! i! 6igure <$@. Nevertheless" it still looks sad.
0. :ake piee B a!d put it over the pitures i! 6igure '/. Now ,atriia shows
what might be a pout ?see 6igure <-@" but it is a little ambiguous. A!d Coh!=s
look is also ambiguous" maybe with the slightest trae of begi!!i!g sad!ess.
-. :ake piee 2 a!d put it over the pitures i! 6igure '/. :hey both look pretty
sad" but !ot as sad as whe! the mouth is i!volved. Remove piee 2 a!d
)uikly put it bak" so you a! see the ha!ge.
;. :o see a gradatio! of i!te!sity i! sad!ess" i! rapid suessio! put piee B
over the pitures i! 6igure '/ ?slightest sad!ess@" remove B a!d put piee 2
over the pitures i! 6igure '/ ?more sad!ess@" a!d the! u!over the pitures
i! 6igure '/ ?more sad!ess@.
flashing faces
(hek the i!strutio!s for 6lashi!g 6aes o! pages '-1';. Now you a! add
happy a!d sad faes" a!d ble!ds of happi!ess a!d sad!ess with a!ger" disgust"
fear a!d surprise. 6irst pratie the happy" sad faes a!d ble!ds of these two
emotio!s. 7he! you have them perfet" add the a!ger" disgust"
1/. sadness
fear a!d surprise pitures you pratied with earlier ?pages '; a!d %.@. ,ratie u!til
you are able to get them all orret.
)ist of Faces for Flashing Faces* "ractice Three,
Figure umber!
;-A
;-B
;-(
;A
;B ;<A ;'A ;&( ;." left
photo ;." right photo <0A
<A
<B <<" left photo <<" right
photo
<."left photo
<."right photo
<%"left photo
<%"right photo
"nswers!
Slight +appy
Moderate +appy
Moderate to 4#treme +appy Moderate +appy
Moderate +appy Slight +appy
+appy1Surprise Ble!d +appy1(o!tempt
Ble!d +appy1A!ger Ble!d +appy1A!ger
Ble!d
Slight to Moderate Sad!ess 6ull 6ae Sad!ess
6ull 6ae Sad!ess Sad16ear Ble!d Sad16ear
Ble!d Sad12isgust Ble!d Sad12isgust Ble!d
+appy1Sad Ble!d +appy1Sad Ble!d
practice faces
Now that you have studied the bluepri!ts of faial e#pressio! for eah of the si#
emotio!s" you are ready to pratie what you have lear!ed. 5p u!til !ow
everythi!g has bee! show! with photographs of 9ust two people" ,atriia a!d
Coh!. But !ow" looki!g at the pitures of !ew people" you will see how the
bluepri!ts of faial e#pressio! vary i! mi!or ways whe! show! by differe!t
people. *f what you have lear!ed i! eah hapter is to beome a skill" operative
without your !eedi!g to thi!k through eah step i! 9udgi!g emotio!" the! you
must pratie with these !ew" varied faes.
(ut out the pitures o! pages $&<10/0 at the bak. Eou might wa!t to mou!t
eah piture o! i!de# ards" with paste or stiky1tape" so the pitures do!
=
t
beome frayed. *f you do so" be ertai! to tra!sfer the !umber o! the bak of eah
piture to the bak of the i!de# ards. Eou will use these !umbers to look up the
a!swers at the e!d of this hapter.
7he! you have all the pitures ut out" shuffle them a!d plae the dek fae
up i! fro!t of you. (ut out page 0/;" whih you will use to reord your 9udgme!ts
of these pitures. +ere are the steps to follow3
$. :ake a piture off the top of the dek" holdi!g it so you a!=t see it. ?Eou
might put the dek over to the side" so you a!=t easily see the faes" a!d
without tur!i!g your head" reah over to pik up the pitures o!e at a time.@
0. (lose your eyes a!d hold the piture at a omfortable dista!e from your
fae.
-. Bli!k your eyes ope! a!d losed )uikly. O!eH
;. Cudge the emotio!.
<. Ope! your eyes" write dow! the piture !umber i! the first olum! of
your a!swer sheet" a!d your bli!k19udgme!t i! the seo!d olum!.
'. Look at the piture for a few seo!ds" a!d if your opi!io! ha!ges write
dow! your seo!d 9udgme!t i! the third olum!.
&. 2o not hek the orret a!swer o! the bak yet. *!stead" plae the piture
fae up i! a seo!d pile" go to the !e#t piture" a!d repeat steps $ to '.
.. After 9udgi!g all the pitures" take the dek a!d hek eah of your a!swers
agai!st the i!formatio! at the e!d of this hapter.
%. *f your bli!k19udgme!t was orret" o!gratulate yourself a!d go o! to the
!e#t piture.
$/. *f your bli!k19udgme!t was wro!g but your seo!d 9udgme!t was orret"
take a look at the piture a!d flash it a few times" bli!ki!g your eyes. :ry
to see what it is that you are missi!g about it. ,ut the piture aside" a!d
after you have go!e through the dek" hek to see if you were faili!g to
be orret i! the bli!k19udgme!t of pitures of a partiular emotio!" or if
your errors were spread aross the emotio!s. *f it was mostly o!e or two
emotio!s" go bak a!d reread those hapters. *f you missed pitures from
aross the emotio!s" follow step $0.
$$. *f your bli!k19udgme!t was wro!g a!d your seo!d 9udgme!t was also
wro!g" put the piture aside a!d go o! to the !e#t piture. 4ah time you
have a wro!gly 9udged piture" put it o! this same spot" buildi!g up a pile.
O!e you have heked all the pitures" determi!e from this pile if you
were te!di!g to miss mostly pitures of o!e or two emotio!s. *f so" study
the pitures" a!d go bak a!d restudy the hapters that those pitures are
based o!. (ompare eah piture you missed with the figures it refers to. *f
your errors were distributed pretty eve!ly aross emotio!s" the! 9ust hek
the wro!g pitures agai!st the figures referred to" tryi!g to determi!e why
you made erro!eous 9udgme!ts.
$0. After havi!g heked all your 9udgme!ts" shuffle the dek a!d go through it
agai!.
2o!=t e#pet to be orret o! most of the pitures the first time through. Eou
will probably miss more tha! half. 2o!=t be disouraged. *t does take pratieH
Eou will probably have to go through the dek a!ywhere from three to te! times"
studyi!g after eah time through. 2o!=t go through the dek more tha! two or
three times i! a sitti!g. *t is good to let some time elapse so that you will forget
the partiular pitures.
*f you have read this far without deidi!g whether you wa!t to go through
all of this work" read o! to the !e#t hapter. Eou will lear! about faial deeit"
but you will fi!d that you a!=t use the i!formatio! from that hapter u!less you
have go!e through the pratie i! this hapter. Eou a! the! deide. *t may be
e!ough to k!ow about it without bei!g able to use it.
.nswers
$.Surprise" as show! i! 6igure $$.
0.Surprise" as i! 6igure $$. Note that the horiAo!tal wri!kles are )uite
subtle i! this e#pressio! as ompared to pitures $ or -. Also !ote that the
mouth is o!ly slightly ope!" as i! 6igure %A.
-.Surprise" as i! 6igure %A.
;.Surprise" as i! 6igure $$. *f you alled it 6ear or 6ear1Surprise Ble!d"
that is !ot a bad error. :he mouth i! this piture is 9ust o! the edge of
showi!g a fear eleme!t. (ompare the mouth with 6igure $'. *s it like the
fae o! the left or the rightG *t is i! betwee!. :he eyesIlids i! this piture
are very good e#amples of surprise. :he browIforehead also shows
surprise well. (ompare ,iture ; with ,iture $$" a!d !ote the differe!es
aross the fae betwee! this perso!
=
s fear a!d surprise e#pressio!s. Also
ompare ,iture ; with 6igure 0/6" a fear1surprise ble!d" to o!firm that
,iture ; is showi!g surprise" !ot a ble!d of fear a!d surprise.
<.Surprise" as i! 6igure $$. :he mouth is o!ly slightly parted as i! 6igure
%A. :here is !o slera showi!g above or below the iris" but the surprise
bluepri!t is show! i! the browIforehead a!d lower fae.
'.Surprise" as i! 6igure $$. No slera shows above or below the iris i! this
fae" beause the eyes are deeply set. :he surprise bluepri!t is show! well
i! the browIforehead a!d i! the lower fae.
&.Surprise" as i! 6igure %. *f you alled this piture 6ear" it was probably
beause this perso!=s eyebrows are less arhed. :hey are more straight1
e!ed tha! is usual i! the surprise e#pressio!. Note that it is a surprise
browIforehead3 :here is !o drawi!g together of the eyebrowsD there are !o
vertial wri!kles betwee! the eyebrowsD a!d the horiAo!tal wri!kles are
!ot short" but ru! aross the e!tire brow.
..Muestio!i!g Surprise" as i! 6igure $/A. Surprise is show! i! the browsI
forehead a!d eyesIlids" with !o i!volveme!t of the lower fae. (ompare
with ,iture -.
%.6ear" as i! 6igure 00A. (ompare this piture to ,iture 0. :he brows are
draw! together a!d raised i! ,iture %" but the drawi!g together is slight.
:he mouth i! ,iture % is similar to that i! 6igure $.B.
$/.6ear" as i! 6igure 00. 6ear is registered very slightly i! the lower fae
i! this pitureD it is most like that show! i! 6igure $.A. (ompare it with
6igure %A a!d !ote the slight hi!t of a strethi!g mouth i! this piture"
whih shows it is a slight versio! of fear rather tha! a slight surprise
mouth.
$$.6ear" as i! 6igure 00B. (ompare with ,iture 4.
$0.6ear" as i! 6igure $.(.
$-.6ear" showi!g eleme!ts of 6igure $.A ?lower fae@ a!d 6igure 00A
?browIforehead@. :he browIforehead is draw! together but !ot raised" as it
should be i! fear.
$;.Slight 6ear" as i! 6igure $.A. :he lower fae shows 9ust the begi!!i!g
trae of strethi!g of the lips. :he browIforehead shows a slight sig! of
raisi!g of the brow but !o sig! of drawi!g together. :he stro!gest fear
eleme!t is the te!sio! i! the eyesIlids.
$<. 2isgust1(o!tempt1both a!swers are orret. :his piture shows !ose1
wri!kli!g a!d !arrowi!g of eyes as is evide!t i! 6igure 0;B a!d lips as i!
6igure 0<(.
$'. 2isgust" as i! 6igur) 0-B.
$&. 2isgust" as i! 6igure 0;A. *f you alled this 2isgust1A!ger Ble!d" that
ould be o!sidered a orret a!swer also" beause the browsIforehead are
a bit ambiguous. :he wri!kli!g betwee! the brows a!d this amou!t of
loweri!g ould suggest the prese!e of a!ger. :he disgust is stro!gly
registered i! the lower fae a!d lower eyelids.
$.. 2isgust" as i! 6igure 0;A.
$%. 2isgust1(o!tempt" as i! 6igure 0<(. Both a!swers are orret.
0/. (o!tempt" as i! 6igure 0<A. (ompare with ,itures -0 a!d ;%.
0$. 2isgust" as i! 6igure 0;B. *f you alled this A!ger" it is probably be1
ause of the stati sig!al system. :his perso! has eyebrows set low i! his
forehead. (hek his !eutral e#pressio!" show! i! ,iture <0.
00. (o!tempt" as i! 6igure 0<A. *f you alled it A!ger or A!ger1(o!tempt
Ble!d" hek the a!swer for ,iture 0$.
0-. Slight A!ger" as i! 6igure -'B. :he lues to a!ger are subtle a!d most
easily see! by ompari!g this a!ger e#pressio! with this perso!=s !eutral
e#pressio!" as show! i! ,iture <-. *! a!ger the brow is slightly lower
a!d slightly draw! together. :he lips are slightly te!sed. :he most
obvious sig!al is i! the stari!g eyes a!d te!sed lower eyelids.
0;. A!ger" as i! 6igure ;0B. :he a!ger mouth may i!volve a!y o!e of a
!umber of variatio!s o! a s)uare shape. (ompare this mouth with the
mouth i! ,itures 0< a!d 0& a!d 6igure -;.
0<. A!ger" as i! 6igure ;0B. See the omme!tary o! ,iture 0;.
0'. A!ger" as i! 6igure ;0A.
0&. A!ger" ombi!i!g eleme!ts of 6igure -'B ?browIforehead@ a!d ;0B ?eyes
a!d lower fae@. :he brows are dow!" but !ot draw! lose togetherD the
mouth shows the le!hed1teeth variatio! o! the ope!1mouth a!ger. See
the omme!tary o! ,iture 0;.
0.. A!ger. :his partiular ombi!atio! of eleme!ts was !ot show! i! a
figure. :he browsIforehead" upper eyelid" a!d stari!g appeara!e to the
eye are similar to the photographs i! 6igure -&. :he lower eyelid is !ot
te!sed a!d raised. :he mouth positio! is somewhat like 6igure -;A a!d
-;B" but less i!te!se. *t is more like the mouth positio! show! i! 6igure
<&A.
0%. A!ger" as i! 6igure -'B. *f you missed it" you probably alled it 6ear"
faili!g to disti!guish the pieri!g look of a!ger from that of fearD ompare
with ,iture %. *! ,iture 0% the brows are dow! ?but !ot draw! together@D
the lower eyelid is te!sed" a!d the upper lip is pressed slightly dow!
agai!st the lower lip.
practice faces
-/. +appi!ess" as i! 6igure </B.
-$.+appi!ess" as i! 6igure </B.
-0.Slight +appi!ess" as i! 6igure ;<A. *f you alled this (o!tempt" ompare
,iture -0 with ,itures 0/ a!d ;%.
--.+appi!ess" as i! 6igure </A.
-;.+appi!ess" as i! 6igure </B. *f you alled it Surprise or +appi!ess1Surprise
Ble!d" it was probably beause of the shape of the lips i! this piture. :o
see that it does !ot i!volve surprise i! the lower fae" ompare this piture
with 6igure ;'.
-<.+appi!ess" as i! 6igures ;-B a!d ;;B.
-'.+appi!ess" as i! 6igure </B.
-&.Sad!ess" as i! 6igure <;A. Note the gaAe dow!" the or!ers of the lips dow!"
the slight raisi!g a!d drawi!g together of the i!!er or!ers of the eyebrows.
-..Sad!ess" as i! 6igure <;. A good e#ample of the drawi!g together a!d raisi!g
of the i!!er or!ers of the eyebrows.
-%.Slight Sad!ess" as i! 6igures <$A a!d <0A. 2o!
=
t be o!er!ed" if you were
wro!g o! this piture. (o!gratulate yourself if you were right. :he lues are
very subtle. :here is the slight trae of the sad!ess brow" givi!g a slight
tria!gulatio! to the upper eyelid. :he lower lip may be also begi!!i!g to
show a trae of sad!ess" but it is !ot ertai!.
;/.Sad!ess" as i! 6igure <0. Note the draw!1together a!d slightly raised i!!er
or!ers of the eyebrow" a!d the resulta!t tria!gulatio! of the upper eyelid.
:he gaAe is also dow!. Although the or!ers of the lips appear dow!"
heki!g this perso!=s !eutral e#pressio! ?,iture <;@ shows that this is the
shape of this perso!=s lips.
;$.Sad!ess" but more subtly show! tha! i! a!y of the figures. +ow do you k!ow
that this perso! looks sadG 7here is the lueG (over the eyes a!d forehead
with your ha!dD does the mouth area look sadG No. (over the lower fae
with your ha!d" a!d you will see that the lue to sad!ess is i! the eyesIlids
a!d browIforehead. :here has bee! a slight raisi!g of the heeks" produi!g
a very slight raisi!g of the lower eyelid. :he i!!er or!ers of the eyebrows
have bee! slightly raised a!d draw! up" but that is !ot appare!t from the
appeara!e of the eyebrows o! this perso!D it is appare!t i! the shape of the
ski! below the eyebrow. Note how it has bee! tria!gulated" 9ust as i! 6igure
<$A.
;0.Sad!ess" as i! 6igure <;B. :he mouth shows a very slight hi!t of sad!ess.
;-.Sad!ess" as i! 6igure <;. 4ve! though the lips are slightly parted" sad!ess is
still registered i! the dow!ed or!ers.
;;.Sad!ess" as i! 6igure <0. :his piture shows that o! some people the
drawi!g1together a!d raisi!g musular atio! does!
=
t ha!ge the browsD but
you a! see the pull of the musles themselves i! bu!hi!g u!der the ski! i!
the forehead. Also !ote the tria!gulatio! of the ski! u!der the brow. Also
!ote the wri!kle patter! i! the forehead" whih ours
with some people" whe! the sad!ess brow is show!. :his wri!kle pat1ter!
looks like the Breek letter Omega" a!d has bee! alled the Omega patter!.
;<.+appi!ess1Surprise Ble!d" as i! 6igure ;'A.
;'.+appi!ess1Surprise Ble!d" as i! 6igure ;'A.
;&.6ear1Surprise Ble!d" as i! 6igure 0/4. (ompare this piture with the fear
e#pressio! of this perso! show! i! ,iture $;. :he surprise eleme!t i! the
ble!d i! ,iture ;& is the browIforehead. ,iture ;& has the fear mouth
show! i! 6igure $<A" while ,iture $; has the fear mouth show! i! 6igure
$<B.
;..6ear1Surprise Ble!d" as i! 6igure 0/6. :he fear eleme!t is i! the lower fae
?6igure $<A@" with surprise i! the browsIforehead a!d eyesIlids. :he fat
that the eyes are ope!ed very wide" whih ould happe! i! surprise" also
melds easily i!to a fearful e#pressio!.
;%.+appi!ess1(o!tempt Ble!d" as i! 6igure ;&(. (ompare this piture with
this same perso!=s slight happi!ess e#pressio! ?,iture -0@" a!d o!tempt
e#pressio! ?,iture 0/@. :he mouth positio! is the same i! o!tempt a!d
happi!ess1o!tempt. :he happi!ess is registered i! this ble!d e#pressio!
by the lifti!g of the heek a!d the o!se)ue!t slight !arrowi!g of the eye.
</.A!ger12isgust Ble!d" as i! 6igure -%A. (ompare this with ,iture 0-" i!
whih this perso! shows a!ger without disgust ?ompare the lower fae i!
the two pitures@.
<$.Sad!ess16ear Ble!d. :his type of ble!d was !ot show! earlier. *t is om1
posed of sad!ess" registered i! the browIforehead a!d eyesIlids ?6igure
'/@" a!d fear i! the lower fae ?6igure $<A@. :he slight raise i! the upper
lip may give some hi!t of o!tempt. 6igure << showed a!other type of
fear1sad!ess ble!d" i! whih the fear was registered i! the lower fae with
the more spread fear mouth ?6igure $<B@.
<0.Neutral
<-.Neutral
<;.Neutral
,eople regard faial e#pressio!s of emotio! as more trustworthy tha! words.
4veryo!e has had the e#perie!e of bei!g able" or thi!ki!g he was able" to tell
that what someo!e said was a lie from the look o! his fae. No matter what your
politial persuasio!" there was probably at least o!e wit!ess i! the Se!ate
7atergate +eari!gs whose faial e#pressio!s proved to you that he was lyi!g. Eet
!early everyo!e has bee! take! i! by faial e#pressio!s of emotio!. Eou might
have bee! misled by a lie of ommissio!" whe! the perso!
=
s fae showed some
feeli!g whih later you lear!ed he i! !o way felt. Or it might have bee! a lie of
omissio!" whe! the perso! showed !o trae o! his fae of how he atually did
feel. A!d it is !ot 9ust the ator or politiia! who a! so o!vi!i!gly lie with his
fae. Nearly everyo!e tries" some of the time.
,eople lear! to o!trol a!d disguise their faial e#pressio!s. (hildre! are !ot
o!ly taught what they should !ot say" but what looks they should !ot allow o!
their fae. F2o!=t you look a!gry at meHF F7ipe that look off your faeHF *t is !ot
o!ly i!hibitio! that is re)uired" but putti!g o! false faes" usually smili!g o!es.
FSmile at that !ie ma!D he wa!ts to help you.F 7ell before adulthood most
people have lear!ed how to ma!age their faial e#pressio!s to meet the dema!ds
of soiety" how to o!trol the messages they give with their fae as well as their
words.
6aial e#pressio!s of emotio! are !ot easy to o!trol. Most people ma!1age
their faial e#pressio!s" but far from perfetly. ,eople are more practiced i! lyi!g
with words tha! with faes ?a!d more pratied with faes tha! with body
moveme!t@. :his is probably beause people are held more aou!table for their
words tha! for their faial e#pressio!. :here is more omme!t o! what you say
tha! o! what you show i! your fae. ?But there is more omme!t o! what is
show! i! faial e#pressio! tha! i! body moveme!t@. Beause you are held more
respo!sible for your words tha! your faial e#pressio!s"
you beome a better performer. But the differe!e betwee! words a!d faes i!
this regard is !ot great.
*t is easier to monitor your words as you speak them tha! to mo!itor your
faial e#pressio!s. :here are two reaso!s. 6irst" faial e#pressio!s a! be
e#tremely rapid" flashi!g o! a!d off the fae i! less tha! a seo!d. 7ith words
you a! easily take the sta!e of the perso! who reeives your message" liste!i!g
to it as he doesD this is !ot as easy with faial e#pressio!s. Eou a! hear yourself
speak" ma!agi!g what you are sayi!g word by word" a!d eve! ha!gi!g withi! a
word. But you a!=t see your ow! faial e#pressio!s" a!d to do so would be
disruptive. *!stead you must rely upo! a less aurate soure of i!formatio! about
what is goi!g o! i! your f ae1 t he feedbak from the faial musles.
*t is easier to falsify words tha! faial e#pressio!s. Eou have bee! e#pliitly
taught to speakD you have lear!ed the voabulary a!d grammar. :here is !ot o!ly
a ditio!ary for refere!e" but also a thesaurus. Eou a! write dow! e#atly what
you will say ahead of time. Eou a! rehearse it aloud. A frie!d a! liste! to your
performa!e a!d provide useful ritiism by poi!ti!g to the word or lause that is
off. :ry that with your faial e#pressio!s. Eour riti wo!
=
t have ma!y terms with
whih to tell you what is wro!g i! your faeD his opi!io!s are based o! o!ly
hu!hes or i!tuitio!s. A!d suh vague ritiism does!=t help you ha!ge your
e#pressio!s. Eou do!=t have a!ythi!g like a ditio!ary of faial e#pressio!s. Eou
were !ever taught how to speak with your fae. 7hat you lear!ed about faial
e#pressio! was !ot whih musles to move for eah emotio!" but the !eed to
o!trol your faial appeara!e.
*t is muh easier to inhibit what you reveal i! your words tha! what you
reveal i! your fae. O!e reaso! has already bee! me!tio!ed1the speed of faial
e#pressio!. But there is a more importa!t reaso!. :he faial e#pressio!s that are
triggered duri!g the e#perie!e of a! emotio! are i!volu!tary ?al1though they a!
be i!terfered with@" a!d the words are !ot. Suppose you are walki!g dow! the
street a!d a feroious" rabid1looki!g dog omes rai!g at you" i! full bark. *!
fear" your heart begi!s to beat faster" your breathi!g )uike!s" other ha!ges
our i! your body" a!d your faial musles are triggered" so that o!e of the
bluepri!ts show! i! (hapter < appears. :hese ha!ges i! your fae a!d body
our automatially" without muh we ould all thought or o!sideratio!. :here
is !o similar automati" i!volu!tary set of words that would burst out of your
mouth at that i!sta!t" though you might gasp or sream. 7ords are !ot impelled
by the same type of i!ter!al meha!isms that trigger the beat of your heart" the
rate of your breathi!g" or the moveme!t of your faial musles. :o say that these
respo!ses are i!volu!tary is !ot to imply that they a!=t be o!trolled. Eou a!
breathe rapidly a!y time you wa!t to" 9ust as you a! put o! a fae whe! you wa!t
to. +owever" the apaity to falsify does!=t mea! that there are !ot oasio!s
35
whe! you will breathe more )uikly" !ot out of hoie but beause you are
gripped by a!
emotio!. 7he! afraid" you ould get your breathi!g under control, but this mea!s
that you would be o!te!di!g with a!d overomi!g o!trary impulses. *t would
be a struggle. :he same is true with faial e#pressio!s.
Beause people are less pratied i! o!trolli!g faial e#pressio!s" less able
to mo!itor" falsify" or i!hibit their faes tha! their words" faial e#pressio! offers
the promise of reveali!g how someo!e really feels. But beause people are taught
to o!trol their faial appeara!e" beause they a! over1ride a! i!volu!tary
faial respo!se or put o! a fae they do!
=
t at all feel" the e#pressio! a! fool you.
*! a o!versatio!" faial e#pressio!s may be more truthful tha! words. ?:here are"
of ourse" lues to deeit i! words. Slips of the to!gue are obvious e#amples.@ But
faes may be eve! more misleadi!g tha! words.
7hih is whihG +ow do you tell ge!ui!e e#pressio!s of emotio! from
pho!y o!esG +ow a! you detet the leakage of feeli!gs the perso! is tryi!g to
o!eal from youG Most people follow fairly simple rules3
1 : h e eyes are the most truthful.
1 * f he says i! words he feels a! emotio! but does!
=
t show a!y emotio!" you
distrust the words. 6or e#ample" he says he=s a!gry a!d looks !eutral" or says
he
=
s happy a!d looks !eutral.
1 * f he says i! words he feels a !egative emotio! a!d shows a smile o! his
fae" maybe you trust the words" or maybe you trust the smile. *t depe!ds
upo! the situatio!. 6or e#ample" if he says he is afraid of the de!tist a!d
smiles" you i!terpret the smile !ot as a !egatio! but as a soial omme!t a!d
trust the words. But if a woma! disappoi!ts a ma! ?or vie versa@ i! a!
appeali!g way" a!d he says he is a!gry but shows a smile" the! o!e distrusts
the words.
1 1 *f he does!=t say it i! words but shows it faially" you believe what the
fae says" partiularly if he de!ies it i! words. 6or e#ample" if he says F*
=
m
!ot at all surprised"
F
but looks surprised" the! you believe he is surprised.
:hese rules probably work part of the time" but they a! be improved upo!.
*! order to e#plai! more about trustworthy a!d u!trustworthy faial e#pressio!s"
we first !eed to disuss the reaso!s why people o!trol their faial e#pressio!s
a!d the teh!i)ues employed to ma!age the appeara!e of the fae.
Four !easons Wh% "eo#le Control Facial 01#ressions
7e have oi!ed the phrase display rules to desribe what people lear!"
probably )uite early i! their lives" about the !eed to ma!age the appeara!e of
partiular emotio!s i! partiular situatio!s. 6or e#ample" middle1lass"
urba!" white" adult males i! the 5!ited States follow the display rule of !ot
showi!g fear i! publi. :heir female ou!terparts i! the pre1matro! or pre1
mater!al role follow the display rule of !ot showi!g a!ger i! publi. Origi!ally"
you may lear! the display rule by bei!g told what to do a!d !ot to do" or you may
lear! it by observatio! a!d imitatio! without ever bei!g speifially i!struted.
O!e lear!ed" display rules operate as habits" muh like drivi!g a ar. Eou do!
=
t
thi!k about what you are doi!g u!less you fi!d you have made a mistake. ,eople
pause to o!sider what display rule to follow o!ly if they are i! stra!ge
irumsta!es ?display rules vary from ulture to ulture@ or if they a!
=
t figure
out what the situatio! is" what their role is" what is e#peted of them.
:he e#ample we gave of a display rule speified that a partiular emotio!
?fear for males" a!ger for females@ must !ot be show! i! publi. Some1times
display rules are more speifi i! prohibiti!g a partiular faial e#pressio! o!ly i!
a partiular role or soial situatio!. 6or e#ample" at middle1lass Ameria!
weddi!gs" the bride may publily ry or look sad" as may her pare!ts" but !ot the
groom or his pare!ts. Although display rules ge!erally disourage me! from
ryi!g" sad!ess is allowable" but !ot for the groom at his weddi!g. Ofte! the
display rule will speify !ot o!ly the forbidde! emotio! but also the emotio! that
must be show! i! its plae. At beauty o!tests it may seem parado#ial that it is
the wi!!ers" !ot the losers" who burst i!to tears with the emee=s a!!ou!eme!t"
but this is beause of the display rule for wi!!ers a!d losers. Losers i! suh
o!tests must o!eal distress a!d show at least slight happi!ess. 7i!!ers o!ly
have to worry about !ot looki!g smug. *! the mome!t before the emee=s
a!!ou!eme!t all the o!testa!ts" feari!g disappoi!tme!t" are o!e!trati!g o!
!ot ryi!g" but smili!g. 7he! the wi!!er is a!!ou!ed" it is she who !o lo!ger
!eeds to worry about suppressi!g tears" a!d out they ome.
2isplay rules !eed !ot absolutely forbid or dema!d showi!g a partiular
emotio!" but may i!stead speify ad9ustme!ts i! the i!te!sity of a! emotio!. 6or
e#ample" at fu!erals the mour!ers should ad9ust their ow! e#pressio!s of grief i!
relatio! to the grief of others. :here seems to be a peki!g order of legitimate
laims to grief. Suppose a middle1aged ma! has died sudde!ly. At the fu!eral" if
his seretary were to show more grief o! her fae tha! his wife" she would be
suggesti!g somethi!g improper about the !ature of her relatio!ship to the
deeased. *!stead" her sad faial e#pressio! must be more moderate tha! that
show! by people who have a more legitimate publi laim to mour!.
7e have bee! disussi!g the cultural display rules1o!ve!tio!s about faial
e#pressio! that are followed by all ?!o!rebellious@ members of a give! soial
lass" subulture" or ulture. :heir role i! soial life is the first" most widely
shared reaso! why people o!trol their faial e#pressio!s. :he seo!d
reaso! is the role of personal display rules1habits that are the produt of idio1
sy!raies i! family life. 6or e#ample" a perso! may have bee! brought up !ever
to look a!grily at someo!e i! authority" or !ever to look a!grily at someo!e of the
opposite se#. A perso!al display rule may also be )uite ge!eralD histrio!i perso!s
ustomarily overi!te!sify all emotio!al e#pressio!D poker1faed perso!s attempt
to mai!tai! a o!sta!t !eutral faial e#pressio!.
,eople o!trol their faial e#pressio!s of emotio!" the!" beause of deeply
i!grai!ed o!ve!tio!s ?ultural display rules@ or idiosy!raies i! upbri!gi!g
?perso!al display rules@. A third reaso! for faial o!trol is voatio!al
re)uireme!t. Ators" obviously" must be skilled i! ma!agi!g their faial
e#pressio!s. So must good diplomats" trial attor!eys" salesme!" politiia!s"
dotors" !urses" a!d perhaps eve! teahers. :he e#te!t to whih people e!ter suh
professio!s partly beause they are already tale!ted i! o!trolli!g their
e#pressio!s" a!d the e#te!t to whih suh e#pert!ess develops i! the ourse of
their formal trai!i!g or e#perie!e" is !ot k!ow!.
:he fourth reaso! why people o!trol their faial e#pressio!s is !eed of the
mome!t. A guilty priso!er testifyi!g to his i!!oe!e is !ot followi!g a ultural
or perso!al display rule" !or a voatio!al re)uireme!t" u!less he is a" professio!al
rimi!al. +e lies" with his fae as well as his words" to save himself. :he
embeAAler must falsely show surprise whe! the theft is disovered. :he husba!d
must i!hibit the smile of pleasure o! e!ou!teri!g his lover" if i! the prese!e of
his wife.
5sually whe! a perso! is said to lie with his fae or words" he lies to meet
some !eed of the mome!t. But all four reaso!s for o!trolli!g faial e#pressio!
a! i!volve false messages or the omissio! of messages. *t is 9ust that soiety
o!dem!s lyi!g more if it is do!e for perso!al gai! rather tha! beause of
perso!ality" voatio!al re)uireme!t" or its ow! o!ve!tio!s. :he word lying,
however" may be itself misleadi!g about what ours. *t suggests that the o!ly
importa!t message is the true feeli!g that u!derlies the false message. But the
false message is importa!t as well" if you k!ow it is false. Rather tha! alli!g the
proess lyi!g" we might better all it message o!trol" beause the lie itself may
o!vey a useful message.
:here are times whe! people do !ot e!gage i! o!trolli!g the messages they
provideD there is !o dupliity of messagesD the i!formatio! provided is i!ter!ally
o!siste!t. :his is fra!k or ho!est ommu!iatio!. :here are times whe! people
e!gage i! message o!trol" tryi!g to o!eal o!e message a!d substitute a!other.
:he messages are the! i! o!flit" o!e refleti!g atual feeli!g" the other
refleti!g what the perso! wa!ts to o!vey or thi!ks he should o!vey. Both
messages have i!formatio!D both are importa!t. Suppose a perso! has bee!
autely depressed a!d" while still depressed" !ow tries to o!eal the sad
e#pressio! a!d look moderately happy. Eou are misled if you thi!k he is happy"
!ot realiAi!g that he is still sad. But you are also misled
if you disregard his attempt to look happy" for it might be telli!g you that he is
begi!!i!g to feel better" or he is !ot to be trusted" or he wa!ts to please you" or
you do!=t !eed to worry so muh about him. :he )uestio! is how to reog!iAe that
message o!trol is ourri!g" a!d if it is ourri!g" how to reog!iAe both the
message that is felt a!d the message that is !ot felt. :o a!swer that )uestio! we
must first disti!guish amo!g the various teh!i)ues for faial ma!ageme!t. 6or
whe! people o!trol the messages give! by their faes" they do muh more tha!
9ust substitute a! u!felt for a felt emotio!.
Facial Management Techni2ues
*! ma!agi!g your faial appeara!e you a! seek to qualify the appeara!e
of the emotio! you atually feel" or to modulate the e#pressio! of that feeli!g" or
to falsify the message.
Bualifying
*! )ualifyi!g a faial e#pressio!" you add a further e#pressio! as a om1
me!t o! the e#pressio! you have 9ust show!. 6or e#ample" if you show fear whe!
the de!tist approahes" you may add a! eleme!t of disgust to your faial
e#pressio!" as a omme!t to the de!tist that you are disgusted with yourself for
bei!g afraid. :he felt emotio!al e#pressio! is !ot ha!ged i! its i!te!sity" as i!
modulati!g" !or is it o!ealed or replaed with a! u!felt emotio!al e#pressio!"
as i! falsifyi!g. A! emotio!al e#pressio! a! be a )ualifer whe! show!
immediately after the first o!e" either as a soial omme!t alled for by a ultural
or perso!al display rule or as a ge!ui!e e#pressio! of a further feeli!g. :he
perso! may atually feel disgusted with himself for bei!g afraid of the de!tist or
he may be followi!g a display rule to make it lear that he is !ot ompletely
hildish.
:he smile is the most fre)ue!t )ualifier" added as a omme!t to a!y of the
!egative emotio!s. :he smile )ualifier gives a lue as to the likely o!se)ue!es"
or limits" of the !egative emotio!. *t tells the other perso! how seriously to take
it. *t i!forms the other perso! you are still i! o!trol. 6or e#ample" if you smile to
)ualify a! a!gry e#pressio!" you are faially sayi!g you wo!=t go too farD your
attak will be limited or suppressed. *f the smile is ble!ded with the a!ger" rather
tha! )ualifyi!g it as a! after1omme!t" you are sayi!g that you are e!9oyi!g bei!g
a!gry. :he smile )ualifier to sad!ess mea!s F* a! sta!d it"F F* wo!
=
t ry agai!"F
F*=m !ot goi!g to kill myself"
F
et. :he smile )ualifier to fear mea!s F*=ll go
through with it a!y1way"F F*=m !ot goi!g to ru! away"F et.
Mualifyi!g a faial e#pressio! is the mildest form of faial ma!ageme!t. *t
distorts very little" a!d is usually the result of perso!al or ultural display
facial deceit
rules" !ot i!dividual !eeds of the mome!t. Beause the distortio! of the message
is mi!imal a!d the evide!e of )ualifyi!g is usually obvious" we will !ot disuss
a!y ways to reog!iAe that a! e#pressio! has bee! )ualified.
modulating
*! modulati!g a faial e#pressio!" you ad9ust the i!te!sity of the e#pressio!
to show either more or less tha! you atually feel. Eou are !ot omme!ti!g o! the
emotio! message ?)ualifyi!g@ or ha!gi!g the !ature of the message ?falsifyi!g@"
but o!ly i!reasi!g or dimi!ishi!g its i!te!sity. :here are three ways to modulate
a faial e#pressio!. Eou a! vary the !umber of faial areas i!volved" the
duratio! of the e#pressio!" or the e#ursio! of the faial musles.
Suppose Coh!" whe! feeli!g afraid" was followi!g the display rule to
dei!te!sify fear to apprehe!sio!. 7ith fear" the full e#pressio! i!volvi!g all three
faial areas" show! i! 6igure 00A" would our. *f he were to de1i!te!sify his
e#pressio! of this feeli!g" he would do o!e or more of the followi!g3
14limi!ate fear from the mouth area ?as i! 6igure $%A@" a!d perhaps from
the eyes as well ?6igure $-B@D or show fear o!ly with the mouth ?the
photograph o! the right i! 6igure $&@.
1 Shor t e! the duratio! of the e#pressio!.
1 St r et h the mouth lessD te!se the lower lid lessD a!d !ot lift a!d draw
together the brow as muh.
*f Coh! had atually felt o!ly apprehe!sive but was tryi!g to look afraid"
the! he would atually have the e#pressio! show! i! 6igure $-B" a!d reverse the
steps outli!ed for dei!te!sifyi!g i! order to i!te!sify the e#pressio!. :ypially
whe! people modulate" i!te!sifyi!g or dei!te!sifyi!g" they will use all three
teh!i)ues1ha!gi!g the !umber of faial areas i!volved" how lo!g the e#pressio!
is held" a!d how stro!gly the musles pull. Later" we will disuss how to
reog!iAe a faial e#pressio! that has bee! modulated.
falsifying
*! falsifyi!g a faial e#pressio! of emotio!" you show a feeli!g whe! you
have !o!e (simulate). or you show !othi!g whe! i!deed you do feel a partiular
way (neutrali/e). or you over a felt emotio! with the appeara!e of a! emotio!
you do !ot feel (mask)% *! simulati!g you try to give the impressio! that you are
atually e#perie!i!g a partiular emotio! whe! i! fat you are !ot feeli!g a!y
emotio!. Suppose someo!e tells you about the misfortu!e of a presumed lose
frie!d a!d you do!=t are at allD you have !o feeli!g" but you put o! a sad
e#pressio!. :hat is simulati!g.
*! order to simulate suessfully" you must be able to remember the
se!satio!s of what eah emotio!al e#pressio! feels like o! your fae" from the
i!side" so you a! volu!tarily ad9ust your fae to look that way to others. 5sually
you a!
=
t a!tiipate the !eed to simulate" a!d do!=t have the ha!e to pratie i!
fro!t of a mirror where you a! see how you are doi!g" to rehearse your
performa!e. (hildre! a!d adolese!ts ofte! pratie faial e#pressio!s this way
to beome skilled" a!d adults will pratie for speial oasio!s for whih they
have !otie. Most ofte!" however" you must rely upo! your proprioeptive
se!satio!s1what it feels like o! the i!side of your fae. Eou must be se!sitive to
those feeli!gs a!d math them to your memory of how your fae felt whe! you
were a!gry" afraid" et." so you a! volu!tarily ad9ust your fae to look a
partiular way.
eutrali&ing is 9ust the opposite of simulati!g. Eou have a stro!g emotio!"
but you attempt to appear as if you feel !othi!g. NeutraliAi!g is the e#treme of
dei!te!sifyi!gD the e#pressio! is modulated dow! to !othi!g. *f Coh! were afraid
a!d his goal was to appear ool a!d u!emotio!al" the! he would be !eutraliAi!g.
*! !eutraliAi!g" you try to
1 k e e p the faial musles rela#ed" i!hibiti!g a!y musular o!tratio!D
1 f r eeAe the faial musles i!to a !o!emotio!al poker faeD setti!g the 9awD
tighte!i!g" but !ot pressi!g" the lipsD stari!g" but !ot te!si!g the eyelids"
et.D
1amouflage the fae by biti!g the lips" suki!g the lips" wipi!g the eyes"
rubbi!g part of the fae" et.
NeutraliAi!g is very diffiult" partiularly if there is some stro!g eve!t or series of
eve!ts provoki!g a! emotio!al reatio!. :ypially" i! !eutraliAi!g" you will look
so woode! or te!se that you at least give away the fat that you are falsifyi!g"
eve! if the atual emotio! e#perie!ed is !ot revealed. Most ofte!" rather tha!
!eutraliAe" people will mask" whih is easier a!d more suessful.
*! masking, you simulate a! emotio! that is !ot felt" to over or o!eal
a!other emotio! that is felt. 7he! you heard about the u!fortu!ate i!ide!t to
your presumed frie!d a!d simulated a sad look" it was a simulatio! o!ly if you
felt !othi!g. *f you had felt disgust a!d overed it with the sad look" that would
be maski!g. ,eople mask beause it is easier to o!eal o!e faial e#pressio!
with a!other tha! it is to try to show !othi!g. A!d people mask beause their
reaso! for hidi!g a partiular emotio! usually re)uires the false stateme!t of a
replaeme!t. 6or e#ample" if a depressed perso! is !ot to be suspeted of still
thi!ki!g of suiide" he must !ot o!ly !eutraliAe sad!ess but also show happi!ess.
:he smile" whih we earlier !oted was the most ommo! emotio! )ualifier" is
also the most ommo! emotio! mask. 2arwi! first suggested a reaso! for this.
:he musular moveme!ts re)uired for smili!g are
facial deceit
most differe!t from the musular moveme!ts i!volved i! the !egative emo1
tio!s. Stritly o! a! a!atomial basis" the smile best o!eals the appeara!e
i! the lower fae of a!ger" disgust" sad!ess" or fear. A!d" of ourse" ofte! the
very !ature of the soial situatio! that might motivate you to o!eal o!e of
those emotio!s would lead you to wa!t to substitute the frie!dly message of
the smile. :here are also oasio!s whe! people mask a !egative emotio! with
a!other !egative emotio!1a!ger over fear" for e#ample" or sad!ess over
a!ger. A!d sometimes people mask a happy e#pressio! with a !egative o!e.
All three ma!ageme!t teh!i)ues1)ualifyi!g" modulati!g" a!d falsify1
i!g ?whih i!ludes simulati!g" !eutraliAi!g" a!d maski!g@1may our for
a!y of the four reaso!s people o!trol their faial e#pressio!1ultural display
rules" perso!al display rules" voatio!al re)uireme!t" or !eed of the mome!t.
3bstacles to
5ecogni6ing Facial
7anagement
+ow a! you tell if someo!e is ma!agi!g his faial e#pressio!s" partiularly
if he is falsifyi!g" i! whih ase the i!formatio! would be most misleadi!gG Most
of the time you a! probably tell with !o diffiulty" beause most faial
ma!ageme!t is the produt of ultural display rules" a!d is !ot performed very
well. Eou probably are aware whe! someo!e is followi!g a ultural display rule"
but the same set of fators that led someo!e to ma!age his faial e#pressio! will
ause you to ig!ore a!y errors or FgaffesF he makes. Eou may eve! wa!t to be
misled" or at least !ot to ak!owledge that you atually k!ow how the perso!
truly feels. :hi!k of all the times you have said" F+ow are you todayG
F
1 ! o t
really wa!ti!g to k!ow" ig!ori!g everythi!g i! the perso!=s faial e#pressio!
other tha! the perfu!tory smile whih the ultural display rule always alls for
o! i!itial greeti!g.
Ofte! it=s !ot that you !eed to be taught how to reog!iAe faial ma!age1
me!t" but i!stead that a large part of the time you u!witti!gly ig!ore errors others
make i! their faial e#pressio!s. Eou have bee! trai!ed to ooperate" at least
sometmes" i! mai!tai!i!g falsifiatio! i! the emotio!al i!formatio! you get from
others. Although this is most usual whe! people are followi!g ultural display
rules" beause soial fores affet both the perso! who shows the e#pressio! a!d
the perso! who sees it" you may e!gage i! suh ollusio! eve! whe! a perso! is
purposefully tryi!g to deeive you" to fill his ow! !eed of the mome!t. A wife
a! ig!ore the rough edges i! the faial lies of her phila!deri!g husba!d beause
she does!=t wa!t to have to o!fro!t the situatio!D a!d she may or may !ot be
aware of her partiipatio! i! the seret.
Sometimes you reog!iAe that faial ma!ageme!t is ourri!g beause the
other perso! wa!ts you to reog!iAe it" but !either of you ak!owledges it. :his is
almost always the ase whe! a faial e#pressio! is qualified, whe! a
omme!t is added. :he smile )ualifier is added to a! otherwise fearful fae so
that the other perso! will see the )ualifier" realiAe that the fear will be e!dured
without flight" or sreams" et. Sometimes a faial e#pressio! is modulated i! suh
a way as to make it obvious that the e#pressio! has bee! i!te!sified or
dimi!ished. Suppose you wa!t the perso! who has provoked you to k!ow that
you are furious but are o!trolli!g yourself a!d wo!=t physially attak i! retur!.
O!e way to o!vey that message is to show a dei!te!sified1a!ger faial
e#pressio!" where the dei!te!sifyi!g is obvious. :he other perso! k!ows you are
furious" but he also k!ows you are ma!agi!g it. Similarly" sometimes faial
e#pressio!s are falsified i! suh a way that the message is obviously false. :he
falsifier a! wa!t everyo!e to k!ow his e#pressio! is false. A perso! who is
ge!ui!ely mour!i!g may for a mome!t mask his real feeli!g of grief with a smile
whe! first greeti!g a! old frie!d who has ome to pay his respets. :he smile
may be half1hearted" a toke! to the greeti!g ritual" with !o attempt to o!eal the
atually felt distress or sad!ess.
But what of those situatio!s i! whih faial e#pressio! is modulated or
falsified i! a way i!te!ded to fool you" to mislead you about how the perso!
atually feelsG 7here you really do wa!t to k!ow how the other perso! atually is
feeli!g" !ot 9ust what he wa!ts you to thi!k he feels. 7ith some people you
probably will have little ha!e to spot whe! they are o!trolli!g their faial
e#pressio!. :hey are 9ust too good for you to detet sig!s of faial ma!ageme!t.
A really good ator is very o!vi!i!g" a!d so is a really good salesma!" or trial
attor!ey. All you a! really k!ow" if you are up agai!st suh a! e#pert" is that you
had better !ot take his faial e#pressio! at fae value" beause he=s a pro.
5!fortu!ately" there are professio!al faial liars who are !ot salesme! or ators
or trial attor!eysD they are 9ust good at fooli!g people with their faial
e#pressio!s. :hey usually k!ow it" a!d their frie!ds ome to k!ow it. *! our
urre!t researh" we are tryi!g to u!dersta!d 9ust what harateriAes people who"
without speial trai!i!g" beome suh professio!al faial deeivers. But we do!=t
have muh to report yet. 6ortu!ately" most people are !ot that good.
*f you do !ot wa!t to be misled" a!d if you are !ot deali!g with a pro1
fessio!al faial liar" the! you !eed to reog!iAe sig!s of leakage a!d deception
clues. Leakage a! be defi!ed as the !o!i!te!ded betrayal of a feeli!g the perso!
is tryi!g to o!eal. A deeptio! lue tells you that faial ma!ageme!t is
ourri!g" but !ot what the o!ealed emotio! isD you simply k!ow that
somethi!g is amiss. 7he! a perso! is attempti!g to !eutraliAe the a!ger he
atually feels" if he does a poor 9ob" you may still see a trae of his a!ger
?leakage@. Or he may suessfully !eutraliAe it with a poker fae" but his fae
looks suffiie!tly awkward for you to k!ow he is !ot showi!g how he really feels
?deeptio! lue@. Suppose he masks the felt a!ger with a sad e#pressio!. :he
a!ger may still leak through. Or it may !ot" but the sad look may be
facial deceit
u!o!vi!i!g1a deeptio! lue that some other emotio! is bei!g o!ealed.
Suppose the a!ger is modulated" dei!te!sified to mi!or a!!oya!eD agai!" there
ould be leakage of the more i!te!se a!ger" or 9ust a deeptio! lue that
somethi!g is amiss with the e#pressio! of a!!oya!e.
So/r ( es o1 !e"+".e "n#
-ece&tion C- /es
7e will disuss four aspets of faial e#pressio! whih may tell you that a
perso! is o!trolli!g his faial e#pressio!s. :he first is faial morphology, the
partiular o!figuratio! of the appeara!e of the fae. All the earlier hapters
have foused upo! morphology" the temporary ha!ges i! the shape of the faial
features a!d wri!kles that o!vey emotio!. As we will e#plai!" o!e part of the
fae is more ofte! disguised tha! others" but 9ust where to look for the false a!d
the felt feeli!g does vary with partiular emotio!s. :he seo!d aspet is the
timing of a! e#pressio!1how lo!g it takes to appear o! the fae" how lo!g it
remai!s" a!d how lo!g it takes to disappear. :he third aspet is the location of the
e#pressio! i! the o!versatio!. A!d the fourth is what are alled micro-facial
expressions, whih result from i!terruptio!s.
All four fators1morphology" timi!g" loatio!" a!d miro1e#pressio!smust
be i!terpreted i! light of the soial o!te#t i! whih a! e#pressio! ours. 6or
e#ample" you will lear! how to tell from morphology where to look for a trae of
fear i! what appears to be a! a!gry e#pressio!. But to determi!e whether that
trae of fear is leakage of a! attempt to o!eal fear or a fear1a!ger ble!d" you
must rely upo! the soial o!te#t. *s it a situatio! i! whih a perso! is likely to
e#perie!e a fear1a!ger ble!dG *s the perso! ak!owledgi!g mi#ed feeli!gsG *s he
de!yi!g bei!g afraidG 7hat does his body show" et.G :he soial o!te#t i!ludes
other behaviors ?head tilt or moveme!t" body posture" body moveme!t" voie"
words@D preedi!g a!d subse)ue!t behaviorsD the behavior of other i!terata!tsD
the defi!itio! of the situatio!" its soial Fframe"
F
those soial !orms whih lead
you to e#pet o!e or a!other emotio! to be e#perie!ed. *! e#plai!i!g eah of the
soures of leakage a!d deeptio! lues" we will poi!t out whe! the hoie
betwee! alter!ative e#pla!atio!s depe!ds upo! the soial o!te#t" assumi!g that
you will k!ow a!d atte!d to the o!te#t to make the deisio!.
morphology
7ath out for what people do i! the lower part of the fae" partiularly the
lips a!d the li!es arou!d the !ose a!d lower heek. Although we do !ot yet have
evide!e to prove this" our study of faial e#pressio! suggests that whe! a perso!
is o!trolli!g what is show! o! his fae" more effort is foused o! ma!agi!g what
ours i! a!d arou!d his mouth a!d lips tha! i! the area
of the eyesIlids or browsIforehead. :his might be beause of the role of the mouth
i! speeh" a!d the o!se)ue!t greater aware!ess a perso! has of what he does
with that part of his fae. *t might also result from the ommo! pratie of
i!hibiti!g what ema!ates from the mouth i! the most e#treme" u!o!trolled
emotio!al e#pressio!s1shouti!g i! a!ger" sreami!g i! terror" moa!i!g a!d ryi!g
i! distress" regurgitati!g or spitti!g i! disgust" laughi!g i! happi!ess.
7he! you modulate your faial e#pressio!" the!" i!te!sifyi!g or de1
i!te!sifyi!g the appeara!e of a! emotio!" you will most likely ma!age your
mouth. *f you were very afraid" you ould dei!te!sify your fearful e#pressio! by
elimi!ati!g the i!volveme!t of the eyelids or browsIforeheadD but it is most likely
that i!stead you will elimi!ate sig!s of fear i! the mouth. Eour fear e#pressio!
ould also be dei!te!sified by ma!agi!g the amou!t of musle pull i! a!y of the
three faial areas" limiti!g the musular o!tratio!s. Agai!" you will most
probably fous your ma!ageme!t efforts o! the mouth" urtaili!g the musular
o!tratio!s here more tha! i! the eyesIlids or browsIforehead.
In #alsi#ying faial e#pressio!s" agai! the mouth is more the fous for
ma!ageme!t tha! the eyesIlids or browsIforehead. *f the falsifyi!g is a1
omplished by !eutraliAi!g a felt e#pressio!" it is most likely that the e#pressio!
will disappear from the mouth. *f the falsifyi!g e!tails simulati!g a! u!felt
emotio!" it is most likely that the 5se e#pressio! will appear i! the mouth area. *f
the falsifyi!g i!volves maski!g a felt emotio! with a simulated emotio!" agai!
the mouth is the most likely fous of atte!tio!.
Ma!y of the moveme!ts of the musles i! a!d arou!d the lips a!d mouth
also ha!ge the o!figuratio! of the heeks" the hi!" a!d the lower eyelids. ,ut
your ha!ds over your fae with the tips of your fi!gers touhi!g your lower
eyelids a!d the heel of your ha!d over your mouth a!d hi!. Be!tly pressi!g your
ha!ds a!d fi!gers agai!st your fae" make eah of the lower fae moveme!ts
show! i! 6igures &" $<" 0-" -;" ;-" a!d <-" payi!g partiular atte!tio! to the
ha!ges i! the lower eyelids that you feel i! your fi!gertips. :he upper part of
your heeks a!d the lower eyelids are most ha!ged by the ope!1mouth a!ger" by
either of the disgust mouths" a!d by all of the happy mouths" e#ept for the
e#tremely slight o!e. 6or these emotio!s" modulati!g or falsifyi!g would be
ma!ifest !ot o!ly i! the lower fae but also i! the heeks a!d lower eyelids.
Be!erally people ma!ipulate the browIforehead to falsify or modulate less
ofte! tha! the lower fae. :he moveme!ts of the musles that o!trol the
browIforehead also a! affet the appeara!e of the upper eyelids" partiularly i!
a!ger a!d sad!ess. ,rediti!g how leakage a!d deeptio! lues will appear duri!g
modulatio! or falsifiatio! of eah of the emotio!s depe!ds !ot o!ly upo! the
differe!tial role of the three faial areas but also o! how pratied a perso! is i!
maki!g a partiular musular moveme!t.
facial deceit
4arlier we poi!ted out that ertai! of the browIforehead positio!s are used as
pu!tuators to emphasiAe a partiular word or phrase" like italis or ae!t marks.
*f someo!e uses suh a browIforehead moveme!t as a pu!tuator" whether it be
the fairly ommo! surprise or a!ger derivative or eve! the more rarely used
sad!ess derivative" the! it is likely he will be better able to lie with that partiular
moveme!t. At least" he will be pratied i! maki!g that moveme!t.
Some of the faial moveme!ts that make up a! emotio!al e#pressio! also
fu!tio! as emblems. Suh a! emblem" you will remember" is a musular
moveme!t whih both the perso! doi!g it a!d the perso! seei!g it k!ow to be !ot
a! e#pressio! of feeli!g but a o!ve!tio!al refere!e to a feeli!gD it is aki! to
me!tio!i!g a! emotio! i! a word. :he raised brow i! surprise was desribed as a!
emblem for )uestio!i!g" the dropped 9aw as a! emblem for bei!g dumbfou!ded"
et. *f a musular moveme!t that is part of a! emotio!al e#pressio! is also a!
emblem" the! it is likely that people will be able to lie with it well a!d u!likely
that there will be leakage i! that area. :aki!g all of these matters i!to
o!sideratio!" we a! suggest where to look for leakage a!d deeptio! lues for
eah of the si# emotio!s we have disussed.
Reog!iAi!g leakage a!d deeptio! lues i! happiness e#pressio!s depe!ds
upo! the fat that this is the o!e emotio! that has !o speifi browI forehead
moveme!t. *f someo!e is simulati!g happi!ess1maki!g a happy fae whe! he
feels !o emotio! at al l 1 we a!!ot e#pet to pik up a deeptio! lue from a
failure to i!volve the browIforehead" beause he does!
=
t !eed to do this. But by
the same toke!" if he is usi!g happi!ess as a mask to over a!other emotio!" he
a!!ot assume a happy browIforehead" a!d there may well be leakage of the
atually felt emotio! i! the upper eyelids a!d browIforehead. 7he! happi!ess
e#pressio!s are dei!te!sified" there may still be a trae of the e#pressio! left i!
the slight raisi!g of the heeks" slight dimpli!g i! the or!ers of the lips" a!d the
slight wri!kli!g of the lower eye1lid" eve! whe! the smile has bee! erased.
'urprise is easily simulated" beause both the mouth a!d brow moveme!ts
i!volved are also surprise1related emblems. ?6igure < showed the )uestio!i!g
emblem of the surprise brow" a!d 6igure . showed the dumb1fou!ded emblem of
the surprise mouth.@ ,erhaps the o!ly deeptio! lue i! simulated surprise will be
the abse!e of the ope!ed but rela#ed eyelids. But this may 9ust as well be a less
i!terested or daAed surprise ?6igure $/(@. *f the soial o!te#t does!=t suggest
less i!terested or daAed surprise" the! this would be a deeptio! lue. Later" we
will e#plai! how simulatio!s may be deteted through imperfetio!s i! their
timi!g" !ot 9ust mistakes i! faial1area i!volveme!t. :imi!g is probably the best
soure of deeptio! lues about simulated surprise.
Surprise may ofte! be used to mask fear" but probably !ot suessfully. *t is a
likely mask for fear beause of similarities i! the e#perie!e a!d i!
the situatio!s that all forth these two emotio!s. But beause of similarities i!
the musular moveme!ts" the fear is likely to shi!e through. Surprise a! be used
to mask a!y other emotio!. 6or e#ample" if you are told of some1o!e
=
s
misfortu!e a!d are supposed to feel sad but really feel glad" you may mask with
surprise. *! fat" some people habitually reat with appare!t surprise to a!y piee
of i!formatio! to avoid showi!g their immediate emotio!al respo!se ?the Fever1
ready e#pressorF disussed i! (hapter $0@. :he lue that the surprise e#pressio!
is a mask should be timi!g. *t must be prolo!ged to sueed i! o!eali!g" but as
we e#plai!ed earlier" surprise is a brief emotio!. *f it is prolo!ged" it is likely to
be false.
7he! someo!e is simulati!g fear, he will probably assume a fear mouth a!d
stari!g eyes" so look for a bla!k browIforehead. :his may be a deeptio! lue"
but it may also be a! i!diatio! of the more horrified or shoked fear" whih
does!=t i!volve the brow ?pitures o! the right of 6igure $%@ D the hoie depe!ds
upo! the soial o!te#t. A fear e#pressio! with a bla!k browIforehead may also
our beause this partiular perso! does!
=
t make that brow moveme!t. :his is
o!e i!sta!e of a! obvious but importa!t ge!eral pri!iple. (ou have a better
chance of detecting facial management if you are familiar with the idiosyncrasies of a
person
)
s repertoire of facial expressions, with what he does with his fae whe! he
ge!ui!ely feels a!d e#1presses eah emotio!. :he fear browIforehead
o!figuratio! may !ever be show! by some people. Although ma!y people show
it whe! they are atually afraid" it is diffiult to simulate" beause it is !ot easy
to make volu!tarily. A!d the fear browIforehead positio! is !ot a! emblem or a
pu!tuator" as are the surprise a!d a!ger brows. :herefore" whe! the fear brow is
show!" it is a reliable i!diator of fear. Ourri!g alo!e i! a! otherwise !eutral
fae" the fear browIforehead i!diates ge!ui!e fear1perhaps slight" or perhaps
i!te!se a!d o!trolled. *f the fear brow ours with the rest of the fae showi!g
a!other emotio!" it i!diates a ble!d" or that the other parts of the fae are bei!g
masked. :he o!te#t will tell you whih. 6or e#ample" if a fear brow is 9oi!ed by
a happy mouth a!d lower eyelid ?as show! i! 6igure ;%@" it is most likely that
the happy part of the e#pressio! is a mask" u!less there is somethi!g i! the
oasio! whih suggests that the perso! ould be both happy a!d afraid. *f fear
was used to mask some other emotio!" the browI forehead would !ot be
employed" a!d the atual felt emotio! might be evide!t there.
7he! anger is simulated" there may be !o lear deeptio! lue from the
i!volveme!t of the differe!t faial areas. Although we have said that the
browIforehead is usually !ot i!volved i! faial ma!ageme!t" the lowered" draw!1
together brow that is part of a!ger ?see 6igure -$@ is also a! emblem for
determi!atio!" o!e!tratio!" or perple#ity. :his browIforehead positio! is very
easy to makeD it is also a pu!tuator. :herefore" you a! e#pet the
facial deceit
browIforehead to be reruited as part of simulated a!ger. Simulati!g a!ger i! the
lower fae" partiularly the losed1lip1press mouth ?6igure -;@" a! also be )uite
easily do!e. :he o!ly eleme!t missi!g i! a! a!ger simulatio! may be a lak of
te!sio! i! the lower eyelid" a subtle deeptio! lue i!deed. 2ei!te!sifyi!g a!ger
may similarly operate primarily o! the browIforehead a!d lower fae. 7he!
a!ger is used as a mask" it will be show! i! both the lower fae a!d the
browIforehead" leavi!g o!ly the eyelids to leak the atual feeli!g. 7he! a!other
emotio! is used as a mask to over a!ger" the felt a!ger may leak through i! the
stare of the eyes" the te!sio! of the lower lid" a!d the drawi!g together of the
brow.
*isgust is easily simulated" beause there are three disgust emblems!ose1
wri!kli!g" raisi!g the upper lip" a!d raisi!g o!e side of the upper lip ?see 6igure
0<@. :he browIforehead plays suh a mi!or role i! the disgust faial e#pressio!
that its abse!e would!
=
t be !otieable. ?*f the browIforehead of disgust survived
i!tat whe! the lower fae was dimi!ished by de1i!te!sifyi!g" it would !ot be a
very lear sig! of the emotio!.@ 7he! disgust is used as a mask" it is probably
most ofte! used to mask a!ger. :he leakage of a!ger might be spotted i! the
brow" if the brow is !ot o!ly draw! dow!" as i! disgust" but also draw! together
?as show! i! 6igure -.(@. Or it might be see! i! the hard te!se1lids stare of
a!ger 9oi!ed with the disgust lower fae ?as i! 6igure -%A@. But these
e#pressio!s ould be ble!ds if the situatio! alled forth both disgust a!d a!ger.
*f the perso! de!ies a!ger i! a learly a!ger1evoki!g situatio! or o!ly me!tio!s
disgust" the! it would be more likely that disgust is a mask over a!ger. :he same
thi!g would happe! if disgust is bei!g used to mask fearD fear would probably
still be evide!t i! the browI forehead a!d the slera above the iris i! the eye ?see
6igure 0%@. 7hether it is a ble!d or evide!e of maski!g would depe!d upo! the
soial o!te#t" partiularly i! what the perso! says a!d does. Beause the o!ly
stro!g eleme!t i! the disgust e#pressio! is i! the lower fae" a!d it is the lower
fae that is used most readily i! simulati!g" it is likely that attempts to mask dis1
gust with a!other faial appeara!e will sueed. At best" there may be a trae of
the u!derlyi!g disgust i! a slight raise i! the upper lip or a hi!t of !ose1
wri!kli!g whe! a!other emotio! masks disgust.
7he! sadness is simulated" it will probably be show! i! the lower fae a!d
a dow!ward ast of the eyes. :he abse!e of the sad browIforehead a!d upper
eyelid would be a good lue that the sad!ess was simulated. As with the fear
browIforehead" the sad browIforehead is a partiularly reliable i!diator that
sad!ess is ge!ui!ely felt" beause this e#pressio! is hard to make volu!tarilyD it
is !ot part of a faial emblem" a!d it is rarely used as a pu!tuator. Some people"
however" !ever show the sad browIforehead" eve! whe! they are ge!ui!ely sad.
As we emphasiAed i! disussi!g fear" you must know whether or not a particular
muscular movement is part of the person
)
s
usual repertoire to infer leakage or deception clues reliably. *f the browIforehead is
!ot part of the perso!
=
s repertoire whe! he is atually sad" the! its abse!e wo!
=
t
tell you that a! otherwise sad e#pressio! is a simulatio!. 7ith suh people you
will have to look at the shape of the upper eyelid. *t should be pulled up at the
i!!er or!ers if the perso! is atually sad" eve! if he does!=t show the sad
browIforeheadD but this is a more subtle ue. *f the sad browIforehead is part of
the perso!
=
s repertoire whe! he is not sad" agai!" your ability to detet a
simulatio! would be affeted. *t is the rare perso! who uses the sad
browIforehead as a pu!tuator" but suh a perso! may be able to fool you whe!
he simulates sad!ess by employi!g his browIforehead ?a!d upper eyelid@ i! his
performa!e.
7he! a perso! dei!te!sifies the sad e#pressio!" the browIforehead a!d
upper eyelid are most likely to survive as leakage of the atually felt i!te!sity. *f
the sad!ess e#pressio! is bei!g masked by a!other emotio!" the sad browI
forehead a!d upper eyelid are most likely to leak through. A!d whe! sad!ess is
itself used to mask a!other emotio!1u!less it is do!e by o!e of those atypial
people who pu!tuate with the sad browIforehead1the sad mask will fail to
over the felt emotio! leaki!g i! the browIforehead.
timi!g
Eou a! beome aware of faial ma!ageme!t" i! partiular of deeptio!
lues" by bei!g se!sitive to the timing of a faial e#pressio!. +ow lo!g does it
take for the e#pressio! to appear o! the fae ?o!set time@G +ow lo!g does the
e#pressio! remai! o! the fae before it starts to reede or ha!ge i!to a!other
e#pressio! ?duratio!@G A!d how lo!g does it take for the e#pressio! to
disappear ?offset time@D does it li!ger" fadi!g gradually" or disappear" or shift
abruptlyG :here is !o hard a!d fast ge!eral rule to tell you what the o!set"
duratio!" a!d offset are for eah of the emotio!s. 7e a!!ot say that a!ger must
take !o lo!ger tha! $.- seo!ds to appear" a!!ot re1mai! for more tha! &
seo!ds" a!d abruptly disappear. :hat obviously would be fallaious. :imi!g
depe!ds upo! the soial o!te#t" but the re)uireme!ts of eah situatio! a! be
)uite e#ati!g. Suppose you were simulati!g e!9oyme!t whe! someo!e who
tells terrible 9okes is telli!g his latest. +ow lo!g it takes for the smile to appear
o! your fae ?o!set time@ depe!ds upo! the buildup to the pu!h li!e ?whether
it is gradual" with slightly humorous eleme!ts" or abrupt@ a!d the !ature of the
pu!h li!e ?whether it is delivered abruptly or strethed out@. +ow lo!g the
smile stays o! your fae ?duratio! time@ depe!ds o! how fu!!y the 9oke is"
whether there is a!other 9oke followi!g" et. +ow lo!g it takes for the smile to
disappear or fade from your fae ?offset time@ depe!ds upo! what is said !e#t"
your relatio!ship to the 9oke1teller" et. *! faki!g e!9oyme!t everyo!e k!ows
the morphology1to pull the or!ers of the lips up a!d bak" perhaps ope!i!g the
mouth slightly" a!d
facial deceit
allowi!g the or!ers of the eyelids to wri!kle1but people are !ot usually as good
i! ad9usti!g the o!set" duratio!" a!d offset time. *f you wath arefully" you will
k!ow whe! the timi!g is off" a!d this a! be ruial i! spotti!g deeptio! lues.
location
(losely related to the timi!g of a faial e#pressio! is its location i! the
o!versatio!al stream19ust where the e#pressio! is plaed i! relatio!ship to the
words1a!d its 9u#tapositio! with body moveme!t. Suppose you were goi!g to
simulate a!ger" telli!g someo!e i! words that you are fed up with his behavior
whe! i! fat you do!=t feel muh o!e way or a!other" but you are supposed to at
a!gry. Eou would wa!t to show the a!ger i! your fae" !ot 9ust i! wordsD
otherwise you might !ot be believed. 7here you plae that a!gry faial
e#pressio! matters. *f the a!gry faial e#pressio! omes after the verbal stateme!t
?
F
*=m fed up with you
F
. . . $.< seo!ds . . . a!d the! the a!gry e#pressio!@" it looks
false. Showi!g the e#pressio! early" let us say before the F*
=
m fed up with you
F
li!e" wo!
=
t be a deeptio! lue if it o!ti!ues i!to the verbaliAatio!. *t will suggest
that you are thi!ki!g" or havi!g diffiulty deidi!g whether to e#press or how to
e#press your a!ger.
:here is probably less latitude i! the 9u#tapositio! of faial e#pressio! a!d
body moveme!t. Suppose duri!g the F*
=
m fed upF li!e you ba!ged your fist o! a
table a!d showed the faial e#pressio! before but !ot duri!g the fist1ba!g" or
afterward. *f faial e#pressio!s are !ot sy!hro!iAed with the o!omita!t body
moveme!t" they look put o!.
micro8expressions
*! dei!te!sifyi!g" !eutraliAi!g" or maski!g a faial e#pressio!" some1times
a perso! will i!terrupt a! e#pressio! as it is ourri!g rather tha! i!terepti!g it
i! adva!e of a!y musular moveme!t. :his provides a fourth soure of leakage
a!d deeptio! lues" the micro!expression% ?7e have al1ready disussed
morphology" rimi!g" a!d loatio!.@
Although most faial e#pressio!s last more tha! o!e seo!d" miro1
e#pressio!s last well u!der a seo!d1perhaps N to N< of a seo!d. At least some
of these miro1e#pressio!s are the result of i!terruptio!s" where the felt faial
e#pressio! is i!terfered with. Eou feel afraid" the e#pressio! begi!s to appear o!
your fae" you se!se from your faial musles that you are begi!!i!g to look
afraid" a!d you dei!te!sify the e#pressio!" !eutraliAe it" mask it. 6or a fratio! of
a seo!d the fear e#pressio! will have bee! there. Miro1e#pressio!s are typially
embedded i! moveme!t" ofte! i! faial moveme!ts that are part of talki!g. A!d
they are typially followed immediately by a maski!g faial e#pressio!. 7e k!ow
from our researh that most people do!=t pay atte!tio! to or do!
=
t atually see
these miro1e#pressio!s" but that every1
o!e with good visio! can see them. *t takes some pratie to k!ow what to look
for. Eou a! pratie spotti!g these very brief e#pressio!s by looki!g at the
pratie photographs i! (hapter $/ while bli!ki!g your eyes. :his is about the
speed of a miro1e#pressio!.
Some miro1e#pressio!s do!=t show e!ough to leak what the emotio! was
that was bei!g dei!te!sified" !eutraliAed" or masked. :hey are aught too early.
:hese s)uelhed fragme!ts of a faial e#pressio! a! still be a lue that the
perso! is ma!agi!g his faial e#pressio!. Some miro1e#pressio!s are omplete
e!ough to leak the felt emotio!. *t is possible" although !o o!e has established
this for ertai!" that miro1e#pressio!s our !ot o!ly whe! people are
purposefully ma!agi!g their faial e#pressio! but also whe! they are !ot aware of
how they feel" whe! they are deeivi!g themselves.
:hough miro1e#pressio!s are a ta!taliAi!g soure of i!formatio!" some
autio!s must be give!. *f a perso! does!
=
t show a miro1e#pressio!" that does!
=
t
mea! he is !ot dei!te!sifyi!g" !eutraliAi!g" or maski!g. Some people" as we have
said" are professio!al faial liars" a!d others are awfully good at faial deeptio!
eve! though their work does!
=
t re)uire it. Still others may show leakage a!d
deeptio! lues i! the ways we have already disussed ?morphology" timi!g"
loatio!@ but !ever show miro1e#pressio!s. A!d people may show a miro1
e#pressio! i! o!e situatio! but !ot i! a!other. Miro1e#pressio!s are reliable as
deeptio! lues or leakage" but you a!=t draw a!y o!lusio!s from their
abse!e.
7e should me!tio! that the fae is !ot the o!ly soure of leakage a!d
deeptio! lues. *!o!siste!ies a!d disrepa!ies i! speeh" body moveme!t"
a!d voie are other importa!t lues. 7e k!ow that people" at least i! our ulture"
te!d to ma!age their faial e#pressio!s more tha! they do their body moveme!ts"
a!d perhaps more tha! their voies. Muh of our urre!t researh is direted
toward isolati!g the partiular body moveme!ts that fu!tio! as leakage a!d
deeptio! lues. *f you wath the body" you a! detet sig!s that emotio!s are
bei!g o!trolled. But to e#plai! 9ust why a!d desribe what to wath is the
sub9et of a!other whole book" whih is still a few years away.
In (hapter -" whe! we disussed the researh basis for this book" we poi!ted
out that muh of what we would be desribi!g about reog!iAi!g sig!s of faial
ma!ageme!t has !ot yet bee! prove!. :hese ideas must be treated as suggestio!s.
Most of them probably are true" but eve! those do !ot work for everybody or i!
every situatio!. Remember also that there are ma!y thi!gs to o!sider i!
reog!iAi!g faial ma!ageme!t.
facial deceit
53 1 A r e you really willi!g to look at a perso!=s faeG
2o you really wa!t to k!ow how the perso! atually feels" or would you
i!stead prefer to k!ow o!ly what he wa!ts you to k!owG 1 * s the perso! a
professio!al faial deeiver" by voatio! or otherwiseG p
2o you k!ow how that perso! typially looks whe! he is e#perie!i!g the
emotio! i! )uestio! a!d is !ot o!trolli!g his faial e#pressio!G ?*f !ot"
be muh more te!tative i! your 9udgme!ts.@ b
Are you familiar with the faial morphology" the appeara!e of eah
emotio! i! eah of the three areas of the faeG ?Remember" where to look
a!d what to look for varies with eah emotio!.@ a
2o you !otie the timi!g of a! e#pressio!1its o!set" duratio!" a!d offsetG
1 2 o you o!sider the loatio! of the faial e#pressio! i! the o!versa1
tio!al streamG t
Are you alert to miro1e#pressio!sG
1 2 o you ompare the faial e#pressio!s with the perso!
=
s body move1
me!ts" posture" voie to!eG
1 A r e you heki!g alter!ative e#pla!atio!s agai!st your k!owledge of
the soial o!te#tG
:he more ways i! whih you a! detet faial ma!ageme!t ?morphology"
timi!g" loatio!" miro1e#pressio!" o!traditio! by body moveme!t" or voie
to!e@ a!d the more fre)ue!tly you observe it" the more o!fide!e you a!
have i! your assessme!t of the faial e#pressio! of emotio!.
checking your own
facial expression
Eou have bee! lear!i!g how to read other people=s faial e#pressio!s. :he
)uestio! !ow is" what do you do with your ow! faeG Although the mai! themes1
the bluepri!ts of faial e#pressio!1are u!iversal" there are i!dividual variatio!s o!
how those themes are performed. 6irst" the stati faial sig!als make a!y of the
emotio!al e#pressio!s look a bit differe!t" depe!di!g upo! how high the
heekbo!es are" how deeply set the eyes" how muh fat is deposited below the
ski!" e#atly where the musles are attahed" et. Seo!d" perso!al e#perie!e
leads to differe!es i! what arouses a partiular emotio!. 7e have outli!ed some
ommo! eve!ts that arouse fear" a!ger" a!d so forth" but people are simply !ot
a!gered by the same eve!ts. :hird" perso!al display rules1deeply i!grai!ed habits
lear!ed i! hildhood about ma!1agi!g faial appeara!e1are differe!t for differe!t
perso!s. 5!like ultural display rules" the perso!al display rules are i!dividual
a!d !ot shared by most members of a ulture or subulture.
Although all three fators are respo!sible for ma!y of the variatio!s i! faial
e#pressio!" we will be o!er!ed primarily with harateristi styles of faial
e#pressio! that result from e#aggeratio!s of perso!al display rules. ,erso!al
display rules may be )uite speifi" referri!g o!ly to a partiular emotio! i! a
partiular situatio!D o!e" for e#ample" might be !ot to let a!ger show i! your fae
whe! you are a!gry at your father ?or all authority figures@. Or perso!al display
rules may be )uite e#aggerated" )uite ge!eral i! their appliatio!D for e#ample"
you may have lear!ed !ever to let a!ger show i! your fae" or eve! !ever to let
any emotio! show i! your fae whe! you are feeli!g it. :hese perso!al display
rules a! result i! a partiular ast to some1o!e=s faial e#pressio!" somethi!g
harateristially differe!t about his fae7e will desribe eight harateristi
s t yl es of faial e#pressio!. 7e will desribe
these styles i! their most e#treme form to e#plai! them most learly. Some people
are harateriAed by o!e of these e#treme styles. Most people show a style o!ly i!
a less pro!ou!ed fashio!. Eou may show o!e of these styles all the time" o!ly i!
some situatio!s or roles" o!ly whe! you are u!der stress" or o!ly at ertai! poi!ts
i! your life" et. After e#plai!i!g the eight styles" we will outli!e a rather
elaborate series of steps you a! take to disover whether or !ot you are
harateriAed by a! e#treme versio! of o!e of these styles.
%ight t!les o' Facial %x&ression
Are you a withholder+ Or perha!e" are you a revealer+ :hese are the first
two e#pressive styles" a!d they are based simply o! whether a perso! has a!
e#pressive or a! u!e#pressive fae. Ofte! people thi!k e#pressive!ess depe!ds
upo! the stati faial sig!als" that it matters whether someo!e has large eyes"
good heekbo!es" et. :his is of little o!se)ue!e. 2ark" large eyebrows may
make your e#pressio! more visible" but the more importa!t fator is the rapid
faial sig!als. *! short" do you move your fae or !otG Eou must k!ow people
whose faes rarely show how they feel. *t is !ot that they are deliberately tryi!g
to deeive you" to o!ealD they 9ust rarely show their feeli!gs o! their faes. A!d
there are their opposites1you always k!ow how these people feelD it is writte! all
over their faes. :hey are like hildre! i! that they a!=t seem ever to modulate
their faial e#pressio!s. Sometimes it is embarrassi!g to you or to them that their
feeli!gs always show. :hey ofte! break the ultural display rules about faial
e#pressio!D they are 9ust !ot able to o!trol their e#pressio!s.
Revealers usually k!ow about itD they are aware of getti!g i!to trouble" at
least sometimes" beause they show their feeli!gs. :hey will say they 9ust a!
=
t do
a!ythi!g about it. 7ithholders ofte! k!ow about themselves too" but !ot
i!variably.
2o you sometimes !ot k!ow what is showi!g o! your faeG ,nwitting
expressors do!
=
t k!ow they are showi!g how they feel whe! they are showi!g it.
*f you are a! u!witti!g e#pressor" you may have had the e#perie!e of wo!deri!g
how someo!e k!ew you were a!gry ?or afraid" or sad" et.@. *f a frie!d of yours is
a! u!witti!g e#pressor" he may ask you how it is that you k!ow how he felt at a
partiular mome!t. +e did!
=
t k!ow a!ythi!g was showi!g o! his fae. 5!witti!g
e#pressors usually speialiAeD there are o!ly o!e or two emotio!s that they show
without k!owi!g it.
2oes your fae atually look bla!k whe! you thi!k you are showi!g a!ger
?or fear" et.@G -lanked expressors are o!vi!ed they are showi!g a! emotio! o!
their fae whe!" i! fat" their fae looks !eutral or ompletely ambiguous to
others. Like the u!witti!g e#pressor" the bla!ked e#pressor
156 checking your own facial expressions
speialiAes. *t is a particular emotio! whih he thi!ks he is showi!g o! his fae
whe! he is showi!g little if a!ythi!g at all. *t is possible that if you are a bla!ked
e#pressor you may lear! about it from others
=
omme!ts. ,eople may tell you that
you do!=t look the way you sou!d" that the look o! your fae does!
=
t fit what you
are sayi!g" et. Our hu!h" however" is that most bla!ked e#pressors are !ot
aware of this harateristi.
2o you look disgusted whe! you atually feel a!gry a!d thi!k you look
a!gryG Or do you look sad to others whe! you feel a!gry" or a!gry whe! you feel
sad" et.G :he substitute expressor harateristially substitutes the appeara!e of
o!e emotio! for a!other without k!owi!g what he is doi!g. Suh a perso! thi!ks
he looks the way he feels" a!d it is !ot easy to persuade him that this is !ot the
ase. 6or e#ample" we have show! to substitute e#pressors videotapes of their
faes whe! they were feeli!g a!gry" or tryi!g to look a!gry" a!d poi!ted out that
they looked sad. Looki!g at the video1tape of their ow! faes" their typial
reatio! has bee! to de!y what we say" i!sisti!g that their faes looked a!gry a!d
!ot sad" that we were wro!g i! sayi!g their faes showed sad!ess. ,ersuasio! has
o!ly ourred whe! we were able to show them that most other people who saw
that videotape said they looked sad.
2o you always show a trae of o!e of the emotio!s i! some part of your fae
whe! you are atually !ot feeli!g a!y emotio!G *!stead of looki!g !eutral" a
fro&en-affect expressor
)
s fae may look a bit sad ?the or!ers of the lips are slightly
dow! or the i!!er or!ers of the brows are slightly raised@ or surprised ?the brows
are slightly raised@ or disgustedIo!temptuous ?there is a slight raise i! the upper
lip@ or a!gry ?the brows are slightly lowered" or the lips slightly tight@ or worried
?the brow is slightly raised a!d draw! together@. Suh a froAe!1affet appeara!e
may result from a trik of !ature. :he perso!
=
s fae may 9ust be o!struted that
way. Or it may result from a lo!gsta!di!g habit that mai!tai!s a slight musular
o!tratio! o! the fae whe! !o partiular emotio! is bei!g e#perie!ed. ,eople
who are froAe!1affet e#pressors usually do !ot k!ow it.
*s your i!itial respo!se to almost a!ythi!g to look surprised" worried"
disgusted" et.G A! ever-ready expressor harateristially shows o!e of the
emotio!s as his first respo!se to almost a!y eve!t i! a!y situatio!. +is ever1ready
e#pressio! replaes whatever he might atually feel" whih may o!ly be evide!t
afterward. A! ever1ready e#pressor might" for e#ample" show a surprise fae to
good !ews" bad !ews" a!gry provoatio!s" threats" et. No matter what happe!s"
surprise is his i!itial e#pressio!. :he ever1ready emotio! may be a!y of the o!es
we have disussed or it may be o!ly part of the faial e#pressio!1o!ly the surprise
brow" or o!ly the disgust !ose1wri!kle" et. 4ver1ready e#pressors are probably
)uite u!aware of this harateristi style of faial e#pressio!.
:he last harateristi style of faial e#pressive!ess that we have e!1
ou!tered is the flooded-affect expressor. Suh a perso! always shows o!e or two
emotio!s" i! a fairly defi!ite way" almost all the time. :here is !ever a time whe!
he is feeli!g !eutralD the flooded emotio! is a o!ti!ui!g part of his feeli!g state.
*f a!y other emotio! is aroused" the flooded emotio! olors it. 6or e#ample" if a
perso! is flooded with fear" the! he looks at least somewhat afraid all the timeD if
he beomes a!gry" he will look a!gry a!d afraid or" eve! more likely" the fear
will overwhelm the a!ger" at least i! his appeara!e. 7e have see! flooded1affet
e#pressors o!ly amo!g severely disturbed people or people i! the midst of a
ma9or life risis. :hese people a!d the people arou!d them are kee!ly aware that
they are flooded1affet e#pressors.
Eour ow! faial e#pressio!s are probably harateriAed by o!e or a!other of
these eight styles o!ly to a mi!or e#te!t. Eou may be a! u!witti!g e#pressor of
fear" but o!ly whe! you are u!der stress. Or you may be a bla!ked e#pressor of
a!ger" but o!ly whe! deali!g with authority figures. Eou may be a substitute
e#pressor" but to suh a slight degree that it is !ot evide!t to a!yo!e. 4veryo!e
probably shows o!e of these styles some of the time or to a slight degree. 6or
some people" however" o!e or a!other of these e#pressive styles may be )uite
pro!ou!edD it stro!gly olors their faial e#pressio!s. *f that is the ase for you"
it would be importa!t that you k!ow it" to be aware of how others may see your
faial e#pressio!s. *f you happe! to be a flooded1affet e#pressor or a revealer"
the! you probably are already aware of it" a!d so is everyo!e who k!ows you" so
there is !o !eed to bri!g it to your atte!tio!. *f you are harateriAed by o!e or
more of the other si# e#pressive styles" however" you may well !ot k!ow it" a!d it
is !ot easy to fi!d out.
:he ideal proedure would be to have videotapes made of your faial
e#pressio!s i! a !umber of live situatio!s" a!d ask a! e#pert i! faial e#pressio!
to study those videotapes a!d give you feedbak. 7e will offer here a do1it1
yourself alter!ative" reog!iAi!g that it may !ot work for everyo!e" or for every
e#pressive style. ?*t wo!
=
t spot the ever1ready e#pressor" whih re1)uires those
real1life videotapes.@ 7e do thi!k it has a ha!e" a!d that you a! lear! e!ough
i! the proess to 9ustify the time you spe!d. 4ve! if you do !ot have a
pro!ou!ed style" you will lear! about your ow! fae" a!d more about how to
reog!iAe emotio! i! others.
:here are three phases1taki!g pitures of your fae" a!alyAi!g those pitures"
a!d worki!g with a mirror. Eou a! do the last phase" the mirror work" without
doi!g the first two a!d derive some be!efit. But if you are goi!g to do all three
phases1a!d that is what we suggest you do1 t he ! you must !ot do the mirror
work u!til last. 2oi!g it before that will rui! your ha!e to lear! about yourself
from phases o!e a!d two.
5!
/teps to .ssess 4our
3*n t!le o' Facial
%x&ression
phase 3 taking pictures
Eou !eed a set of fourtee! still photographs of your fae whih meet the
followi!g riteria.
1 :h e y show your full faeD the lighti!g is goodD they are i! fousD a!d
they are all about the same siAe ?9umbo siAe or larger@.
1 :h e r e are two pitures take! whe! you were feeli!g !o emotio! at all"
two eah whe! you were feeli!g surprise" fear" a!ger" disgust" sad!ess" a!d
happi!ess.
1 E o u were feeli!g 9ust o!e of those emotio!s whe! eah piture was
take!" !ot a ble!d of two.
1 E o u were !ot self1o!sious or embarrassed about the photographs
bei!g take!D preferably you did!=t k!ow pitures were bei!g take!.
*t is u!likely you already have suh a set of pitures. ?*f you do" skip to ,hase
0& "naly&ing .ictures./ :he problem is how to appro#imate suh a set of
pitures. *f you were taki!g a ourse i! F5!maski!g the 6ae"F we would use
role1playi!g situatio!s i! whih you would follow a dramati" i!volvi!g plot
li!e" reati!g to what others do. Laki!g that" we will outli!e some less
desirable but still feasible teh!i)ues you a! use. 6irst" we will over the
meha!is" a!d the! the proedures" for tryi!g to e#perie!e the emotio!s.
Eou will !eed a part!er to take pitures of you. +opefully this will be
someo!e with whom you a! feel rela#ed. :he ma9or stumbli!g blok i! this
phase would be a!y feeli!gs of embarrassme!t or foolish!ess about your faial
e#pressio!s. A!y amera that a! take pitures at a dista!e of twoa!d1a1half
feet or less will do" so that your fae will oupy o!e1third or more of the
piture. A ,olaroid would be optimal" but a regular amera will do.
+ave your part!er set the amera o! a tripodD or if you do!
=
t have a tripod"
have him sit i! a hair. 6ous the amera so that you a! get as lose up as the
amera will permit. Eour part!er should take all the pitures at a head1o! a!gle"
!ot from below or above" so that your full fae is show!. :he pitures a! be
take! i!doors or outdoors" as lo!g as the su! is !ot i! your eyes. 5se a hair or
tripod to rest the amera o!" a!d mai!tai! the same dista!e through the series
of photographs.
(ut out page 0/< from the bak of the book. *t is a log sheet you will use
i! this phase a!d agai! i! the !e#t phase of a!alyAi!g the pitures. Beause you
will take more tha! o!e piture a!d will be e#perie!i!g more
tha! o!e emotio!" you must keep a log of what you were tryi!g to do i! eah
pitureD this a! be oordi!ated with the pitures themselves. *f you are usi!g a
,olaroid amera" this will be easy" beause you a! write the !umber from your
log sheet o! the bak of eah piture as you go alo!g. *f you use a regular amera"
but o!e i! whih the !egatives ome bak i! strips" it will be possible for you to
figure out the order of the pitures a!d opy the log !umber o! the bak of eah
piture. *f your amera or film proessor uts up the !egatives" the! you will have
a problem figuri!g out whih of the pri!ts was made from whih !egative. Eou
a! avoid that problem by ha!gi!g a! i!de# ard with a !umber writte! o! it
arou!d your !ek so you a! readily oordi!ate the pitures with your log.
Before starti!g" work out a sig!al with your part!er by whih you a! let
him k!ow at what i!sta!t you wa!t him to take your piture. Raisi!g the i!de#
fi!ger is usually o!ve!ie!tD a!ythi!g will do that does!=t re)uire you to move
your fae. Bet a lipboard a!d pe!il" put your log o! it" a!d you are !ow ready
to go.
:he first type of piture to take is fairly easy. :ry to get a piture of your
fae whe! you are feeli!g ompletely !eutral" !ot e#perie!i!g a!y emotio! at
all. *t should be like the pitures of Coh! a!d ,atriia show! i! 6igures <A a!d
$-A. Look straight i!to the amera" try to thi!k of !othi!g a!d to feel !othi!g.
:ry to rela#" try to rela# your fae. 7he! you feel you have ahieved a !eutral
state" use your sig!al. :he! write the word F!eutralF !e#t to !umber $ o! your log
sheet" a!d also !ote how well you thi!k you did. :ake at least o!e more !eutral
piture. 4ah time write dow! your i!te!tio! a!d how well you thi!k you did.
Stop whe! you have two pitures that you thi!k" from your feeli!gs o! the i!side"
were !eutral. *t is importa!t that you !ot use a mirror. 7e wa!t your impressio!
of how well you did to be based o! what you usually must rely o!1 !ot looki!g
i! a mirror" but bei!g aware of how it feels o! the i!side. 6or the same reaso!" if
you are usi!g a ,olaroid" do!
=
t look at your pitures as you take them. Resist that
temptatio! u!til you have fi!ished. But have your part!er write dow! the !umber
of eah piture o! the bak of the ,olaroid pri!ts. Also" do!=t have your part!er
e!ourage you" or omme!t o! how well you are doi!g. 7he! taki!g these
!eutral pitures a!d the o!es of the emotio!s desribed below" it is importa!t that
your evaluatio!s be based o! your feeli!g" !ot your part!er
=
s opi!io!.
Now you should try to e#perie!e eah of the emotio!s. :here are a few
ways to try" but it will take patie!e to sueed. :he first teh!i)ue is to lose
your eyes a!d try to remember as vividly as possible the most ree!t oasio! o!
whih you felt the partiular emotio! you are tryi!g to apture. Or you a! try to
reall a!d relive the mome!t i! your life whe! you felt that emotio! most
stro!gly. By either mea!s" try to immerse yourself i! that e#perie!e. Let your1
self feel it i!side" i! your breathi!g" heartbeat" ski!" i! your faial e#pressio!.
7he! you are feeli!g it as muh as you a!1whe! the feeli!g has take! over
1 o p e ! your eyesD a!d whe! you feel ertai! you are showi!g it i! your fae"
give your part!er the sig!al to take your piture. After taki!g eah piture" write
!e#t to the !umber o! the log what you were tryi!g to feel" a!d how well you
thi!k you sueeded i! really feeli!g a!d showi!g it.
:he proedure for e#perie!i!g the emotio! may !ot work for all the
emotio!s" or for a!y of them. *t depe!ds o! you1how good you are at relivi!g
e#perie!es" how self1o!sious you feel" how patie!t you are i! tryi!g" et. 7ith
those emotio!s that you failed to e#perie!e" try to imagine what ould happe! i!
your life to make you feel them most i!te!sely. Let your imagi!atio! go" a!d the!
try to put yourself i! suh a! imagi!ary situatio!. Let the feeli!g ome over you"
feel it i! your body a!d fae.
*f you a!
=
t remember a!y e#perie!e from the past" a!d you a!=t imagi!e
a!y possible situatio!" you might try rereadi!g the earlier hapters. Some people
fi!d that readi!g the
F
e#perie!e
F
setio! auses them to feel the emotio!
desribed. *f that happe!s for you" try to go with it" a!d i!te!sify the feeli!gs. Or
take o!e of the e#amples give! i! eah hapter a!d see if that will work for you"
but do!=t look at the figures i! the hapters at this poi!t.
*f you have ma!aged to take two pitures for eah emotio! i! whih you
atually did feel it o! the i!side" a!d it felt as if it was showi!g i! your fae" the!
you a! stop taki!g pitures. *f you are still missi!g pitures for some or all the
emotio!s" there is o!e more teh!i)ue to try. 6orget about e#perie!i!g"
imagi!i!g" or otherwise reati!g the feeling a!d i!stead o!e!trate 9ust o! posing
it i! your fae. :ry to show the emotio! i! your fae" o!e!trati!g o! the
feeli!gs of your faial musles. Eou may fi!d that usi!g this teh!i)ue auses
you to start feeli!g the emotio! o! the i!side. *f that happe!s" do!
=
t try to stop it.
Allow yourself to feel the emotio! as well as show it. Be sure with the posi!g
proedure to obtai! two pitures for eah emotio! i! whih you felt it was
showi!g o! your fae.
At this poi!t your log should show" !e#t to eah !umber" what you were
tryi!g a!d whether you felt you sueeded. +opefully" by o!e of these teh1
!i)ues1ree#perie!i!g" imagi!i!g" or posi!g1you have ma!aged to get two
pitures for eah emotio!. *f you do!=t have pitures for o!e or two emotio!s" try
agai!" or o!ti!ue o! to the !e#t phase with what you have. *f you have !o
pitures that you thi!k were suessful" the! you are probably a withholder" or
very self1o!sious. *! either ase" the !e#t phase wo!=t be possible for you" a!d
you should skip to the third phase" usi!g the mirror.
"hase 2C analy.ing "ictures
Eou have before you !ow a set of pitures. O! the bak of eah piture you
have writte! a !umber orrespo!di!g to your log. Now you !eed to reruit the
help of at least three or four people" a!d preferably up to te!" who
will at as 9udges of your pitures. *t would be better if they were !ot your most
i!timate assoiates ?!o lose relative@" beause they may k!ow your
idiosy!rasies" a!d at this poi!t we are !ot after the idiosy!rasies. *f you also
took photographs of your part!er" you a! show the 9udges both sets of pitures.
*f you a! get more tha! o!e 9udge to do the task at o!e" that is fi!e" as lo!g as
the 9udges do!
=
t ompare their 9udgme!ts u!til afterward.
(ut out the 9udgme!t sheet from the bak of the book" page 0/'. >ero# as
ma!y opies of it as you will !eed" o!e for eah 9udge for eah perso! he 9udges.
Sort through your stak of photographs. 4limi!ate those whih your log says you
were !ot able to show well" or at least pik the o!es you thought you showed the
best. Base this sorti!g o! what your log says" not o! what you thi!k !ow that you
look at the pitures. Shuffle the photographs you are goi!g to show the 9udge.
Bive the 9udge a 9udgme!t sheet a!d his stak of shuffled photographs. 2o!
=
t
prompt or help him. 4!ourage him to make a 9udgme!t for eah piture. +e may
fi!d it hard with your !eutral pitures beause he does!=t have a hoie of 9udgi!g
it as !eutral" but try to get him to follow the i!strutio! o! the 9udgme!t sheet a!d
make a guess whe!ever he is u!sure. ?:he 9udges are !ot give! a !eutral hoie
beause ofte! people will use that hoie whe!ever they are slightly u!ertai!"
a!d beause if give! that hoie it would !ot be possible to assess the possible
prese!e of a froAe! affet as desribed below.@
After you have at least three 9udges" you a! tally the results. Bet your log.
O! the far right side i! the olum! labeled FCudgme!ts"F you a! !ow write dow!
the !umber of 9udges who alled eah of the pitures a partiular emotio!. 6or
e#ample" o! a happy piture" you might be writi!g dow! that three out of four
alled it happy. *f o!ly o!e perso! alled it surprise" you do!=t !eed to reord that.
*f there is a real split with !o very stro!g ma9ority" the! reord o! the log sheet
all the 9udgme!ts for eah photograph" a!d how ma!y 9udges made eah
9udgme!t. Now you are ready to begi! the a!alysis.
:ake the neutral pitures you showed the 9udges a!d put them i! fro!t of
you. (hek what the log shows for these pitures3
$.:he pitures were 9udged happy by most of the 9udges.
0.:he pitures were 9udged sad by most of the 9udges.
-.:he pitures were 9udged as either happy or sad by most of the 9udges.
;.:here was little agreeme!tD almost every emotio! term was used by o!e
or a!other 9udge.
<.At least o!e of the !eutral pitures was 9udged as Surprise ?or 6ear"
A!ger" or 2isgust@ by half or more of the 9udges.
*f your result was !umber ;" probably you do!
=
t have a froAe! affet olori!g
your !eutral faial e#pressio!" beause there was !o agreed1upo! message.
Also" if your result was !umber $" you probably do!=t have a froAe! affet
olori!g your !eutral faial e#pressio!" beause FhappyF is a fre)ue!t respo!se
that 9udges give to a !eutral1looki!g fae if they are fored to hoose o!e of the
emotio! terms. Sad is also a fre)ue!t respo!se to !eutral faes" so if the result
was 0 or -" it is likely that you do!
=
t have a froAe! affet olori!g your !eutral
e#pressio!. Remember" the most e#treme form of sad!ess results i! a deade!ed"
!eutral1looki!g fae. *t is possible with result 0 or -" however" that your !eutral
fae might !ot have looked !eutral or deade!ed" but might have show! some
trae of the sad!ess bluepri!ts. Eou a! hek o! this by ompari!g your !eutral
faes with those show! i! (hapter %" ompari!g eah area of the fae separately.
:he best way to do this is to make three faial overs out of blak paper. (ut o!e
of them so that whe! you plae it over o!e of your photographs o!ly the brow a!d
forehead show" a!other so that o!ly the heeks" !ose" a!d mouth show" a!d a
third so that o!ly your eyes a!d lids show. (over your !eutral photograph so that
o!ly your browI forehead shows. (ompare it to 6igure <$. *s it similar to that
figureG *f there is a resembla!e" it will be slight. 2o!
=
t e#pet to see i! your
piture a!ythi!g as pro!ou!ed as i! this figure. Now ompare your eyesIlids
with 6igure <0 i! the same ma!!er" a!d your lower fae with 6igure <-. O! the
basis of these ompariso!s you should be able to determi!e whether you have a
sad!ess froAe! affet.
*f the outome of the 9udgme!ts was !umber <" that stro!gly suggests that
whatever emotio! was bei!g 9udged i! your fae is ofte! see! there. Remember"
that ould be beause you are always mai!tai!i!g some eleme!t of that emotio!
i! your fae rather tha! totally rela#i!g your fae whe! you are !ot feeli!g a!y
emotio! ?froAe! affet@. Or it ould be a stati sig!al" due simply to the partiular
o!strutio! of your fae. 6or e#ample" if you have deep1set eyes a!d a low
eyebrow" people may 9udge you as a!gry. ?,hoto1graph <0 i! the pratie series
desribed i! (hapter $/ shows suh a! a!gry1looki!g !eutral fae aused by the
o!strutio! of the fae.@ *t is probably worth k!owi!g that you te!d to give that
impressio! eve! whe! you are feeli!g !eutral. *f outome < was your result"
hek eah area of your photographs agai!st the appropriate figures" usi!g the
faial overs over your !eutral fae" as we suggested above.
:he !e#t steps we will outli!e apply to eah of the emotio!s you photo1
graphed. Lay out the photographs of a! emotio! i! fro!t of you. (hek what the
log says for eah of those photographs.
$. :he stro!g ma9ority of the 9udges of both pitures !amed the emotio! you
were e#perie!i!g" imagi!i!g" or posi!g.
0. :he ma9ority of the 9udgme!ts !amed the emotio! you i!te!ded" but the rest
of the 9udgme!ts all" or almost all" !amed o!e other emotio!D for
e#ample" five out of te! 9udges alled your surprise pitures Surprise" but
three of the remai!i!g five alled them 6ear.
-. :here was almost a! eve! split betwee! the emotio! you i!te!ded a!d o!e
other emotio!.
;. :he ma9ority of the 9udgme!ts were of a! emotio! other tha! the o!e you
i!te!ded.
<. :here was !o agreeme!t amo!g the 9udges about the emotio!D !o more tha!
a third of the 9udges gave a!y o!e 9udgme!t.
*f outome $ ourred for both of your pitures of a partiular emotio!" the!
there is !o i!diatio! of a!y of the e#pressive styles.
*f outome < ourred for both of your pitures" a!d your log shows that you
felt the emotio! a!d thought you were showi!g it i! your fae" the! it is likely
that you are a bla!ked e#pressor for that emotio!. Eou a!
=
t be ertai!" however.
,erhaps you did!=t show the emotio! i! your fae beause this piture1taki!g
situatio! was too artifiial. But there is a good likelihood you are a bla!ked
e#pressor" a!d you may wa!t to start heki!g o! it. Sup1pose you fou!d you
were a bla!ked e#pressor for disgust. :he !e#t time you are i! a situatio! whe!
you are disgusted a!d thi!k you are showi!g disgust" ask frie!ds what you look
like" whether they ould tell how you felt" et.
*f outome < ours for all the emotio!s" or all e#ept happi!ess" the! it is
likely you are a withholder. *t is also possible that taki!g pitures of yourself 9ust
did !ot work for you. *f you are a withholder" people who k!ow you k!ow that
about you" so you should be able to hek o! it.
Outomes 0" -" a!d ; all suggest a substitute e#pressor. Outome - suggests
this more tha! outome 0" a!d outome ; more tha! -. *f o!e of these outomes
ourred for both of your pitures" a!d your log shows that you thought you had
felt the emotio! a!d were showi!g it" it is more likely you are a substitute
e#pressor tha! if o!e of these outomes ourred for o!ly o!e of your pitures
a!d o! that piture you did!
=
t reord feeli!g the emotio! or showi!g it very well.
Suppose you are a disgust1for1a!ger substitute e#1pressor. O! your a!ger pitures"
some of the 9udges ?outome 0@" half ?out1ome -@" or most ?outome ;@ might
have 9udged you as disgusted. 5se o!e of the faial overs to blak out your
F
a!ger
F
pitures so that you a! see o!ly the lower fae. (ompare your lower
faial e#pressio!s to the figures i! the book for the lower fae for a!ger a!d
disgust. (a! you see why the 9udges alled you disgusted whe! you thought you
showed a!gerG 2o the same for the eyesIlids" a!d for the browsIforehead. *! this
way you a! disover 9ust what it is i! your ow! faial e#pressio! that may have
aused 9udges to see your fae as disgusted whe! you thought you showed a!ger.
:his does !ot mea! that you are !ot feeli!g a!ger" o!ly that whe! you feel a!ger"
people who see you may thi!k you feel disgusted.
Of ourse" outomes 0" -" a!d ; do !ot !eessarily mea! that you are a
substitute e#pressor. :he best way to hek o! this is agai! to photograph your
fae" tryi!g agai! to e#perie!e the emotio! for whih you may be a substitute
e#pressor. ,ay partiular atte!tio! to hoosi!g a! e#perie!e that does !ot all
forth a ble!d of the emotio! i! )uestio! a!d the substitute emotio!. Replae the
other photographs of that emotio! with the !ew o!es a!d give the e!tire pak of
pitures ?!ot 9ust the !ew o!es@ to other 9udges a!d see if this result ours agai!.
*f it does!
=
t" you really a!=t be sure whether the first result or the seo!d was
orret. *f" however" you fi!d the same patter! of results agai!" the! it is likely
that you are a substitute e#1pressor.
7e have desribed ways for disoveri!g" from the outomes of the
9udgme!ts of your photographs" whether you may be a withholder" bla!ked
e#pressor" substitute e#pressor" or froAe!1affet e#pressor. *! the !e#t phase we
will desribe differe!t proedures that may be helpful i! determi!i!g whether you
are a! u!witti!g e#pressor. :hese proedures are also releva!t to assessi!g
withholders" bla!ked e#pressors" a!d substitute e#pressors.
phase -3 usi!g a mirror
In ordi!ary life you must rely upo! feedbak from your ow! faial musles1
the se!satio!s that ome i!ter!ally from your fae1both to k!ow a!d to o!trol
your faial e#pressio!s. Bood feedbak from your fae tells you whe! you are
showi!g a! emotio! a!d what emotio! you are showi!g ?o!te#t" other
se!satio!s" memories" et." a! tell you this" too@. *t permits you to o!trol your
e#pressio! by )ualifyi!g it" maski!g it" or simulati!g a! emotio! whe! !o!e is
felt.
Eou a!=t o!sta!tly be aski!g people what your fae looks like" a!d you
a!
=
t arra!ge matters so you a! see your fae i! a mirror while you are
i!terati!g. Eou should i!stead atte!d to feedbak from your fae. :his feed1bak
from your faial musles may !ot be well1developed. Eou may have lear!ed" for
some reaso!" not to k!ow how your fae feels whe! you are showi!g a partiular
emotio!" or all the emotio!s. *f that is so" the! look out for trouble. *f you do!=t
k!ow how your fae feels whe! the musles are o!trated i! a! a!gry
e#pressio!" for e#ample" the! you may !ot k!ow whe! you are showi!g that
emotio! ?u!witti!g e#pressor@. 7he! you feel a!gry" you may be showi!g disgust
i!stead ?substitute e#pressor@. Or you may be showi!g !othi!g o! your fae
?bla!ked e#pressor@. Eou may !ot be able to )ualify your a!gry fae. A!d you
may be u!able to simulate a! a!gry look. +ere" the!" are some steps you a! take
to determi!e how well1a)uai!ted you are with your ow! faial feedbak.
Eou will !eed a ha!d mirror whih you a! hold easily" large e!ough to
show you your e!tire fae. A!d you will !eed to get over feeli!g self1o!sious
about maki!g faes a!d looki!g at your ow! fae. 7e will use a!ger as a!
e#ample to e#plai! the steps" but you a! use the same steps for eah emotio!.
$.:ur! to 6igure ;0 at the e!d of the a!ger hapter ?for the other emo1
tio!s" tur! to the figure at the e!d of the appropriate hapter@.
0.:ry to imitate with your ow! fae eah piture i! the figure.
-.Are you able to do itG (hek i! the mirror.
;.*f you a!=t do it without looki!g i! the mirror" look i! the mirror while
you tryD imitate the faes i! the figure.
<.*f you are able to imitate them" !ote whether the feeli!gs i! your fae are
familiar" a!d whether it feels like a!ger. *f it does!=t feel stra!ge" but feels
somehow right" follow the same proedure for the !e#t emotio!. *f" however"
you were u!able to imitate the photographs i! the figure while looki!g i! the
mirror or if you were able to dupliate the faes i! the book but fou!d the
feeli!g stra!ge a!d u!familar" tur! to Step '.
'.6i!d the figure that shows 9ust the browIforehead positio! for the emotio!D
a!ger is the left photograph i! 6igure -$. 5si!g the mirror" imitate that
piture. *f you a! do it" ask yourself if it feels familiar or stra!ge" a!d
whether it feels like the emotio! i!te!ded.
&.:ur! to the figure for the eyesIlids" a!d do the same as i! '.
..:ur! to the figure for the lower fae a!d do the same as i! '.
%.:ry to hold o!e part of the fae" let us say the browIforehead" i! the
positio! show! i! the book" a!d add a!other part of the fae" a!d the!
the third. *t does!=t matter whih you start with. (a! you make the
total e#pressio!G 2oes it feel stra!ge or familiarG 2oes it feel like the
emotio! i!te!dedG
*f" i! Step <" you made the e#pressio! a!d it felt familiar a!d felt some1thi!g
like the emotio!" the! there is little likelihood that you are a withholder" a
substitute e#pressor" a bla!ked e#pressor" or a! u!witti!g e#pressor. *f you did!=t
sueed i! Step <" but did reah that outome by Step % ?you were able to make
the fae" it felt familiar" a!d it felt somethi!g like the emotio!@" the same is true.
*f your o!ly problem was i! maki!g the fear browIforehead" or the sad!ess
browIforehead" but you were able to make the rest of the faial e#pressio!" the!
agai! the same would hold for you. :he failure to make these two brows is
probably due to some idiosy!rasy i! your perma!e!t faial struture. *! ge!eral"
as lo!g as you are able to make the faes by either Step < or Step %" utiliAi!g two
of the three faial areas" there is !o evide!e of o!e of these e#pressive styles.
*f you ould make the e#pressio! i! Step < or % but it felt )uite u!1
familiar" the! you may be a! u!witti!g e#pressor of that emotio!. Eou do!=t
reog!iAe what it feels like whe! you show a! e#pressio! that others would
reog!iAe as that emotio!. *f i! Step < or % you made the e#pressio! a!d it felt
familiar" but felt like a differe!t emotio! tha! the i!te!ded o!e ?for e#1ample"
whe! suessfully imitati!g the a!ger fae" it felt like disgust@" you may be a
substitute e#pressor for this emotio!.
7hat if you a!
=
t make the e#pressio! by Step %G *f you a!=t imitate either
of the faes show! i! the figure a!d your failure is !ot 9ust i! o!e faial area but
i! all three" the! it is likely that you are a bla!ked e#pressor for that emotio!. *f
you followed the proedures outli!ed i! the first two phases" you should have
lear!ed that already. *f you a!=t make the e#pressio! for most of the emotio!s"
you are probably a withholder.
:he steps i! these three phases should teah you about your ow! fae a!d
i!rease your aware!ess of other people=s faial e#pressio!s" eve! if they fail to
reveal that you have a!y of the e#pressive styles outli!ed earlier. A!d" as we have
said" if you do have o!e of these e#pressive styles" it is most likely to be slight" or
o!ly evide!t i! some situatio!s" or u!der stress" et. *f you have o!e of these
e#pressive styles i! a slight degree or o!ly oasio!ally" the! it wo!=t be evide!t
with the steps outli!ed i! these three phases.
7hat if these steps suggest that you do have o!e of these e#pressive stylesG
A!d you believe" from followi!g the steps outli!ed" that you ahieved a pretty
aurate readi!g of your fae. (a! you ha!ge itG 6ra!kly" we do!
=
t k!ow. 7e are
9ust begi!!i!g to e#plore this )uestio! i! our researh. 7e are" however"
optimisti. *t may be that simply lear!i!g the bluepri!ts of faial e#pressio! a!d
pratii!g how to reog!iAe them will dimi!ish a!y of these e#pressive styles. Or
the steps i! these three phases may themselves redue a!y e#pressive style. Or it
may take speial trai!i!g o! how to move the faial musles. (ertai!ly the more
se!sitive you beome to the omple#ities of faial e#pressio!1the more you k!ow
about your ow! fae1the riher will be your ow! emotio!al e#perie!e.
conclusion
*! the previous hapters you have see! the bluepri!ts of faial e#pressio!1how
happi!ess" surprise" fear" a!ger" disgust" a!d sad!ess are registered i! the fae.
Eou have also see! ma!y of the ble!d e#pressio!s" i! whih two of these
emotio!s are ombi!ed. Some of the ways people use faial e#pressio!s to
pu!tuate their o!versatio!" u!derli!i!g a word or two" has also bee! show!" as
have some of the other messages o!veyed by the fae. Readi!g this book a!d
looki!g at the photographs should i!rease your u!der1sta!di!g of faial
e#pressio!s. *f you did the e#tra work of maki!g up faes a!d pratii!g with the
flashi!g faes at the e!d of eah hapter a!d the !ew faes desribed i! (hapter
$/" the! you are more likely to have developed your u!dersta!di!g i!to a skill
that will be part of you" somethi!g you a! use without havi!g to thi!k about it.
A further way to pratie what you have lear!ed about the appeara!e of the fae
is to wath people without heari!g their words. By tur!i!g the sou!d off while
wathi!g televisio!" you a! do that without rude!ess. A few hours of suh
pratie a! serve to heighte! your aware!ess of faial e#pressio!s.
Readi!g the setio!s o! the e#perie!e of the si# emotio!s should help you
better u!dersta!d emotio!" )uite apart from what it looks like o! the fae. Eou
a! hek the e#pla!atio!s of eah emotio!=s dy!amis agai!st your ow!
emotio!al e#perie!e to lear! about your ow! feeli!gs. 6or e#1ample" do you use
all four routes to ahieve happy feeli!gsG *s o!e of the arousers of a!ger the most
typial o!e for youG 7hih of the emotio!s do you dread the mostG 7hih of the
!egative emotio!s do you e!9oyG
:he hapter o! faial deeit e#plai!ed why a!d how people o!trol their
faial e#pressio!s. Speifi ways to reog!iAe sig!s of o!trol1modulati!g or
falsifyi!g e#pressio!s1were detailed. (lues to deeit" to piki!g up faial leakage"
were also e#plai!ed. Remember" you wo!=t be able to use
6! conclusion
this i!formatio! u!less you have go!e beyo!d u!dersta!di!g the photographs i!
the earlier hapters to a)uire the skill i! reog!iAi!g faial e#pressio! by
maki!g faes" flashi!g faes" a!d usi!g the pratie faes. :he e!d of (hapter $$
e#plai!ed what you must o!sider to determi!e whether or !ot someo!e is
ma!agi!g his fae.
:he last hapter was o!er!ed with how you may use your ow! fae. 4ight
differe!t styles of faial e#pressio!s were desribed. K!owi!g about them may
help you better u!dersta!d others" a!d if you we!t through the steps outli!ed1
photographi!g a!d a!alyAi!g your ow! fae" followi!g the teh!i)ues for usi!g a
mirror1the! perhaps you u!overed some i!teresti!g fats about your ow! faial
e#pressio!s.
Of ourse" k!owi!g how someo!e feels or how you feel does !ot tell you
what to do about it. Eou may !ot always be glad that you k!ow how someo!e
else feels" partiularly if he did!=t really wa!t you to k!ow itH K!owi!g how
someo!e feels does!=t mea! that you will !eessarily wa!t to do a!ythi!g about
it. 6or e#ample" whe! someo!e is o!trolli!g his a!ger" a!d you !ow a! spot
that" if you ak!owledge you k!ow he is a!gry you may ause him to e#plode.
2epe!di!g upo! the situatio!" that may be either 9ust what you do!=t wa!t or
what you do wa!t.
F
Betti!g it all out
F
a! be helpful or harmful" with a!y
emotio!. *t depe!ds upo! you" the other perso!" the situatio!" your relatio!ship"
whether you both have a! i!terest i! shari!g your feeli!gs" et. *t may be that
ak!owledgi!g a!other perso!=s a!ger ould be very helpful. +e may !ot
e#plodeD i!stead he may !ow have the opportu!ity to tell you what is botheri!g
him before it builds up.
7e have writte! the book o! a! assumptio! u!derlyi!g sie!e a!d all
i!telletual ativity1that to i!rease k!owledge is useful. 7e believe this is so"
a!d that to i!rease your k!owledge of faial e#pressio!s a!d of the emotio!s
will be useful. Eou will have to o!sider to what use you put that k!owledge.
But" useful or !ot" the sub9et itself ompelled us to write this book. 6aes are
fasi!ati!g.
A ma9or halle!ge i! writi!g this book was to fi!d the best way to illustrate
faial e#pressio!s. 7e k!ew we ould !ot teah people pratial i!formatio!
about faial e#pressio!s through words alo!e" that the key to this book would be
showi!g the appeara!e of the fae. *! our researh we had gathered thou1sa!ds
of photographs of faial e#pressio! a!d literally miles of motio!1piture film a!d
videotapes. 7e had faial e#pressio!s of !ormal perso!s" psyhiatri patie!ts"
patie!ts with brai! damageD of hildre!" you!g adults" a!d older peopleD of
Ameria!s a!d people from ma!y other !atio!s a!d ulturesD of people talki!g i!
formal i!terviews" i!formally o! the street or i! their ow! turf" a!d i! the FbushFD
of spo!ta!eous a!d posed e#pressio!sD of e#pressio!s take! whe! the perso! was
u!aware of bei!g observed a!d of perso!s who took their ow! pitureD of
truthful" playful" pho!y" a!d deeitful faes. But we fou!d we ould !ot use this
wealth of faes i! this book.
:o do more tha! 9ust illustrate faial e#pressio!s" to show faial e#1
pressio!s i! a way that would teah the reader skills i! readi!g faes" we !eeded
speial pitures. :he most importa!t a!d diffiult re)uireme!t to meet was to
have pitures of the same perso! showi!g all the emotio!s. O!ly with suh
pitures would it be possible to hold o!sta!t the stati a!d slow faial sig!als
?whih differ with a!y two people@ a!d e#pose subtle differe!es i! rapid faial
sig!als by o!ti!ually ompari!g pitures of the same perso!. O!ly with suh
pitures would it be possible to reate omposite photographs ombi!i!g
differe!t pitures of the same perso! to visually demo!strate how eah part of
the fae o!tributes to a! emotio! message. Other re)uireme!ts were that the
lighti!g always be the same" so that the o!trast a!d detail would !ot varyD a!d
that the full fae be show!" so the features a!d wri!kles were !ot obsured by a
amera a!gle. :he last re)uire1
me!t was that the pitures be of people who would !ot be embarrassed by havi!g
their faial e#pressio!s e#posed i! this book.
:herefore" we speially made the pitures for this book" photographi!g faes
u!der o!trolled laboratory o!ditio!s. Our two models followed de1tailed
i!strutio!s based o! the 6aial Atlas. :hey were !ot told to feel a! emotio!" but
rather were give! i!strutio!s suh as
F
lower your brow so that it looks like this"F
or
F
raise the outer or!er of your upper lip"F or
F
tighte! your lower eyelid.F :he
models rereated the faes we had see! a!d studied whe! people were really
e#perie!i!g emotio!s. 7e were i! a se!se drawi!g with a amera1!ot relyi!g o!
imagi!atio!" as a! artist might" or o! the models= possible dramati skill i! tryi!g
to feel a! emotio!" but trai!g photographially the musular moveme!ts show!
i! the 6aial Atlas.
4#pressio!s that are a!atomially !ot possible" musular moveme!ts that
a! be reated i! a drawi!g or a omposite photograph but that a!
=
t happe! i!
life" were e#luded. 6aial moveme!ts that have little to do with emotio!1fu!!y
grimaes suh as hildre! make" or the variety of faial moveme!ts that sig!al
somethi!g other tha! emotio!" like a wi!k or stiki!g the to!gue out" were also
e#luded. 6aial moveme!ts that might our whe! someo!e was e#perie!i!g a!
emotio! but that were !ot u!i)ue to a!y o!e emotio! or ble!d of emotio!s were
also e#luded. 6or e#ample" people may bite their lower lip whe! they are afraid"
a!gry" or sad. :his moveme!t was e#luded beause it a! our with three
differe!t emotio!s a!d therefore is !ot helpful i! teahi!g the disti!tio!s amo!g
emotio!s. 4ve! whe! we e#luded the a!atomially impossible faial
e#pressio!s" the e#pressio!s u!related to emotio!" a!d the e#pressio!s related to
more tha! o!e emotio!" there were still too ma!y. Limiti!g ourselves 9ust to those
faial e#pressio!s whih disti!guish o!e emotio! from a!other still i!volved so
ma!y pitures that the reader would be overwhelmed.
7e deided to leave out the primitive forms of some of the emotio!al
e#pressio!s1that is" the most e#treme" least o!trolled versio!s of some of the
emotio!s. :hese primitive e#pressio!s" whih some sholars have said are the
i!!ate forms of emotio!s" are rarely show! e#ept by a! i!fa!t or you!g hild" or
by a! adult u!der u!usual a!d e#treme duress. 7he! they are see! they are
readily u!derstood. :heir mea!i!g is obvious a!d their message is almost always
repeated i! a simulta!eous voie sou!d. 6igure '$ is a! e#1ample of the type of
e#pressio! we have e#luded1the primitive faial e#pressio! for the emotio! of
disgust. 7e have also e#luded the primitive versio!s of sad!ess a!d happi!ess.
7e had to i!lude the primitive e#pressio!s for surprise" fear" a!d a!ger i! order
to demo!strate ertai! key disti!tio!s. But for the most part what we have show!
are the faial e#pressio!s of emotio! you are most likely to e!ou!ter i! soial
life. Ma!y are slight or mild
Figure <8
versio!s of the emotio!s. Some are o!trolled emotio!al e#pressio!s. Ma!y show
ble!ds of two emotio!s. A!d there are some e#treme emotio!al e#pressio!s that
are see! less ofte!" a!d usually i! i!timate situatio!s.
4ve! whe! we had e#luded some of the primitive e#pressio!s" there were
still too ma!y possible faes to show" for there are ma!y ways eah emotio! a!
be registered o! the fae. :here is !ot o!e fae for eah emotio!" but a set or
family of related but differe!t e#pressio!s" ofte! with eah member of the set
havi!g a differe!t but related !ua!e of mea!i!g. 6or e#ample" (hapter < shows a
worried fae" a o!trolled fear fae" a slight fear fae" a terror fae" a shoked or
startled fear fae" a! apprehe!sive fear fae" a!d faes e#pressi!g fear1surprise"
fear1sad!ess" fear1disgust" a!d fear1a!ger ble!ds. :hese are differe!t members of
the fear family of faes.
Ma!y of the variatio!s i! the faial e#pressio! for eah emotio! are due to
differe!es i! the lower fae. :he hi!ged 9aw a!d the o!strutio! of the lips
allows ma!y differe!t e#pressio!s i! this part of the fae. 6or some emotio!s
there is also more tha! o!e e#pressio! i! the eyelids or forehead. Some of these
variatio!s are the importa!t o!es" the ma$or varia!ts" whih differ the most i!
appeara!e a!d mea!i!g. 7ith a!ger" for e#ample" there are two ma9or varia!ts1
the ope!" s)uare1mouth a!ger a!d the losed" lip1press a!ger. :hese are i!luded
a!d disussed i! (hapter &.
Some of the minor varia!ts have bee! e#luded. 6or e#ample" 6igure '0
shows three a!ger mouthsD '0A is o!e of the ma9or varia!ts" the losed lip1pressD
'0B a!d '0( are two mi!or varia!ts o! that mouth. :hese mi!or varia!ts have
bee! e#luded both beause their differe!e i! appeara!e a!d mea!i!g is !ot
great a!d beause the evide!e about their speifi !ua!e of mea!i!g is !ot
solid. :he mouth i! '0B probably i!diates frustratio! or resig!atio! i! additio!
to the ma9or theme of o!trolled a!ger. In '0( the forward pursed lip1press
probably i!diates a more FshoolmarmF type of a!ger.
,atriia a!d Coh! are the two models whose faes appeared i! hapters ;
through %. 7e wa!ted both a male a!d a female so you ould see how emotio!s
appear regardless of the perso!=s se#. 7e wa!ted two people who differ i! the
amou!t of perma!e!t wri!kles ?Coh! is eleve! years older tha! ,atriia@ a!d i!
faial features ?ompare the siAe a!d shape of their eyes@. ,atriia a!d Coh! were
both skilled i! movi!g their faial musles o! omma!d" were willi!g to do so
a!d to have their faes made publi. Coh! has 9ust fi!ished his dotoral trai!i!g
with the authorsD i! the ourse of his work as a stude!t" he has spe!t years
pratii!g with a mirror to lear! o!trol of his faial musles. ,atriia" a! artist" is
married to o!e of the authors a!d" by oi!ide!e" tale!t" or fate" k!ew without
ever pratii!g how to o!trol her faial musles.
practice photos
for chapter 6=
sractice photos for chapter 0
ictice photos for chapter 0 97
;1 =5
;2 ;8
;= ;3
-o. "n# 9/#.e s0eets
7udgment Sheet for !ractice !hotos 8See
p 6>? of Chapter 6=9
#9:-: ; 0<=>? @42A7%>- /%1:>2 @42A7%>-
log aa >ii ge s eelhs C(D
Log for Photogra"hing Dour Ewn Facial E-"ressForts
Eou should try to take at least two pitures of yourself for eah of the f2$1 1 i!g
e#pressio!s3 Neutral" +appy" Sad" 6ear" 2is
g
ust. A!ger. a!d SOpr e
!#.'. @
8.
*EW WELL DEU ?U9($E#)S
'#)E#9E9 E$E)'E# EGP:ESSE9 &' 8Fill in later See page 6:6
?ugment Sheet
(irle o!e word for eah piture you see. 7rite the !umber from the bak of the
piture i! the spae provided. 4ve! if you are !ot sure of your a!swer" make a
guess for every piture. 2o !ot spe!d too muh time o! a!y o!e a!swerD your
first impressio! is usually best.
P-33 4
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Pictures o Facial !ect
Ma!y of the photographs i! this book are available as a set of $$/ -<1mm
slide tra!spare!ies" plasti mou!ted. :hese blak a!d white photographs show $;
huma! faes e#pressi!g si# emotio!s3 fear" a!ger" happi!ess" sad!ess" surprise"
a!d disgust. :hey are useful for researh a!d for trai!i!g psyhologists"
psyhiatrists" ators" a!d others. 6or orderi!g i!formatio! a!d a a four1page
desriptio! of the set" go to 7eb site www.paulekma!.om or www.
emotio!srevealed. om.
Facial !ction "oding #ystem
:he methods for measuri!g a!d sori!g faial behavior me!tio!ed o! pages
0.ff are desribed i! a omplete self1i!strutio!al atlas that ide!tifies Fatio!
u!itsF a!d provides illustrative photographs" film strips" pratie materials" a!d a
$'1mm trai!i!g film. :o i!vestigate this sophistiated researh teh!i)ue" o!tat
www.paulekma!.om or www.emotio!srevealed.om.
in#ex
!
Auray" i! 9udgi!g faial e#pressio!s"
0010-
Ators" ;
A!ger" $" $0" $;" &.1%.
ambiguity of" ..1.%
appeara!e of" .01%.
brow" .01.- b
disgust ble!ds" '&1'." &'" .$" %01%;
display rules" $-.
e#perie!e of" &.1.0
eyes" .-
6aial Atlas a!d" 0.1-$ 6
fear ble!ds" &%" .$" %;1%<
flashi!g faes" %. f
happi!ess ble!ds" .$" %<" $/0" $/&"
$$/
i!te!sity of" %0
leakage a!d deeptio! lues" $;.1;%
maki!g faes" %&1%.
mouth" .-1..
1sad!ess ble!ds" .$" %<" $$<1$'" $0010<
simulati!g" $;.1;% s
surprise ble!ds" .$" %;
Appeara!e3
of a!ger" .01%.
of disgust" '.1&&
of fear" </1'<
of happi!ess" $/-1$-
of sad!ess" $$'10.
of surprise" -&1;'
Apprehe!sio!" ;%" <<" .-
B
Bla!ked e#pressors" $<<1<'" $'-1''
Body moveme!t" &" $&" $." $<$" $<0
Brow3
a!ger" .01.-
disgust" '%
fear" </1<0
happi!ess" $/-" $/&
sad!ess" $$&1$%
surprise" -&1-%
(
(o!tempt" '&" '." &$" &%
1happi!ess ble!ds" $/0" $/& (o!trolli!g
faial e#pressio!s" $%10/" -$1-0" $-&1
;/
(o!versatio!s" $<1$.
(osmetis" $$
(ultural display rules" $-&1-." $;-" $<;"
$<<
(ustomers" ;
$
2arwi!" (harles" 0-" 0&" 0." -0" ./" $$;
*arwin and Facial %xpression ?4kma! a!d
6riese!@" '
2eeptio! lues" $;;1;<
loatio!" $;<" $<$
miro1e#pressio!s" $;<" $<$1<0
morphology" $;<1</
timi!g" $;<" $</1<$
2isgust" $" $-" $;" ''1&&
1a!ger ble!ds" '&1'." &'" .$" %01%;
appeara!e of" '.1&&
brow" '%
o!tempt e#pressio!s" &$
index
2isgust (cont%)
e#perie!e of" ''1'.
eyes" '." '%
fear ble!ds" '." &;1&<
flashi!g faes" %. f
happi!ess ble!ds" '." &'" $/0 heart1
rate aeleratio! a!d deeleratio!" -/
leakage a!d deeptio! lues" $;%
lower fae" '.1&$
maki!g faes" && m
sad!ess ble!ds" '." &'" $$'" $0<
simulati!g" $;%
1surprise ble!ds" '." &$1&;
variatio!s i! i!te!sity" &$
2isplay rules" 0;" $-&1-% ultural"
$-&1-." $;-" $<;" $<< perso!al"
$-%" $<;
2istress" ;." $$;1$'
2uhe!!e" Buillaume" 0.
F
6aial Atlas" 0.1-$" $&/
6aial deeit" -0" $/0" $-<1<-
leakage a!d deeptio! lues" soures of"
$;<1<0
ma!ageme!t teh!i)ues" $;/1;-
obstales to reog!iAi!g" $;-1;<
reaso!s for o!trolli!g e#pressio!s"
$-&1;/
6aial emblems (see 4mblems@
6aial e#pressio!s of emotio!3
auray of 9udgeme!ts of" 0010-
a!alyAi!g pitures of" $'/1'; bla!ked
e#pressors" $<<1<'" $'-1'' heki!g
your ow!" $<;1'' o!trolli!g" $%10/"
-$1-0" $-&1;/ deeptio! lues" $;;1<0
ever1ready e#pressors" $<'
6aial Atlas" 0.1-$" $&/
falsifyi!g" $;$1;-" $;;" $;'
%
flooded1effet e#pressors" $<&
froAe!1effet e#pressors" $<'
leakage" -$" $;;1<0
4ibl14ibesfeldt" *ra!eus" 0&
loatio! i! o!versatio!" $;<" $<$
ma!ageme!t teh!i)ues" $;/1;-
4mblems" $01$;" -%" ;/" ;0" '%" $;&" maski!g" $;01;-
$;%
Emotion in the Human Face ?4kma!
a!d 6riese!@" '
4motio!s (see also A!gerD 2isgustD 6earD
+appi!essD Sad!essD Sur1prise@
defi!ed" $$
4ver1ready e#pressors" $<'
4#iteme!t" %%1$//
4#perie!e3
of a!ger" &.1.0
of disgust" ''1'.
of fear" ;&1</
of happi!ess" %%1$/0
of sad!ess" $$;1$'
of surprise" -;1-&
4yebrow1flash" -%
4yes3
a!ger" .-
disgust" '." '%
fear" <01<-
happi!ess" $/<1&
sad!ess" $$%
surprise" ;/
miro1e#pressio!s" $;1$<" $;<" $<$1<0
mirror" use of" $';1''
modulati!g" $;$" $;;" $;'
morphology" $;<1</
!eutraliAi!g" $;0" $;;
obstales to reog!iAi!g ma!ageme!t
of" $;-1;<
)ualifyi!g" $;/1;$" $;-1;;
researh o!" 0$1--
revealers" $<<
simulati!g" $;$1;-
styles of" $<<1<&
substitute e#pressors" 0" $<'" $'-1'<
taki!g pitures of" $<.1'/
timi!g" $;<" $</1<$
u!iversality of" 0-10.
u!witti!g e#pressors" $10" $<<" $';1''
withholders" $" $<<" $'-1''
6aial leakage (see Leakage@
6aial ma!ageme!t teh!i)ues" $;/1;-
falsifyi!g" $;$1;-" $;;" $;'
modulati!g" $;$" $;;" $;'
index
6aial ma!ageme!t teh!i)ues (cont%)
obstales to reog!iAi!g" $;-1;<
)ualifyi!g" $;/1;$" $;-1;;
6aial pu!tuators (see ,u!tuators@
6aial sig!als3
rapid" $$1$-" $;" $'%
slow" $$" $;" $'%
stati" $/1$$" $;" $<;" $'%
6alsifyi!g faial e#pressio!s" $;$1;-"
$;;" $;'
6ear" $" -" $;" $%10/" ;&1'<
1a!ger ble!ds" &%" .$" %;1.<
appeara!e of" </1'<
brow" </1<0
differe!tiated from surprise" ;.1;%
1disgust ble!ds" '." &;1&< e#perie!e
of" ;&1</
eye" <01<-
6aial Atlas a!d" 0.1-$
flashi!g faes" '-1'; f
happi!ess ble!ds" $/0" $$/1$$
i!te!sity of" <<
leakage a!d deeptio! lues" $;.
maki!g faes" '-1';
maski!g" $;&1;.
modulati!g" $;$
mouth" <-1<<
1sad!ess ble!ds" $$'" $00
simulati!g" $;.
startle reatio!" -'1-&" ;. s
surprise ble!ds" -'" '/1'0
two1way e#pressio!s" <<1'/
6looded1affet e#pressor" $<&
6roAe!1affet e#pressors" $<'
6rustratio!" &.1&%
&
+air styles" $$
+a!dI arm moveme!ts" $&" $.
+appi!ess" $" $;" %%1$$-
1a!ger ble!ds" .$" %<" $/0" $/&" $$/
appeara!e of" $/-1$-
brow" $/-" $/&
1o!tempt ble!ds" $/0" $/&
1disgust ble!ds" '." &'" $/0
e#perie!e of" %%1$/0
eyes" $/<1&
1fear ble!ds" $/0" $$/1$$
+appi!ess (cont%)
flashi!g faes" $0&10.
i!te!sity" $/-1&
leakage a!d deeptio! lues" $;&
maki!g faes" $$01$-
mouth" $/-1< m
sad!ess ble!ds" $/0" $$'" $0<10'
simulati!g" $;& s
surprise ble!ds" $/0" $/&
+eider" 4lea!or" 0'" 0&
+eider" Karl" 0'" 0&
Henry 1 ?Shakespeare@" ./
+9orts9o" (arl1+erma!" -/1-$
+uber" 4r!st" 0.
*!te!sity3
of a!ger" %0
of disgust" &$
of fear" <<
of happi!ess" $/-1& of sad!ess" $0$100
of surprise" ;01;- *Aard" (arroll" 0'" 0&
C
Cob applia!ts" ;
Curyme!" ;
L
Leakage" -$" $;;1;< loatio!" $;<"
$<$ miro1e#pressio!s" $;<" $<$1
<0 morphology" $;<1</ timi!g"
$;<" $</1<$ LegI feet
moveme!ts" $&" $.
Liste!i!g" $&1$.
Loa! seekers" ;
Loatio! of faial e#pressio!s" $;<" $<$
Lower fae (see also Mouth@
disgust" '.1&$
surprise" ;/1;0
M
Maski!g" $;01;-" $;&1;.
index
Miro1e#pressio!s" $;1$<" $;<" $<$1<0
Mi!isters" -
Mirror" use of" $';1''
Mok e#pressio!s" $;" ;0" &/ Modulati!g
faial e#pressio!s" $;$" $;;" $;'
Moods" defi!ed" $0
Morphology" leakage a!d deeptio!
lues a!d" $;<1</
Mouth (see also Lower fae@
a!ger" .-1..
fear" <-1<<
happi!ess" $/-1<
sad!ess" $$%10$
N
NeutraliAi!g faial e#pressio!s" $;0" $;;
Nurses" -
P
,ai!" ;&1;.
,erso!al display rules" $-%" $<;
,erso!!el ma!agers" -
,hysiia!s" -
,leasure" %%" $//
,luthik" Robert" 0.
,ratie faes" $0%1-;
,syhotherapists" -
,u!tuators" $-" $;" -%" ;/" ;0" &/" $;&"
$</
'
Mualifyi!g faial e#pressio!s" $;/1;$"
$;-1;;
(
Rapid faial sig!als" $$1$-" $;" $'%
Revealers" $<<
#
Sadism" .$
Sad!ess" $" -" $;" $$;10. S
a!ger ble!ds" .$" %<" $$<1$'" $001
0<
appeara!e of" $$'10.
brow" $$&1$%
1disgust ble!ds" '." &'" $$'" $0<
display rules" $-.
e#perie!e of" $$;1$'
eyes" $$%
1fear ble!ds" $$'" $00
flashi!g faes" $0&10.
full1fae" $0$100 f
happi!ess ble!ds" $/0" $$'" $0<10'
i!te!sity" $0$100
leakage a!d deeptio! lues" $;%1</
maki!g faes" $0'10& mouth" $$%10$
simulati!g" $;%1</
Salesme!" -
Self1o!ept" $/$
Se#ual e#perie!es" $//" $/0
Shakespeare" 7illiam" ./
Simulatio!" $;$1;-
of a!ger" $;.1;%
of disgust" $;%
of fear" $;.
of happi!ess" $;&
of sad!ess" $;%1</
of surprise" $;&
Slow faial sig!als" $$" $;" $'%
Smile" $/$1<" $;/" $;01;- Startle
reatio!" -'1-&" ;.
Stati faial sig!als" $/1$$" $;" $<;"
$'%
Substitute e#pressors" 0" $<'" $'-1'<
Surprise" $" $-" $;" -;1;'
1a!ger ble!ds" .$" %;
appeara!e of" -&1;'
brow" -&1-%
differe!tiated from fear" ;.1;% d
disgust ble!ds" '." &$1&;
e#perie!e of" -;1-& eyes" ;/
fear ble!ds" -'" '/1'0
flashi!g faes" '-1'; f
happi!ess ble!ds" $/0" $/& heart1rate
aeleratio! a!d deelera1
tio!" -/
i!te!sity" ;01;-
Surprise (cont%)
leakage a!d deeptio! lues" $;&
lower fae" ;/1;0
maki!g faes" ;<1;'
maski!g" $;&1;.
simulati!g" $;&
startle reatio!" -'1-&" ;.
types of" ;-
)
5!iversality of faial e#pressio!s" 0-10.
5!witti!g e#pressors" $/0" $<<" $';1''
*
: 8oie" $&" $." $<0
8oters" ;
:eahers" -1;
:error" ;." ;%" <<
:imi!g of faial e#pressio!s" $;<" $</1 7
<$
:omki!s" Silva!" 0." -0" %% 7ithholders" $" $<<" $'-1''
:rial lawyers" - 7ords" $&" $." $-<1-'

Paul Ekman Umasking The Face

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