Mimic face. Diagnostics of the mental state of a person by facial expressions

Facial expressions

Facial expressions, as part of expressive movements, are primarily a way to convey our emotion to others. The more developed the "mimic muscles" of the face, the wider the emotional arsenal of a person and the higher his emotional expressiveness.

In general, "as you can see, the most accurate definition of facial expressions is not yet available." Mimicry refers to expressive movements and is one of the links in the chain of various forms and methods of communication between people, and between representatives of the animal world in biocommunication. At the same time, mimic, including bodily, manifestations are usually called emotional expression, which are considered as the main defining components of emotions. In everyday life, facial expressions are called "the language of feelings", facial expression or expression, expression of emotions or simply expressiveness.

The basics of understanding facial expressions

Etymology

Nothing is known about the origin of the term "facial expressions". However, according to I. A. Sikorsky (1904), the concept of "physiognomy" was formed earlier, and "subsequently another term was established:" mimicry "," mimic ", from the words: μιμοζ \u003d imitator, actor<...> Thus, the term: "mimic" has a different meaning than the term: "physiognomic"; but this difference was not taken into account in terms of usage ”.

Emotional facial expression as a subject of facial expressions

External images
	For each person, the ways of facial expression will largely always remain individual.
	“In most animals, the face is a stable mask, but already in primates we see a greater variety of facial expressions ( Redican, 1982) ". So, for example, in chimpanzees, scientists distinguish 8 typical expressions. (Fig.)

The facial expressions of a person, from the point of view of non-verbal psychology, are a very valuable source of information. According to it, we can determine what emotions a person experiences (anger, fear, sadness, grief, disgust, joy, satisfaction, surprise, contempt), as well as the strength of their manifestation. But despite the expressiveness of a person's face, it is it that often misleads us. Nevertheless, the expressiveness, expression or facial expressions and inner experiences of a person are very difficult to separate from each other, which is why his concept includes the following components:

• designated (designatum) - the main characteristic of the perceived personality;
• designation - a visual configuration that represents this characteristic;
• means - physical bases and manifestations (skin, muscles, wrinkles, lines, spots, etc.);
• interpretation - individual characteristics of perception, with which it is necessary to be careful and attentive, since from birth we get used to patterns and stereotypes of behavior, where a formal smile or, on the contrary, an expression of sadness becomes a part of everyday life.

Muscles and topographic areas of the head

Features of facial muscles:
1) attach to the skin
2) are located superficially, under the skin
3) not covered with subcutaneous fascia
4) centered around the natural openings of the skull

Phylogenesis and ontogenesis in the formation of facial expressions

Features of facial expressions in blind people

Cultural differences in facial expressions

In different cultural and ethnic groups, facial expressions can express different meanings, despite the fact that many expressions of facial expressions are universal. In ethnography, this is closely interconnected with the "culture" of the people (tribe), which consists of a system of many characteristic features, in particular, the way of communication (language, gestures, facial expressions).

Historical background of scientific research

Methods for diagnosing emotions by facial expression

Methodology of E. Boring and E. Titchener

The first attempts to create a methodology for determining the ability to recognize emotions by facial expression were undertaken by E. Boring and E. Titchener, who used schematic drawings created in 1859 by the German anatomist T. Piederith (cited in: Woodworth, Schlosberg, 1955, p. 113) ... They created interchangeable images of individual parts of the face and, by combining them, received 360 schemes of facial expression, which were presented to the subjects. However, the percentage of correct answers when recognizing different emotions was not high - from 26 to 57%. In the 1970s, at the University of California, P. Ekman et al. Developed a method that received the abbreviated name FAST (Facial Affect Scoring Technique). The test has an atlas of photo standards of facial expression for each of the six emotions: anger, fear, sadness, disgust, surprise, joy. The photo standard for each emotion is represented by three photographs for three levels of the face: for eyebrows-forehead, eyes-eyelids and lower part of the face. Options are also presented, taking into account different head orientations and gaze directions. The subject looks for the similarity of the emotion with one of the photo standards, like a witness taking part in drawing up a composite of a criminal.

The technique developed by R. Bak

CARAT - a technique developed by R. Buck et al. (1972) is based on the presentation of slides, which capture the reaction of a person considering scenes from the surrounding life, different in content. The subject should recognize by looking at the slide which scene the person is observing. In another test, consisting of 30 short fragments of communication between representatives of various professions (teachers and students, psychotherapists and clients, doctors and patients), the subject must determine what emotions the depicted people experience, choose their designation from five possible ones.

The method of "verbal fixation of signs of expression of emotional states"

VA Labunskaya developed a method of "verbal fixation of signs of expression of emotional states." This method represents a modified version of the verbal portrait method widely used by psychologists in the field of social perception. A participant in a study performing an assignment using this technique is required to describe a wide variety of characteristics of another person. The subject is asked to describe the expressive signs of six emotional states: joy, anger, disgust, fear, surprise, and suffering. It is necessary to name those expressive signs on which he is guided when recognizing the emotional states of another person.

As Labunskaya notes, the analysis of expressive behavior is not always carried out purposefully, and the detection of signs is not always carried out consciously. Therefore, to clarify the features of the recognition of expressive behavior, it is of interest to study standards using methods such as motor, kinesthetic imitation of expressive behavior, or graphic representation of expression. Although motor imitation of expressive behavior is more natural as a way of exteriorizing the standard, it is difficult to analyze. Therefore, in this case, the researcher is forced to resort to the translation of the language of movements into verbal language in order to analyze the kinesthetic standards of mental states.

In this regard, in order to diagnose the standards of Labunskaya's expressive behavior, a method was developed for “graphic fixation of signs of expression of emotional states”. This method is also a translation of expressive behavior into the language of images. However, in this case, spontaneity in the exteriorization of standards does not disappear, and the researcher has the opportunity to repeatedly refer to the fixed image, to compare, to determine specific features and invariant combinations of expressive behavior.

Types of facial expressions

• mind - the muscles surrounding the eyes are witnesses or spokesmen for mental acts;
• will - the muscles surrounding the area of \u200b\u200bthe mouth, which are associated with acts of will;
• feeling - nevertheless, in general, the muscles of the face that are capable of expressing feeling.

2 ... Distinguish:

• involuntary (reflex) everyday facial expressions;
• voluntary (conscious) facial expressions as an element of acting, which consists of conveying the character's state of mind with expressive movements of the facial muscles. She helps the actor in creating a stage image, in determining the psychological characteristics, physical and mental state of the character.

Mimicry, just like speech, can be used by a person to convey false information (that is, in order to show not those emotions that a person really feels at one time or another).
3 ... Forms of mimic complexes

• Amimia, which means the absence of visible facial expressions; with low mobility, facial expressions speak of hypomimia;
• Intense facial expressions, accompanied by motility of a tightly closed mouth with a corresponding tension in the upper part of the face;
• The mimicry of interest, characterized by a slight raising or lowering of the eyebrows, a slight extension and narrowing of the eyelids, as if to increase the field of view or sharpen the focus of the eyes. Facial expressions of interest are encountered quite often, since they are determined by positive emotion and are a type of motivation in the development of skills, knowledge and intelligence;
• Facial expressions of a smile. Despite the outward simplicity, the facial expressions of a smile are very polymorphic; during normal contact, it is rare. A smile serves to appease or distract from aggressive behavior, manifests itself when greeting.

Defining facial expressions

Basic emotions

According to scientists, there are few basic feelings and nevertheless there is no classification of emotions that would be accepted by all researchers of behavior. Some scientists admit the existence of basic emotions, others dispute, however, attempts to define a set of “basic” emotions were made by many psychologists: M. Arnold , P. Ekman, N. Frigda, J. Gray, K. Isard, W. James, W. McDowell, O. Morer, K. Otley, P. Johnson-Laird, J. Panksepp, R. Pluchik, S. Tomkins , J. Watson, B. Weiner, and in all cases, a different number of emotions were proposed, and the most different criteria for their classification. Basic emotions are provided by innate neural programs, and most of the basic emotions are called innate [proved?], Others are elementary. The opposite of basic emotions is variable. emotions, the external manifestation of which is culturally and personally determined and often has a conventional (contractual) or purely individual character.

Basic emotions and their variations
Joy	In part: happiness, excitement, fun, pleasure
Anger	Rage, rabies, indignation
Surprise	Amazement, interest
Disgust	Partially: disgust, rejection, contempt
Fear	Fear, fright, horror, panic
Sadness	Sadness, grief (deep sadness); in part: melancholy, despondency, grief; melancholy

1. Joy
2. Sadness
3. Surprise
4. Disgust
5. Fear

External images
	Mimicry of fear, (Arachnophobia)

The main emotional definitions, depending on the severity, which are used to describe fear and anxiety are anxiety, fear, horror, panic, fear, phobia. However, when talking about his "fears", his facial expression can demonstrate anything, but not the fear itself, for example, irritation, discontent, suffering, complacency and even euphoria. Back in the 17th century, Charles Lebrun, the director of the French Academy of Painting and Sculpture, wrote a treatise "On the method of depicting passions", where he tried to establish which facial muscles work when a person experiences a particular feeling. For example, about the expression of fear, Lebrun wrote the following: “Fear, when it is very strong, is expressed in the fact that the affected person's eyebrows are strongly raised in the middle, and the muscles that cause them to move are sharply marked, tightly compressed and fall on the nose, which as if pulled together in the upper part ... ”Therefore, the subject, in fact experiencing fear or anxiety, has quite expressive typical characteristics: the eyes are rounded, move faster (the so-called search activity is activated); eyebrows are raised and brought together at one point in order to expand the field of vision; the lower eyelids are tense; from excitement, breathing quickens, and for an additional flow of oxygen, the wings of the nose move apart.

Sight

Using facial expressions

Acting art

Mimicry in the theater, along with speech and gestures, is one of the main means of an actor's expression. It is developed by the actor in harmony with the general plastic decision of the character. If there is a semantic or rhythmic contradiction between facial expressions and plastics, this can serve as an additional means of expressiveness, giving the hero's psychological state additional volume and versatility. In this regard, KS Stanislavsky emphasized that facial expressions are inseparable from the structure of thoughts, feelings and actions of a person and is a visible reflection of the character's inner life. However, he wrote: "You cannot teach facial expressions," but "you can help her by exercising and developing the mobility of the facial muscles and muscles." The choice of one type of facial expression or another is determined by the genre and general stylistics of the performance. In those cases when the mimicry of the actor does not correspond to the general solution of the performance, the problem arises of an unsuccessful interpretation of the image. An actor who uses unjustifiably exaggerated facial expressions is said in the theatrical jargon that he is "playing" or "fussing with his face." Mimicry becomes the main means of expressiveness in those theatrical genres where acting speech is not used: pantomime, ballet.

Facial changes in patients

The teaching of facial expressions in the doctor's training program is an applied aspect of the general teaching of physiogomy. Probably, this term should not be rejected just because in the past pseudo- and anti-scientific directions were associated with it. Modern physiognomy has useful information that reveals the structure and functions of facial expressions, its types and their relationship with the mental and emotional spheres. Naturally, young doctors will be critical, even with a considerable degree of skepticism, about the diagnostic use of facial expressions if their interpretation is devoid of scientific foundations. Therefore, before considering specific approaches to assessing the patient's face, it is necessary to familiarize oneself with the typical forms of facial expression, with the principles of its description, with the criteria for emotional experiences that are fixed on the face. Based on these general guidelines, the physician will be able to begin training his abilities. It is in this way that medical intuition develops as a combination of experience and knowledge, as the highest level of professionalism. The physician-patient relationship is complex and delicate. They belong to the field of deontology. However, composing an idea of \u200b\u200bhis emotional and intellectual qualities in the patient's face, the doctor must remember that his own facial expressions, like his behavior, are under the control of patients. Medical physiognomy does not compete with other modern methods of determining the mental and physical condition of the patient. It, like any scientific direction, has its own tasks and advantages. Of course, the doctor does not rely in his conclusions only on the subjective analysis of objective physiognomic data. In an effort to avoid possible mistakes in the diagnosis, the doctor synthesizes the indications obtained using various methods. At the same time, medical physiognomy certainly helps to formulate a clinical diagnosis, makes it possible to establish the phases of the disease. This is its lasting value, and refusal from it would not facilitate the doctor's work, but would contribute to the missed opportunity of contact with the patient, which is important for establishing mutual trust.

Using motion capture in the film industry

Visual characteristics of the portrait

see also

Explanatory notes

Notes

1. "Great Soviet Encyclopedia ". Article "Mimicry". M: 3rd ed., Volume 16, 1974 - 791 p.
2. Kupriyanov V. V., Stoichek G. V. "Human face: Anatomy, facial expressions". - M .: Medicine, 1988 .-- 272 p., Ill. ISBN 5-225-00112-2
3. Nikiforov A. “Neurology. Complete explanatory dictionary ". M .: publishing house "Eksmo", 2010. - 464 p. ISBN 978-5-699-36740-5
4. KS Stanislavsky "My life in art". M .: publishing house "Art", 1972 - 536 p.
5. “Encyclopedic Dictionary of F.A. Brockhaus and I.A. Efron ". - S.-Pb .: Brockhaus - Efron. 1890 - 1907.
6. - St. Petersburg: Yu.N. Erlikh's printing house, 2 - publishing house, 1907
7. IA Sikorsky "General psychology with physiognomy in an illustrated presentation." Kiev: Printing house S.V. Kulzhenko, 1904.
8. Mark Knapp, Judith Hall, Non-Verbal Communication: A Complete Guide. Moscow: publishing house "Prime-EUROZNAK", 2006. - 512 p .: ill. ISBN 5-93878-206-6
9. Ladygina - Kots N. N. "The chimpanzee's child and the man's child" - M .: publishing house of the "State Darwin Museum",. - 596 p., Ill.
10. Von Christian Weber "Mimik deuten: Ins Gesicht geschrieben". Von 2009.08.14 (German)
11. Psychologie: Asiaten können Mimik schwerer deuten. Von 2009.08.14 (German)
12. GV Babayan, KE Khalin, SK Islamgalieva "Culturology (lecture notes)". M .: publishing house "Exam" - 2009

What do they pay attention to when they make the first impression of a person? Different options come to mind: clothes, physique, timbre of voice, behavior and ... face. Yes, people look at it the longest. Facial features are a kind of visiting card and give out the full set of a person's character. Some will doubt this until they remember that the face is made of muscles. And often used muscles leave an imprint of lived emotions and feelings on the face.

The face will tell not only about the character - it will reveal the truth if there is a reason to doubt the veracity; will convey real emotions with hypocrisy and, most importantly, the face will not deceive, unlike words. Psychology has made great strides in this direction. Now everyone has the opportunity to develop the ability to understand a person's non-verbal language.

To learn how to read the signals of the face and body, first find the answer to the questions - what is facial expression and how it is related to speech. There is a lot of information on this topic on the Internet, but not all of it is true and comprehensive. In this case, it is better to take lessons from professionals in the field of psychology, so as not to put off useless garbage in your memory.

It is worth paying attention to the German management coach - Vera Birkenbil. She has made strides in the study of how the brain works and has developed lessons from her research.

Her book "The Language of Intonation, Mimicry and Gestures" was compiled over several years, where Birkenbil voiced the results of observations and experiments with facial expressions and gestures. Therefore, the book gives a detailed description of the processes occurring with the face and body when a person experiences emotions.

Birkenbil refers to the definition of facial expressions changes that occur on the face, including psychosomatics, head movement, gaze direction and posture.

In an easy and understandable way, the author lays the foundation for understanding body language: the book is built in the form of a game of "questions and answers". Certain information is given, and then tasks for consolidation. Vera Birkenbil describes the types of emotions, and then suggests choosing a family photo and reading the emotions of all family members. So with the help of this book, it will become much easier for beginners to step further and find out what secrets psychology hides.

Facial expressions and gestures in communication

Sign language and facial expressions are complex, so one book is not enough to understand it correctly. Often the expression of emotions is mixed - at one moment there is a signal of anger, immediately joy, and after a second of surprise. So, highlighting a specific emotion, it remains only to guess what the person really felt. Therefore, after learning the basics, you need to learn how to combine all the human signals into one whole.

Consider the main facial emotions that are often present in a conversation:

• Surprise. It is a sudden and short emotion. Few people know that surprise is neutral; it does not refer to the definition of joy or sadness. The fact is that a person is influenced by the following emotion, which replaces surprise in a split second.

Signs: Emotion affects three parts of the face and is distinguished by external features. The eyes are wide open, while the lower eyelid remains relaxed. The lips are parted slightly, and the eyebrows are raised high. For restrained people, surprise is expressed only by eyebrows with a neutral face.

• Fear. A vividly experienced negative emotion that causes changes in the human body. The skin turns pale and covered with sweat, the pulse increases sharply, and the hands tremble. This emotion fetters a person and it is difficult for him to move. Fear is exhausting from within, so it cannot be experienced for a long time.

Signs: Eyes open and tense. The lower eyelid is slightly pulled up. The eyebrows are raised, but not as much as in the case of surprise. The lips are tense and the corners of the lips move downward. If only the eyes speak of fear, then the fear is weak or controlled.

• Disgust. People experience this emotion in different ways. In one, it will cause nausea, and the second will only slightly grimace his face. Disgust is often experienced along with anger. Anger appears at something or someone for the disgust caused.

Signs: Disgust is mainly transmitted by the nose and mouth - the upper lip is lifted, which leads to a wrinkling of the nose. With severe disgust, the mouth opens, sharply indicating the nasolabial folds and tense cheeks.

• Anger. Refers to dangerous emotions because it provokes harm. During outbursts of anger, this emotion blocks the mind, and the person does things that he later regrets. Also, anger affects the somatic processes of the body - the skin turns red, veins on the face and neck stand out, and the body leans towards the offender. The duration of anger depends on self-control. The stronger the inner control, the less time it will take to recover.

Signs: Usually all parts of the face are involved. The eyebrows move and form folds on the forehead. The eyes can be squinted or wide open. The mouth is either tightly closed or tense, as if a person wants to scream.

• Joy. A positive emotion that people enjoy. The meaning of joy is different for everyone and is caused in four cases: Pleasant sensations; relief; improvement; excitation.

Signs: The lips are stretched and the corners are lifted up. The cheeks are tense, the nasolabial folds are clearly marked, and the temples are wrinkled.

• Chagrin. Caused by three reasons - disappointment, loss and a sense of hopelessness. It flows passively. The face turns pale, the shoulders drop, the head hangs on the chest, and the lips and cheeks hang down under the influence of their own weight. The effect of grieving or sadness can last from a few minutes to several years.

Signs: The inner corners of the eyebrows are raised, the eyelids are relaxed, the corners of the mouth are drooping or trembling.

Some human emotions can intertwine with each other and form mixed ones. For example, anger can appear simultaneously with sadness and disgust. Then you should pay attention to facial expressions and gestures, which appeared last.

Depending on the sincerity of these emotions, there are types of facial expressions:

• involuntary (caused by reflex);
• arbitrary (conscious or as an element of art).

Gestures and facial expressions of a man in love

A person who shows sympathy changes facial expressions, gestures, intonations, posture and movement. The man himself does not understand his non-verbal signals of sympathy, but the female nature is very receptive to them, so the woman is the first to guess what these signals mean.

• When a man is next to a woman attractive to him, his body unconsciously turns in her direction. He wants to look his best, so he smoothes his hair, straightens his watch, tie, or brushes non-existent dust particles from his clothes.
• One of the most striking gestures of sympathy is putting your thumb behind the belt of your trousers to give meaning to your gender. He also emphasizes physical strength in front of a woman, due to the occupied space - he keeps his hands on his hips or stretches his legs forward.
• In conversation, his intonation will become lower and chesty, and his eye contact will increase. Sympathy will affect facial expressions as well. A man will smile more often, sometimes even tensely, his eyes will open wider and his lips will open slightly.

Women's psychology is much more complex, so she uses more seductive techniques, from adjusting her hair to swaying her hips and intimate looks.

The series "Lie to Me"

For such amateurs, the science series "Lie to Me" was shot, based on the research of Professor Paul Ekman. This series is a complex work, where the key thread is the psychology of people and the disclosure of crimes through the use of facial expressions and gestures. If you read Paul Ekman's book on The Theory of Lies, you can better understand what these or those moments that characterize the series mean.

The main character is sure that the definition of a lie is visible in every person. Based on subtle signs - facial expressions, intonation and gestures, the doctor and assistants help in police investigations. They analyze what posture, rapid breathing and heart rate are talking about. The series clearly shows what human psychology hides and how to calculate a lie using careful observation.

The ability to understand facial expressions and gestures will change your life too. You will improve relationships with colleagues, become closer to relatives. Learn to distinguish truth from lies and achieve success on the career ladder. Surprisingly, one in three people overlooks these skills.

Moreover, there are a lot of ways to obtain information - books, magazines, the Internet, films, documentaries and even serials. You don't need to make sacrifices to make your life better - open a new page in the book and life will open a new page for you!

According to research, only a small part of the information people are used to convey through words. The rest is devoted to facial expressions, gestures, even intonation. Psychology classifies body and gesture language as a more truthful way of conveying information. If it turns out to be false in words, the body will certainly signal hidden feelings. Having learned to recognize body language, by understanding the meanings of gestures, it is easy to find out the truth.

What do the gestures indicate?

Emotions are one of the main factors that make you stop controlling your body's behavior. When trying to identify hidden feelings, thoughts, you need to remember that some gestures depend on the situation that has arisen. Example: frost can force a person to close, cross their arms on their chest, trying to keep warm. The psychology of gestures classifies such a movement as an attempt to protect oneself from unwanted events.

Studying the secrets that it hides, facial expressions and gestures are evaluated primarily based on the surrounding environment. If there are no factors provoking a double judgment, it will be possible to recognize the truth without much difficulty.

The main gestures that allow you to determine the intentions, feelings, desires of a person:

• The desire to open up, to gain confidence - gesticulation with open palms pointing up, joining the fingers of two hands under the chin, at chest level.
• A threat. Nervous massage of the neck, chin, arm tension. The person tries to distract himself, not to provoke a conflict, but if necessary, the reaction will be instant, the interlocutor will not hold back.
• Mistrust. Hands pressed tightly to the sides create an insurmountable barrier, indicating an unwillingness to believe. You will have to make a lot of efforts to convince you of the rightness, to convey the truth, to impose an opinion.
• Interest. Women often show interest in the opposite sex - they strive to look impeccable, correct their hair, make-up, the gait becomes seductive, with a soft swaying of the hips.
• Desire to avoid conversation, communication. Objects in the hands of the interlocutor, with which the person, distracting from the topic of the conversation, is evidence of a lack of interest, a desire to end the communication as soon as possible. The search for non-existent items in a bag, package, wallet is another evidence to get rid of unwanted conversation as soon as possible, to go about your business.
• Lack of interest. The main signals are that a person stumbles, shifting, actively yawns, bows his head on his hand, tries to focus his gaze on a foreign object.
• Negative mood, negative. Hands close behind the back, legs are tense, ready to move, soon a person is able to show aggression, throw himself into a fight.
• Showing sympathy. Leaning forward is the main sign of interest in the interlocutor, friendly disposition, and the desire to prolong the relationship.
• Protection. Distrust of the interlocutor, unwillingness to enter into a quarrel, lack of desire to communicate is determined by crossed arms and legs. Clenched fists are a signal of aggressiveness; you should not provoke conflicts.

If it is difficult to figure it out on your own, you need to find out more about what body and gesture language tell, will allow you to clearly determine the features, secrets of movements.

Secrets of facial expressions

Only sign language is far from always useful; psychology recommends studying the signals of facial expressions, which no less actively indicate the intentions and feelings of a person. Mimic manifestations are more truthful, accurate - external factors rarely affect physiognomic characteristics.

The main signals that facial expressions give, psychology classifies, explains as follows:

• Fear, intense fear. Eyes wide open, eyebrows rise rapidly, eyelids are raised.
• Pleasure, joy, desire to communicate. A wide smile, slightly squinted eyes, dilated nostrils are the main signals indicating a good mood.
• Anger. The eyebrows almost completely converge on the bridge of the nose, the lips are tightly closed, do not bend, extended in a straight line.
• Sadness. An expressionless look, there are no emotions. Lowered eyes, eyelids provoke the appearance of wrinkles, the corners of the lips bend down.
• Disgust. The upper lip rises, strains, the eyebrows rapidly converge at one point of the bridge of the nose, wrinkles appear on the nose.
• Perplexity, surprise. Eyes are rounded, bulging a little. The eyebrows are raised by the "house", the lips are folded with the letter "o".

These are not all facial signals that you can recognize on your own. It will help you understand to recognize the secret signals that the psychology of gestures and human facial expressions explains, the book - the store shelves are replete with special literature.

Here are the best of them: A. and B. Pease "New body language", G. Lilian "I read your thoughts", P. Ekman "Recognize a liar by the expression on his face", etc.

The study of literature is an obligatory stage for people planning to master body language, psychology recommends starting training with simple books, carefully analyzing the information. Incomprehensible questions rarely arise, but sometimes you come across moments that are difficult to analyze on your own. In such cases, it is recommended to go to a specialist consultation.

How to recognize a lie?

Rarely does any of the people manage to lie without blushing or blinking. The peculiarity of each person is that the body is able to betray a lie, and this happens involuntarily. Not everyone succeeds in controlling movements, facial expressions, the psychology of gestures and facial expressions, studied in advance, will make it possible to determine in a timely manner a lie, to react correctly.

Psychology has studied the signals that indicate a lie, which are given by facial expressions and gestures. Such movements, facial expressions give out the truth:

• after said, the liar covers his lips with his palm;
• saliva is swallowed noisily several times;
• coughing appears;
• the shade of the skin of the face changes dramatically - it turns pale, reddens, becomes covered with spots;
• lips curved, resembling a smile;
• the gaze is not able to focus on one object, slips, bevels;
• the interlocutor avoids looking into the eyes, a direct look ends with multiple blinking;
• heavy breathing is manifested.

Important! Involuntary reactions will allow you to recognize a lie, bring it to clean water, apply knowledge to protect relatives, loved ones, and avoid trouble.

Facial expressions, body movements, hand gestures and their meaning, the psychology of each hidden sign - there are many interesting details for people who are just going to study the interpretation of signs. Learning the secrets will allow you to respond in a timely manner to unpleasant situations, avoid difficulties, and find out the attitude of the interlocutor. Having learned to determine the intentions of a person, it will even turn out to prevent conflicts, to extinguish impending quarrels.

Facial expressions are understood as movements of the facial muscles. Facial expressions can be very mobile, sedentary, monotonous and conjugate. Strongly mobile facial expressionstestifies to liveliness and rapid change in perception of impressions and internal experiences, to mild excitability from external stimuli. Sedentary facial expressionsindicates the constancy of mental processes. Such facial expressions are associated with calmness, constancy, prudence, reliability, superiority and poise. Sedentary mimicry can, with reduced activity (motor strength and temperament), also give the impression of contemplation and comfort. The reason monotonous facial expressionsthere may be movement disorders, stiffness, or paralysis. This behavior is typical for depressive states, sadness, emotional poverty. Most facial expressions are conjugate.They are made up of many separate expressions, but they are related. Statements like “he opened his mouth and opened his eyes”, “cold eyes contradict the laughing mouth” and others indicate the harmony or disharmony of emotional processes and their manifestations in a particular case.

In most cases, the auxiliary function of expressing the eyes is performed by musculatureforehead. Due to the muscular movements associated with eye activity, wrinkles are formed. Longitudinal wrinkles above the bridge of the nose are a sign of desire fixed in the mind. Vertical wrinkles are an expression of mental or physical stress. The causes of their occurrence can be firm determination, stubbornness, willfulness, discontent and irritation.

Transverse wrinkles on the forehead occur with raised eyebrows and wide-open eyes, which indicates a desire to perceive as much information as possible. This is a mimicry of fear, horror, misunderstanding, surprise and unexpected enlightenment (clarification of something).

Eyebrows are very informative in expressing emotions. Wrinkled eyebrows are usually associated with tension, criticism, displeasure beyond normal physical or mental activity, anger, fury, and shock. Eyebrows in the form of a convex crescent - on the contrary - express surprise, bewilderment in certain situations, and in others, in combination with a smile - joy, pleasure.

If you wrinkle nose,then an accumulation of wrinkles will appear obliquely to the back of the nose. They indicate disgust, embarrassment, discomfort, and dislike. The process of wrinkling the nose is part of the reaction to bitterness, when the upper lip is also slightly lifted. With the frequent activation of the muscles involved, the so-called wrinkle of a sensitive person is formed. In this case, the upper tip of the nasolabial fold cuts deeper into the corner of the nose. If the nasolabial fold is clearly visible not only in its upper part, but also in the area from the corners of the nose to the line of the mouth, then it is also called "intense fold". It signals energy, vitality and the ability to carry heavy loads.

Mouthalso largely determines the facial expression. The mouth is the most mobile part of the face. He is the center of every smile and every pain. Lips protruding forward should be regarded as a hostile expressive signal, and if they are drawn in, then this is already a symbol of withdrawal into oneself, which rather gives the impression of fear. If the pursed lips are tense, compressed, this expresses impotent anger. If the mouth is distorted during conversation or laughter and the alternation of movements is disharmonious, then this expresses negative aspirations even if all other signals are positive and the face seems friendly. If the mouth is twisted to one side and this is not caused by a health condition, then we can talk about the tendency of this person to a mocking and contemptuous attitude. Twitching and trembling of the mouth is an alarm signal, a warning of increased nervousness and calls for caution. The drooping corners of the mouth Darwin called "the rudiment of a crying man." These corners of the mouth are part of the bitterness reaction. The triangle muscle, also called the "sadness muscle," pulls the corners of the mouth downward. Relaxedly lowered corners of the mouth indicate a joyless state, sadness, disappointment and painful rejection of something. Often they are an expression of a negative attitude in life. This expression is also characterized by the words: mi "his face stretched out."

Smile. The freer and more relaxed a smile seems to us, the more it is an expression of naive, pure joy. Such a smile is the most charming form in the mimic repertoire, having an extremely pleasant content for others. A forced, made-to-order smile turns into a movement of intention with a rather small amount of feeling. It suddenly appears and just as suddenly disappears. Because of this, the hypocritical intentions hidden behind her become obvious. Smiles on demand also include an embarrassed smile. She is also inorganic. This is a forced smile, which is often used as compensation, for example, when expressing sympathy. A sugary smile, like a slightly noticeable stretch of the lips, makes an exaggerated, slightly feigned impression, expressing more than what they actually experience. A grin in which the lips remain closed in a rather tense state. Due to this, some volitional effort is expressed in this type of smile. Tension can signal both attention and a tendency to dominate. Pursed lips express aloofness. Often a grin contains a malicious expression. In this case, it turns into a mimic expression of joy about what should be kept secret. A smirk is a grimace smile. By such a smile, you can judge that perhaps in front of you is an arrogant or provocative cunning person. The drooping corners of the mouth ("sour" reaction) give the face the expression of a "full of sarcasm" of a person. With a crooked grin (or fake laugh), only one corner of the mouth is either raised or lowered. The organic mismatch thus manifested expresses a state of internal discord. This smile makes it possible to hide the real opinion behind feigned friendliness (for example, when a boss or a respected person tells some kind of anecdote and employees have to laugh out of politeness, although the anecdote itself was no longer new, and there was little funny in it). With a derogatory smile, the corners of the mouth are slightly lowered. The shape of the mouth expresses both affirmation and denial. A derogatory smile is a weakened version of a stinging one. This is how a person smiles, tuned in to the gallows humor or refusing everything, as well as arrogantly ironic, omniscient or gloating about one reason or another.

The head as the bearer of the most important human organs in a dynamic body language is given special importance. Numerous expressive patterns of behavior are manifested, for example, in the fact that for improved perception the head is pushed forward, for defense purposes it is retracted, when evading something - to the side, and when approaching, it leans forward. If the head hangs down without tension, then this means lack of will, apathy, lack of impulse and hopelessness. In the absence of tension in the occipital muscle, the head falls on the chest. If the head is bowed, and at the same time the gaze is turned downward, then this indicates submission. If such a tilt of the head is used when greeting, then we are dealing with a conscious submission corresponding to politeness, i.e. symbolic submission. In combination with a bow, this is how a refusal to manifest one's will or a tacit approval is expressed. Depending on the degree of tilt of the head and the duration of the absence of eye contact, one can speak of either shyness or a manifestation of submission.

A glance from under the brow with a bowed head signals readiness to fight, aggressiveness, gives a feeling of joy from being in opposition and stubbornness. If the gaze is directed slightly to the side, then from it one can draw a conclusion about treachery or about the awareness of one's guilt. This is an observation full of expectation, or a hidden search for weaknesses in someone else. In combination with wide-open eyes, relaxed neck muscles and the position of the eyes, when the visual axes are almost parallel to each other, the state is manifested when a person "attacked some kind of trail."

The one who appears before you with his head lifted feels free and confident, without fear. In accordance with this, raising the head means self-esteem and a willingness to get down to something. Often a deep breath is associated with straightening the head. This simultaneous replenishment of air is a sign of a will to act and a willingness to open up. If the head is lifted up, this expresses proud inaccessibility and arrogance. It also makes a defiant impression on others.

If the head, which was kept straight, is sluggish reclinesback, it is an expression of dedication. Unlike submission, when lowering the head, along with reducing the impact, leads to the simultaneous protection of the neck, in this case, defenselessly surrender to the power of another person. This pose can also be used to judge that this or that person is at the mercy of memories, pleasures experienced while enjoying this or that kind of art, etc. In combination with laughter, submission is transformed into pretense and expresses helplessness. This head position should be distinguished from the position head relaxedthrown back. In this position, they speak of a decrease in concentration of attention, it is often observed in people in dreams and with contemplative behavior. If this position of the head "does not fit" into the situation, then we can talk about softness, laziness and thirst for pleasure. Another almost similar position of the head - thrown back - but with a tense neck, indicates aggression, assertiveness, courage. In combination with a piercing gaze, throwing the head back gives the impression of impudence, and when the whole body is turned towards the vis-a-vis, it is also obsessive. The more impetuous the movement is, the more nervous excitement is contained in it. In such cases, a strong protest and insult to self-esteem can be expressed in this way. With a calm execution of this movement, one can conclude about the behavior of superiority. Either a silent invitation or a silent question can be expressed this way.

A head put forward indicates a desire to bring the senses closer to the source of irritation, that is, it indicates the presence of interest. This head position is also used for threatening behavior. The person seems to demonstrate: "I perceive all the stimuli transmitted by you, and I am not afraid of them." A full turn of the head and slight tension indicate interest, expressed without any restraint or any kind of backward thoughts. With an incomplete turn of the head, not the whole face is turned towards the partner. Due to incomplete rotation of the head, eye contact is established with the help of a gaze directed from the corners of the eyes, obliquely, which signals a person's interest. With a restrained expression of interest, head rotation slows down. One gets the impression that this object or partner is not worthy of turning towards him with his whole face. Therefore, this behavior is perceived as offensive. If the head is turned away, then interest in the contemplated object has disappeared. The speed and degree of tension of the movement performed provide quite important additional information. If the turning away is dictated by anger, then there is always a strong tension in it.

Gestures.

In business communication, there are several main types of gestures that reflect the state of a person. Openness gesturestestify to sincerity and a desire to speak frankly. These include "open hands" (stretched out towards the interlocutor, palms up) and "unbuttoning a jacket." Anyone who changes his mind in a favorable direction usually opens his hands and automatically unbuttons his jacket. When it becomes clear that an agreement or a positive decision on the issue under discussion is possible, as well as in the case when a positive impression of teamwork is created, those sitting unbutton their jackets, straighten their legs and move to the edge of the chair, closer to the table that separates them from those sitting opposite the interlocutors. TO gestures of secrecyinclude rubbing the forehead, temples, chin, the desire to cover the face with hands, avoiding eye contact. Defense gestures and posturesare signs that the other person is feeling threatened. The most common is crossing arms on the chest.Hands can take several characteristic positions (FOOTNOTE: Borozdina G. V. Psychology of business communication. M., 2002. P.138-139.).

Simplecrossing arms is a universal gesture that denotes a defensive or negative state of the interlocutor. This gesture also affects the behavior of other people. If in a group of four or more, one of them crosses his arms in a defensive position, then the members of the group will soon follow suit. Sometimes this gesture can simply mean calmness and confidence, when the atmosphere of the conversation is not conflicting. Crossing arms helps focus when a person is thinking aloud or remembering an event.

If, in addition to the arms crossed on the chest, the interlocutor still squeezes fingersinto a fist, this indicates his hostility or offensive position. Excessive excitement of the interlocutor can be removed by slowing down your speech and movements, reducing the overall pace and emotionality of the conversation.

Gesture when the hands of the crossed arms clasp the shoulders(sometimes the hands dig into the shoulders or biceps so hard that the fingers turn white), denotes restraining the interlocutor's negative reaction to the partner's position on the issue under discussion. This gesture appears when the interlocutors argue, striving at all costs to convince each other of the correctness of their position, and is often accompanied by a cold, slightly narrowed gaze and an artificial smile. Such a facial expression means that your interlocutor is at the limit, as a result of which negotiations may break down.

Gesture when hands crossed on the chest,but with vertically exposed thumbsconveys a double signal: the first is about a negative attitude (arms crossed), the second is about the feeling of superiority expressed by the thumbs. At the same time, a person usually plays with one or both fingers, and in a standing position sways on his heels. Such a gesture also expresses a mockery or disrespectful attitude towards a person who is pointed with a thumb over his shoulder.

Reflection gestures andthe ratings reflect the state of thoughtfulness and the desire to find a solution to the problem. These include "hand on the cheek" (the interlocutor is interested in something), "pinching the bridge of the nose", which is usually combined with closed eyes (intense thinking), "scratching the chin" (making a decision). When the interlocutor brings his hand to his face, resting his chin on the palm of his hand, and the index finger extends along the cheek (the rest of the fingers are below the mouth), this is evidence that he is critical of the communication partner's arguments.

Gestures of doubt and uncertainty are most often associated with scratching with the index finger of the right hand under the earlobe or in the lateral part of the neck, as well as touching or lightly rubbing the nose ("Pinocchio syndrome").

Gestures and postures indicating an unwillingness to listen and a desire to end a conversation: scratching the ear or pulling on the earlobe, deploying the body towards the door, twitching the feet. If a person wears glasses, then for him the characteristic gesture of wanting to end the conversation is to take off the glasses and put them aside.

Gestures that indicate a desire to deliberately drag on time are usually associated with glasses: the interlocutor takes them off and puts them on, wipes them. In this case, it is recommended to wait for the partner to put on the glasses again. Sometimes a person starts pacing when he makes a difficult decision, and here it is important not to disturb him.

Confidence and superiority gestures: placing hands behind the back and grasping the wrist (this gesture should be distinguished from the gesture of "hands behind the back in the lock", in which case the person is upset or angry and tries to pull himself together), placing his hands behind his head (this gesture is usually very annoying interlocutors). In this case, psychologists recommend asking a clarifying question, preferably in a visual form (showing an object or drawing), so that the interlocutor leans forward.

Disagreement gestures: picking up non-existent fluff from a suit, looking at the floor.

Readiness gestures signal the desire to end a conversation and are expressed in moving the body forward, slowing down the tempo of speech and increasing its volume. Psychologists advise in this case to be the first to suggest ending the conversation, which will allow you to maintain a psychological advantage and control the situation. By rubbing the palms of the hands, positive expectations are conveyed. Clasped fingers represent frustration.

When analyzing pantomime, it is important to pay attention to involuntary, ideomotor movements. It should be borne in mind that the upper body is better controlled than the lower, and the right side of the body is better controlled for right-handers than the left. Foot movements are especially informative. A twitching foot indicates impatience or irritation. Drumming fingers in impatient anticipation. Twirl something in their hands with insecure behavior. It is important to pay attention to involuntary twitching of the non-dominant hand (if any) when the person hears an unexpected unpleasant question.

Needs for the communication system The need for security. A person feels safe if there is no aggression (real or potential) from other people. One of the serious aggressive actions is

Under the influence of different emotions, the facial muscles give the face a certain expression - facial expressions. The ability to distinguish between basic facial expressions is acquired in children from an early age. Although young children cannot tell, they definitely feel the mood and facial expressions of the one who approaches them, and react accordingly - laughing or crying cheerfully.

In communication between adolescents and adults, more diverse facial expressions are used. Sometimes she is deliberately minimal to hide her emotions, but this is very difficult to do. To control facial expressions to hide feelings is much more difficult than gestures. But it is very simple to emphasize emotions with facial expressions - smile wider or raise your eyebrows even more in surprise. Some people over-express their emotions, thus drawing undue attention to themselves. It tires others.

Each person experiences different emotions in life, they flow into one another and, with spontaneous manifestation, are expressed naturally. You don't need to emphasize them at all. The predominance of certain emotions in a particular person is a component of his character.

In the process of communication, the face of the interlocutor involuntarily attracts attention. It allows us to receive information in response - whether they understood us, how they treated our message, etc. Universal emotions that can be mimicked are joy, surprise, fear, sadness, disgust, anger, contempt. They appear on the face as follows:

1) surprise- an instant facial reaction to something unexpected or new. It is very difficult to fix the surprise on the face, however, there are people whose face seems to be smiling all the time. Mimicry of surprise: raised eyebrows, horizontal wrinkles on the forehead, wide open, but without tension, eyes, mouth open;

2) fear- expectation of imminent pain or trouble that cannot be prevented. In a state of fear, a person's eyebrows are raised, but differently than in surprise. They are stretched and pulled together at the bridge of the nose. Short wrinkles appear on the forehead. Eyes tense and wide open, lips tensely stretched;

3) anger- arises as a physical threat. It may be the intent to do harm. From anger, a person's blood pressure rises, so the face turns red, the veins in the temples and neck swell with strong anger. Breathing becomes more frequent, the face is distorted by a tense grimace. Eyebrows move at the bridge of the nose. There are vertical wrinkles between the eyebrows. The outer ends of the eyebrows are lifted up. Tense lips are compressed or may show a grin - teeth are visible through tensely opened lips;

4) disgust - a mimic response to an unpleasant smell, taste, sound, touch, etc. The eyebrows are lowered, there are no special wrinkles. The eye slits are narrowed, the eyelids are almost covered. The corners of the mouth are lowered, and the mouth itself can be slightly opened. The lips are tense. The tongue may stick out a little. Nose wrinkles appear;

5) joy - pleasant sensation, corresponds to high spirits. Often combined with surprise, but not fixed on the face. Joy can be a mask behind which negative emotions (anger, fear) are hidden. But false emotions are always easy enough to recognize by other signs (voice, breathing, gestures). With joy on the face, there is no excessive tension, the eyebrows almost do not participate in facial expressions. The eye slits are slightly narrowed, the eyes shine. The corners of the lips are raised upwards, which are stretched out in a half smile. This is a pleasant facial expression;

6) sadness- a mimic reaction, which is more often associated with losses, failures. Normally, it does not appear for long and then the facial expression familiar to a person appears. In a sad person, the outer ends of the eyebrows are lowered down. Vertical wrinkles appear between the shifted eyebrows. Short wrinkles form in the middle of the forehead. The eyes are slightly open. The upper and lower eyelids form a triangle. The corners of the mouth are down.

The gaze is part of non-verbal communication. Looking at the interlocutor, you can notice all the changes in his face and posture, as well as gestures. During a conversation, people usually meet with their eyes periodically. You should refrain from constant or gazing into the eyes, otherwise it will interfere with communication. When talking to rivals or hostile people, they will avoid looking directly into each other's eyes. In ordinary communication, periodically glancing at the interlocutor, you maintain contact with each other, make it clear your goodwill, give the impression of sociability, help to understand what has been said and you yourself better understand the interlocutor.