The recognition of pure and blended facial expressions of emotion from still photographs

The article considers volitional facial expressions as emotional messages. The following two questions were posed: Is it possible for an actor to express pleasure, surprise, hate, fear, and sorrow, and pairwise combinations of these, plus additionally love, making 16 different shades of meaning altogether? Can these pure and blended expressions be recognized from still photographs? The repertoire of one actor was studied. The judgemental study of recognition was based on a multimethod approach, which included both judgements of the expressions using verbal labels and non-verbal judgements planned to reveal the cluster structure of the stimuli. Five experiments are reported. In the main the actor succeeds in the task, though there are some systematic limitations in his repertoire. The results depend systematically on the way the task has been structured. Still photographs are seen as useful for specific purposes.     

Career Counseling and Counselor Training in Finland

This article gives an overview of career counseling and counselor training in Finland. Changes with respect to theory and practice are also discussed.     

Sender repertoires of pure and blended facial expressions of emotion

Six actors attempted to communicate by facial expression seven assumedly basic emotions (pleasure, surprise, fear, hate, sorrow, disgust and interest), and all pairwise blends, e.g., fear+sorrow. One hundred and eighty-two subjects (divided into groups as to the six actors) judged pictures of these emotions by three methods: (1) mapping, placing the pictures on coordinate systems with denotated axes, (2) identification and (3) sorting similar emotions into the same pile, followed by multidimensional scaling and cluster analyses. Recognition of the emotions was fairly good, though not equally good for all emotions and their blends; also the actors' ability to express emotions varied. Emotions of opposite hedonic tone did not blend well. Interest seemed to lend poignancy to the basic emotion with which it was blended rather than to constitute an emotion in itself. Expressions seemed to be more easily identified if the actor did not try to feel the emotion too deeply.