Faradic Current Collection

Figure 26: Expression of painful attention and attention, attentive gaze. 1854-56, printed 1862

Figure 53: Whimpering and false laughter, 1854-56, printed 1862

Figure 39: The attention attracted by an object that provokes lascivious ideas and desires. 1854-56, printed 1862

Figure 9: A study of m. frontalis in maximum contraction, 1854-56, printed 1862

Figure 15: Meditation, mental concentration, 1854-56, printed 1862

Figure 27: Expression proportionally more pained, 1854-56, printed 1862

Figure 81: Lady Macbeth, moderate expression of cruelty, 1854-56, printed 1862

Figure 42: Gaiety expressed by the ideas of lustfulness, cynicism, and lewdness. 1854-56, printed 1862

Figure 10: Showing the expressive lines of m. frontalis in a young girl, 1854-56, printed 1862

Figure 55: Astonishment badly rendered by the subject: a ridiculous and inane expression. 1854-56, printed 1862

Figure 21: Painful recollection and recollection or calling something to mind, 1854-56, printed 1862

Figure 71: Same head as in Plate 70, 1854-56, printed 1862. Creators: Duchenne de Boulogne, Adrien Alban Tournachon
Figure 71: Same head as in Plate 70, 1854-56, printed 1862

Figure 57: Astonishment, stupefaction, amazement, 1854-56, printed 1862

Figure 73: Head of Niobe, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 73: Head of Niobe, 1854-56, printed 1862

Figure 12: A study of the contraction of and the expression produced by the superior part of m. orbicularis oculi, 1854-56, printed 1862

Figure 47: A suggestion of this same weeping, 1854-56, printed 1862

Figure 56: Surprise, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 56: Surprise, 1854-56, printed 1862

Figure 63: Expression of terror, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 63: Expression of terror, 1854-56, printed 1862

Figure 34: Grimace, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 34: Grimace, 1854-56, printed 1862

Figure 4: The face in repose of a young man, 1854-56, printed 1862

Figure 3: The face of an old man... photographed in repose. 1854-56, printed 1862

Figure 83: Lady Macbeth, ferocious cruelty, 1854-56, printed 1862

Figure 82: Lady Macbeth, strong expression of cruelty, 1854-56, printed 1862

Figure 8: Contraction of the right m. frontalis. 1854-56, printed 1862

Figure 24: Extreme pain to the point of exhaustion, the head of Christ and memory of love or ecstatic gaze. 1854-56, printed 1862

Icono-photographique. Mecanisme de la Physionomie Humaine. Fig. 65, 1854-56, printed 1862

Figure 19: Suffering, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 19: Suffering, 1854-56, printed 1862

Figure 48: Mild weeping, pity and feeble false laughter, 1854-56, printed 1862

Figure 25: Not an expression of pain, 1854-56, printed 1862

Faradisation du muscle frontal, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Faradisation du muscle frontal, 1854-56, printed 1862

Figure 52: Voluntary retraction of the lower lip, 1854-56, printed 1862

Figure 54: Voluntary lowering of the lower jaw, 1854-56, printed 1862

Figure 66: Head of Arrotino (the spy, the knife grinder, and so on), 1854-56, printed 1862

Figure 22: No painful expression, 1854-56, printed 1862

Figure 49: Painful weeping and forward looking. 1854-56, printed 1862

Figure 18: Aggression, wickedness, 1854-56, printed 1862

Figure 17: On the right, electrization of m. procerus: severity, aggression. On the left: attention. 1854-56, printed 1862

Figure 60: Fright, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 60: Fright, 1854-56, printed 1862

Figure 70: Head of the Laocoon of Rome, 1854-56, printed 1862. Creators: Duchenne de Boulogne, Adrien Alban Tournachon
Figure 70: Head of the Laocoon of Rome, 1854-56, printed 1862

Figure 45: Pain and despair. 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 45: Pain and despair. 1854-56, printed 1862

Figure 6: The grimace produced is similar to a tic of the face, 1854-56, printed 1862

Figure 75: Nun saying her prayers, 1854-56, printed 1862

Figure 62: Terror, semiprofile, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 62: Terror, semiprofile, 1854-56, printed 1862

Figure 78: Scene of coquetry, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 78: Scene of coquetry, 1854-56, printed 1862

Figure 16: Expression of severity, 1854-56, printed 1862

Figure 50: Affected weeping and face in repose, 1854-56, printed 1862

Figure 36: Scornful laughter and scornful disgust, 1854-56, printed 1862

Figure 20: Profound suffering, with resignation, 1854-56, printed 1862

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"Exploring the Complexities of Faradic Current: A Captivating Study in Facial Expressions" In the realm of scientific inquiry, few subjects have captivated researchers quite like the enigmatic phenomenon known as faradic current. Through a series of intriguing figures captured by Adrien Alban Tournachon and Duchenne de Boulogne between 1854-56 (printed 1862), we are granted a glimpse into the intricate world of human emotions and reactions. Figure 26 presents us with an arresting portrayal of painful attention and intense focus. The subject's attentive gaze draws us in, evoking a sense of curiosity about what has captured their interest. Similarly, Figure 53 showcases the complex interplay between whimpering and false laughter, leaving us pondering the intricacies behind such contradictory expressions. Moving on to Figure 39, our attention is immediately drawn to an object that provokes lascivious thoughts. The image invites contemplation on how external stimuli can elicit powerful emotional responses within individuals. In contrast, Figure 9 offers a study on maximum contraction in m. Frontalis—a young girl's expressive lines revealing both vulnerability and strength. As we delve deeper into this exploration, Figure 15 introduces us to meditation and mental concentration—an intimate glimpse into one's innermost thoughts during moments of deep introspection. Meanwhile, Figure 27 portrays expressions that convey profound pain—reminding us that emotions can manifest themselves physically as well. Figure 81 takes us down a darker path as Lady Macbeth embodies moderate cruelty—an unsettling reminder of humanity's capacity for malevolence. Conversely, Figure 42 explores gaiety through lustfulness, cynicism, and levity—a fascinating juxtaposition that challenges conventional notions of joy. The expressive lines showcased in Figure 10 offer insight into youthful innocence while simultaneously hinting at untapped potential waiting to be discovered.