Faradize

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#redirect[[Farad]]

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:''[[Demonstration of the mechanics of facial expression. Duchenne and an assistant faradize the mimetic muscles of "The Old Man."]]'' [http://commons.wikimedia.org/wiki/File:Guillaume_Duchenne_de_Boulogne_performing_facial_electrostimulus_experiments.jpg]

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Demonstration of the mechanics of [[facial expression]]. [[Duchenne]] and an assistant [[faradize]] the mimetic muscles of "The Old Man."

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He worked with a talented, young photographer, [[Adrian Tournachon]], (the brother of [[Felix Nadar]]), and also taught himself the art in order to document his experiments.

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From an art-historical point of view, the ''[[Mechanism of Human Physiognomy]]'' was the first publication on the expression of human emotions to be illustrated with actual photographs. Photography had only recently been invented, and there was a widespread belief that this was a medium that could capture the "truth" of any situation in a way that other mediums were unable to do.

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Duchenne used six living models in the scientific section, all but one of whom were his patients. His primary model, however, was an "old toothless man, with a thin face, whose features, without being absolutely ugly, approached ordinary triviality."<ref>Duchenne, ''Mechanism'', part 2, 6; Ibid., 42</ref> Through his experiments, Duchenne sought to capture the very "conditions that aesthetically constitute [[beauty]]."<ref>Duchenne, ''Mecanisme'', part 2, 8; Ibid., 43.</ref> He reiterated this in the aesthetic section of the book where he spoke of his desire to portray the "conditions of beauty: beauty of form associated with the exactness of the facial expression, pose and gesture." Duchenne referred to these facial expressions as the "gymnastics of the soul". He replied to criticisms of his use of the old man by arguing that "every face could become spiritually beautiful through the accurate rendering of his or her emotions",<ref>Ibid.</ref> and furthermore said that because the patient was suffering from an [[anesthetic]] condition of the face, he could experiment upon the muscles of his face without causing him pain.

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-{{Template}}
+#redirect[[Farad]]
-:''[[Demonstration of the mechanics of facial expression. Duchenne and an assistant faradize the mimetic muscles of "The Old Man."]]'' [http://commons.wikimedia.org/wiki/File:Guillaume_Duchenne_de_Boulogne_performing_facial_electrostimulus_experiments.jpg]
-Demonstration of the mechanics of [[facial expression]]. [[Duchenne]] and an assistant [[faradize]] the mimetic muscles of "The Old Man."
-He worked with a talented, young photographer, [[Adrian Tournachon]], (the brother of [[Felix Nadar]]), and also taught himself the art in order to document his experiments.
-From an art-historical point of view, the ''[[Mechanism of Human Physiognomy]]'' was the first publication on the expression of human emotions to be illustrated with actual photographs. Photography had only recently been invented, and there was a widespread belief that this was a medium that could capture the "truth" of any situation in a way that other mediums were unable to do.
-Duchenne used six living models in the scientific section, all but one of whom were his patients. His primary model, however, was an "old toothless man, with a thin face, whose features, without being absolutely ugly, approached ordinary triviality."<ref>Duchenne, ''Mechanism'', part 2, 6; Ibid., 42</ref>  Through his experiments, Duchenne sought to capture the very "conditions that aesthetically constitute [[beauty]]."<ref>Duchenne, ''Mecanisme'', part 2, 8; Ibid., 43.</ref> He reiterated this in the aesthetic section of the book where he spoke of his desire to portray the "conditions of beauty: beauty of form associated with the exactness of the facial expression, pose and gesture." Duchenne referred to these facial expressions as the "gymnastics of the soul". He replied to criticisms of his use of the old man by arguing that "every face could become spiritually beautiful through the accurate rendering of his or her emotions",<ref>Ibid.</ref> and furthermore said that because the patient was suffering from an [[anesthetic]] condition of the face, he could experiment upon the muscles of his face without causing him pain.
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