478 SECTIONAL TRANSACTIONS.—J. 
3. That, nevertheless, instinct feeling or interest, asasimpleelementary component 
of experience, cannot be identified with emotion as a complex cognitive-affective- 
conative ‘ psychosis.’ 
Prof. T. H. Pear.—The Voice as an Expression of Personality. 
Personality will be defined as the effect upon others of a living being’s appearance, 
sound, behaviour, &c., so far as they are interpreted as distinctive signs of that 
individual. Personality, therefore, can be expressed by physique, colouring, odours, 
clothes, behaviour, gestures, manners, voice and speech. Their possessor may be 
clearly aware, dimly aware, or unaware of any of these effects, of their causes, or of 
the means by which they are produced. 
Character will be defined as the comparatively stable structure of a person’s mind, 
wrought by abilities (habits, techniques, skills), sentiments, and by their integration 
into a relative unity. A personality-trait may produce an instantaneous effect ; 
the judgment of character cannot be immediate. 
If these definitions be accepted (a) voice is obviously an important mark of 
personality, (5) the study of its significance is valuable for individual and social 
psychology, (c) the problem of the connection (if any) of the voice with character must 
await more knowledge of the réle of the voice in personality. 
Though the voice can be considered and judged apart from speech, in practice 
this is seldom done. Yet in the last few years broadcasting, and to a lesser extent 
the increased use of the telephone and developments in the sound-film, have thrown 
into sharp focus the importance of personal characteristics in the voice. Since speech 
may now affect millions simultaneously, it may be considered as a high-grade skill 
of rapidly increasing importance; a skill which may have to be quickly and 
considerably modified to meet the new requirements of the microphone. Speech, 
suddenly appearing as a serious rival to the printed word, raises unexpected problems 
in social psychology. 
From the psychologist’s point of view the interest of broadcasting is not only 
that it facilitates vocal communication to many thousands, but that at present this 
is done most effectively by an intimate form of speech, evolved for the purpose of 
communicating to one person or to a small group. Development of the art-forms of 
speech suitable for the microphone will require, however, an improvement in criticism 
of speech-forms. The level of such criticism is at present low. It is conceivable 
that gifts facilitating certain kinds of literary criticism may incapacitate their 
possessors for sensitive discriminative listening to speech. 
The development of speech in this country has produced certain vocal prototypes 
and stereotypes. How far these will dominate the future development of speech is 
an interesting question. Possibly the stimulus to experiment provided by broad- 
casting and the sound film may produce new deviations from accepted voice patterns. — 
Improvement in the analysis (physical, physiological, phonetic, musical, psycho- 
logical) of the voice may make possible a comparatively rapid and deliberate modifica- 
tion of the voice and speech in the direction of greater effectiveness. 
This inevitably provokes reflection upon the neglect in our schools of teaching 
speech as a means of conveying thought. 
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Mr. A. Rex Knicut.—The Psychology of Facial Expression. ‘ 
(i) Certain facial ‘ patterns’ are uniformly regarded as expressing certain mental 
states. This fact is relied on by novelists when they seek to convey their hero’s 
feelings and desires by describing the appearance of his face. It underlay those silent 
moving pictures in which the mental history of the persons involved was revealed 
by photographs of their faces, not by sub-titles. And the very phrase ‘facial 
expression ’ shows that the face is believed to express what is happening in the mind. 
(ii) My experiments were not designed to confirm this obvious fact. Their purpose 
(like that of Feleky and Frois-Wittmann) was to determine what mental states we 
most constantly and consistently associate with facial expressions. Forty different 
facial patterns, provided by two men and two women, were photographed. The 
photographs were shown to 200 adults, who were asked simply to write down what — 
mental state the face seemed to them to express in each case. (iii) Among these — 
200 people there was significant agreement concerning those facial patterns which | 
were judged to express simple feelings and emotions, such as pleasure, pain, fear, 
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