Instruments and tools

Page created 2.i.19, updated 5.i.19.  With the exception of any questionnaires or measures all content is made available under a Creative Commons License. Please feel free to reuse anything here but respect the licence, i.e. give attribution back to here.  To ensure comparability of findings, questionnaires and measures may not be changed at all, including translation, without permission but can be used without any payment provided that they are not changed in any way and their, and any publication from their use, has an attribution pointing back to this site.

Even well before I came into the mental health arena I was fascinated by how it is that we scale and measure thoughts and feelings.  This page takes you to some of my work in this area.

  • My main success in this area has been as a co-founder of the CORE system.  That’s more than just its instruments and measures and I maintain the CORE system web site at: https://www.coresystemtrust.org.uk/
  • I also helped develop the feelings and behaviours questionnaire which is designed to tap into “multi-impulsive” or “borderline” problems, and the related Clinical Assessment of Multi-impulsivity (CAM) checklist.
  • In addition I did work on the 34 item Body Shape Questionnaire developing its approved short forms: two 16 item and four 8 item forms.
  • I did quite a lot of the early work checking the psychometrics of PSYCHLOPS a hybrid measure with one nomothetic scaling question and three user-generated questions about problems and their impact.  I strongly recommend PSYCHLOPS as a complement to nomothetic mental health change measures though I’m not impressed by the common tendency to frame nomothetic and user-generated measures as competitors or polar opposites; to my mind their complementaries, each addressing rather different questions.  If we and our clients have the time, I believe we should all be using one at least one nomothetic and at least one user generated or idiographic measure in parallel (though not necessarily to exactly the same rhythm).
  • I have intermittently worked with, and about, repertory grids.  I’ve done much less than I would have liked to but will be working more on that in the future so these have their own heading as well nesting here and they’re an example within what I call “rigorous idiography”, another area I hope to be returning to and developing.