Posts tagged ‘face recognition’

  • Face Transforming

    by Barry Chudakov on May 18th, 2013

    “At such times the person’s face clearly is something that is not lodged in or on his body, but rather something that is diffusely located in the flow of events in the encounter ….” Erving Goffman, “On Face-Work,” Interaction Ritual, p. 7.

    I am in a phone meeting with a Hollywood producer. He’s just completed an animation sequence with one of the world’s famous actors. Although the finished work was superb, we’re worried the actor’s animated face isn’t looking real.

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  • Your Body Is Just Your Primary Residence

    by Barry Chudakov on September 30th, 2012

    “Of all the objects in the world, the human body has a peculiar status: it is not only possessed by the person who has it, it also possesses and constitutes him. Our body is quite different from all the other things we claim as our own… Although we speak of our bodies as premises that we live in, it is a special form of tenancy: our body is where we can always be contacted, but our continued presence in it is more than a radical form of being a stick-in-the-mud. Our body is not, in short, something we have, it is a large part of what we actually are .…” Jonathan Miller, The Body in Question

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  • Face Time

    by Barry Chudakov on March 30th, 2012

    “That means that in the next few years (maybe much sooner), any camera that sees you will know who you are. You are your face, and your face is public. If not today, then very, very soon.” — Aaron Saenz

    Your face is currently under renovation. You won’t see the change in a mirror, but looking around closely you may catch a glimpse of what’s happening. No longer merely the canvas where you express who you are, your face is now what semiotics terms a sign. What once was ‘yours’ exclusively today is “something that stands for something, to someone in some capacity.” This sign, your face, now functions as an interface—“a point of interaction between components … [in] both hardware and software.”

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  • Search and Recognition

    by Barry Chudakov on January 31st, 2012

    In Ingmar Bergman’s 1966 prescient masterpiece, Persona, a thin young boy awakens in a hospital. He pulls a single, ill-fitting sheet over him and turns restlessly, tellingly, taking up his eyeglasses to read a book. Then, by deliberate contrast, he reaches to the camera lens. Next he walks over to blurry images of the faces of an actress (Liv Ullmann) and a nurse (Bibi Andersson) and his hand traces those images as though to understand them, to see if they are as real as they seem. The faces of the two women merge as the boy reaches out, trying to comprehend what he’s seeing.

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