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Record Nr. |
UNISA996328033803316 |
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Autore |
Lee-Morrison Lila <1977-> |
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Titolo |
Portraits of automated facial recognition : on machinic ways of seeing the face / / Lila Lee-Morrison |
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Pubbl/distr/stampa |
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Bielefeld, 2019 |
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Bielefeld, Germany : , : Transcript, , [2019] |
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©2019 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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Collana |
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Disciplina |
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Soggetti |
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Face perception |
Human face recognition (Computer science) |
Portraits |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references (pages [187]-194). |
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Nota di contenuto |
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Frontmatter 1 Table of Contents 5 Abstract 9 Acknowledgements 11 Chapter 1: Introduction 15 Chapter 2: Eigenface 55 Chapter 3: Francis Galton and the Composite Portrait 85 Chapter 4: Wittgenstein and the Composite Portrait 101 Chapter 5: Portraiture in the Age of AFR 117 Chapter 6: Metaportraits: Thomas Ruff, andere Portraits 125 Chapter 7: Faces in Excess: Zach Blas, Facial Weaponization Suite 141 Chapter 8: An Algorithmic Ready-made: Trevor Paglen, Adversarially Evolved Hallucination and Eigenface (Even The Dead Are Not Safe) 159 Chapter 9: Conclusion 177 References 187 List of Images 195 |
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Sommario/riassunto |
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Automated facial recognition algorithms are increasingly intervening in society. This book offers a unique analysis of these algorithms from a critical visual culture studies perspective. The first part of this study examines the example of an early facial recognition algorithm called »eigenface« and traces a history of the merging of statistics and vision. The second part addresses contemporary artistic engagements with facial recognition technology in the work of Thomas Ruff, Zach Blas, and Trevor Paglen. This book argues that we must take a closer look at the technology of automated facial recognition and claims that its |
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forms of representation are embedded with visual politics. Even more significantly, this technology is redefining what it means to see and be seen in the contemporary world. |
»Durch die produktive Verschränkung von sozial-, medien- und kunstwissenschaftlichen Diskursen gelingt es der Autorin die Problematik der automatischen Gesichtserkennung in seiner vollen Breite, wie in seiner sozio-historischen Genese deutlich werden zu lassen.« Florian Flömer, www.surveillance-studies.org, 29.01.2020 |
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