Portraits of Automated Facial Recognition
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Lila Lee-Morrison
About this book
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 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.
Reviews
»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.«
Supplementary Materials
Topics
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Frontmatter
1 -
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Table of Contents
5 -
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Abstract
9 -
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Acknowledgements
11 -
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Chapter 1: Introduction
15 - Part I: Aesthetics of an Algorithm
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Chapter 2: Eigenface
55 -
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Chapter 3: Francis Galton and the Composite Portrait
85 -
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Chapter 4: Wittgenstein and the Composite Portrait
101 - Part II: Artistic Interventions
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Chapter 5: Portraiture in the Age of AFR
117 -
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Chapter 6: Metaportraits: Thomas Ruff, andere Portraits
125 -
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Chapter 7: Faces in Excess: Zach Blas, Facial Weaponization Suite
141 -
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Chapter 8: An Algorithmic Ready-made: Trevor Paglen, Adversarially Evolved Hallucination and Eigenface (Even The Dead Are Not Safe)
159 -
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Chapter 9: Conclusion
177 -
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References
187 -
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List of Images
195
