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.
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