Introduction

2019 ◽  
pp. 1-22
Author(s):  
James Phillips

Sternberg’s films are famous for their close-ups of the female face. This Introduction discusses the way in which Dietrich’s face functions in his early sound films. Whereas silent cinema charged the human face with carrying the plot or at least with taking up the narrative slack between intertitles, sound film with its additional resources for expounding the narrative opens a space for a face that is inscrutable. Sternberg’s films release the face for spectacle without thereby surrendering it to the gaze of the moviegoer: in its independence of the enclosed world of a narrative, Dietrich’s face is in a position to look out and back at the spectator. Contrasting Morocco with An American Tragedy (in which Dietrich does not appear), the Introduction argues that there is thus an image of autonomy that Sternberg and Dietrich construct and that contributes an (often overlooked) ethical dimension to their cinema of spectacle.

Author(s):  
Albert R. Jonsen

The problem that I will discuss in this essay is marvellously illustrated in the title given to me by the editors. The word “interface” is itself part of the jargon of technology, the technospeak needed by those who develop, use, and discuss functions, things, and relationships that had not existed previously in the human world. They must make up new words to describe new realities (and, unfortunately, allow new and ugly words to obscure old ones). An “interface” presumably describes the way in which one electronic system contacts another so that the first energizes the second. In the old world of human experience, an “interface” is impossible. The face of one human being is visible to another; two faces, smiling or frowning at each other, communicate. The mind behind one face can interpret the movements of another. Never does one human face interpenetrate or merge with another.


2020 ◽  
Vol 2020 (11) ◽  
pp. 267-1-267-8
Author(s):  
Mitchell J.P. van Zuijlen ◽  
Sylvia C. Pont ◽  
Maarten W.A. Wijntjes

The human face is a popular motif in art and depictions of faces can be found throughout history in nearly every culture. Artists have mastered the depiction of faces after employing careful experimentation using the relatively limited means of paints and oils. Many of the results of these experimentations are now available to the scientific domain due to the digitization of large art collections. In this paper we study the depiction of the face throughout history. We used an automated facial detection network to detect a set of 11,659 faces in 15,534 predominately western artworks, from 6 international, digitized art galleries. We analyzed the pose and color of these faces and related those to changes over time and gender differences. We find a number of previously known conventions, such as the convention of depicting the left cheek for females and vice versa for males, as well as unknown conventions, such as the convention of females to be depicted looking slightly down. Our set of faces will be released to the scientific community for further study.


Author(s):  
Reshma P ◽  
Muneer VK ◽  
Muhammed Ilyas P

Face recognition is a challenging task for the researches. It is very useful for personal verification and recognition and also it is very difficult to implement due to all different situation that a human face can be found. This system makes use of the face recognition approach for the computerized attendance marking of students or employees in the room environment without lectures intervention or the employee. This system is very efficient and requires very less maintenance compared to the traditional methods. Among existing methods PCA is the most efficient technique. In this project Holistic based approach is adapted. The system is implemented using MATLAB and provides high accuracy.


2020 ◽  
Vol 10 (1) ◽  
Author(s):  
Erez Freud ◽  
Andreja Stajduhar ◽  
R. Shayna Rosenbaum ◽  
Galia Avidan ◽  
Tzvi Ganel

AbstractThe unprecedented efforts to minimize the effects of the COVID-19 pandemic introduce a new arena for human face recognition in which faces are partially occluded with masks. Here, we tested the extent to which face masks change the way faces are perceived. To this end, we evaluated face processing abilities for masked and unmasked faces in a large online sample of adult observers (n = 496) using an adapted version of the Cambridge Face Memory Test, a validated measure of face perception abilities in humans. As expected, a substantial decrease in performance was found for masked faces. Importantly, the inclusion of masks also led to a qualitative change in the way masked faces are perceived. In particular, holistic processing, the hallmark of face perception, was disrupted for faces with masks, as suggested by a reduced inversion effect. Similar changes were found whether masks were included during the study or the test phases of the experiment. Together, we provide novel evidence for quantitative and qualitative alterations in the processing of masked faces that could have significant effects on daily activities and social interactions.


2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Takao Fukui ◽  
Mrinmoy Chakrabarty ◽  
Misako Sano ◽  
Ari Tanaka ◽  
Mayuko Suzuki ◽  
...  

AbstractEye movements toward sequentially presented face images with or without gaze cues were recorded to investigate whether those with ASD, in comparison to their typically developing (TD) peers, could prospectively perform the task according to gaze cues. Line-drawn face images were sequentially presented for one second each on a laptop PC display, and the face images shifted from side-to-side and up-and-down. In the gaze cue condition, the gaze of the face image was directed to the position where the next face would be presented. Although the participants with ASD looked less at the eye area of the face image than their TD peers, they could perform comparable smooth gaze shift to the gaze cue of the face image in the gaze cue condition. This appropriate gaze shift in the ASD group was more evident in the second half of trials in than in the first half, as revealed by the mean proportion of fixation time in the eye area to valid gaze data in the early phase (during face image presentation) and the time to first fixation on the eye area. These results suggest that individuals with ASD may benefit from the short-period trial experiment by enhancing the usage of gaze cue.


1982 ◽  
Vol 16 (1) ◽  
pp. 1-32 ◽  
Author(s):  
W. H. Morris-Jones

Those who kindly invited me to give this lecture showed some resistance to its sub-title. I insisted on ‘a view from the sidelines’ because I wished to emphasize that my remarks would be based on my own presence at the events of 1947 and confined to those matters with which I had direct acquaintance. This is still largely true: mine is in part an undisguisedly personal tale. But the matter is rather more complicated. For one thing, while I was certainly a spectator I was also able for a couple of months in 1947 to scamper on to a segment of New Delhi's field of fateful play, even to get a touch or two of the ball, before returning to my place on the terraces. But for the purpose of this lecture I could not content myself with recollections; I have, as it were, examined the slow re-plays of the television cameras. In trying to match my memories, diaries and letters from 1947 with the files at India Office Records, there have, I confess, been phases of bewilderment on the way to such modest and provisional enlightenment as I can offer. It is not simply that in the 34 years the world has moved on, the perspective has changed; that is a problem which the historian's whole skill is devoted to overcome. The difficulty is aggravated when the spectator cum minor actor in the drama of yesteryear puts on the historian's robe; for not only the world but he with it has changed.


2004 ◽  
Vol 8 (2-3) ◽  
pp. 227-242
Author(s):  
Christine Benton ◽  
Raymond Benton

AbstractIn this paper we argue for the importance of the formal teaching of environmental ethics. This is, we argue, both because environmental ethics is needed to respond to the environmental issues generated by the neoliberal movement in politics and economics, and because a form of environmental ethics is implicit, but unexamined, in that which is currently taught. We maintain that students need to become aware of the latent ethical dimension in what they are taught. To help them, we think that they need to understand how models and metaphors structure and impact their worldviews. We describe how a simple in-class exercise encourages students to experience the way metaphors organize feelings, courses of action, and cognitive understandings. This is then intellectualized by way of Clifford Geertz's concept of culture and his model for the analysis of sacred symbols. From there we present a brief interpretation of modern economics as the embodiment of the dominant modern ethos. This leads into a consideration of ecology as a science, and to the environmental ethic embodied in Aldo Leopold's "Land Ethic." We close with a personal experience that highlights how environmental teaching can make students aware of the presence of an implicit, but unexamined, environmental ethic.


1998 ◽  
Vol 74 (4) ◽  
pp. 511-513
Author(s):  
Tom Appleton

Canadair's CL-415 amphibious aircraft is arguably the most advanced firefighting waterbomber on the face of the earth. With its high water capacity and advanced performance, it leads the way in rapid initial attack to contain fires.


Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
María-del-Rosario Fernández-Falero

The challenge of the electronic commerce for the new century is going to be the step to the digital television, so that we go away to having to adapt at the rate of a television been founded on the diffusion, to a set of services of digital video based on the access. Of this form, the spectator of television is going to meet the possibility of interacting with the way, which supposes a change in the industry of the broadcast, so then though till now they were the distribution companies of information and entertainment the only ones with possibilities of controlling such events, the possibility of interaction the way on the part of the spectators of the digital television it will allow them intervening in the diffusion of information, which supposes a significant change for the hearing of the television. The companies must elaborate contents directed a users who are going to have access to will: it is necessary to offer them what want, when they want - this is VOD (video on demand) - Then the digital television not only is going to modify the way of doing television, but also the way of seeing television. The electronic market is guaranteeing positions in the commercial Spanish panorama, growth that becomes clear in the increase so much of the number of users as of the volume of business, of the number of economic operations by Internet and of the number of web pages of companies dedicated to the trade across the Net. This positive evolution of the market shows how a way technologically so new as it is Internet, has allowed that in only 15 years it could speak about a historical evolution of the same one. This makes foresee that the step and evolution of the electronic market from Internet to the digital television could have a similar evolution in acceptance and consolidation. Finally, the future of the electronic commerce not only is subject to the appearance of new commercial models, but also to the technology; this way, the following step, technologically speaking, it is that of the digital television, which interactive and to allow to the user a use similar to that of Internet, does to the being that the challenge of the electronic trade is to go on to this way and to evolve in agreement with the characteristics of the same one. The first problem to which one is going to face this market is that of the user's change: in Spain the Internet user (according to the AECE, Spanish Association of Electronic Trade) is for the most part a male, with an age understood between 25 and 34 years; the television, nevertheless, is a very spread way and within reach of all, which will suppose a change both in the content and in the way of presenting the information (definitively, the product that is wanted to sell). El reto del comercio electrónico para el nuevo siglo va a ser el paso a la televisión digital, de manera que nos vamos a tener que adaptar al cambio de una televisión fundada en la difusión, a un conjunto de servicios de video digital basados en el acceso. De esta forma, el espectador de televisión se va a encontrar con la posibilidad de interactuar con el medio, lo que supone un cambio en la industria de la teledifusión, pues si bien hasta ahora eran las empresas distribuidoras de información y entretenimiento las únicas con posibilidades de controlar tales eventos, la posibilidad de interacción con el medio por parte de los espectadores de la televisión digital permitirá a estos intervenir en la difusión de información, lo que supone un cambio significativo para la audiencia de la televisión. Las empresas deben elaborar contenidos dirigidos a un usuario que va a tener acceso a voluntad: hay que ofrecerle lo que quiera, cuando quiera -es decir VOD (video on demand)- Luego la televisión digital no sólo va a modificar la forma de hacer televisión, sino también la forma de ver televisión. El mercado electrónico está afianzando posiciones en el panorama comercial español, crecimiento que se hace patente en el aumento tanto del número de usuarios como del volumen de negocio, del número de operaciones económicas por Internet y del número de páginas web de empresas dedicadas al comercio a través de la Red. Esta evolución positiva del mercado muestra cómo un medio tecnológicamente tan joven como es Internet, ha permitido que en apenas 15 años se pueda hablar de una evolución histórica del mismo. Esto hace prever que el paso y evolución del mercado electrónico desde Internet a la televisión digital pueda tener una evolución parecida en aceptación y consolidación. Finalmente, el futuro del comercio electrónico no sólo está sujeto a la aparición de nuevos modelos comerciales, sino también a la tecnología; así, el siguiente paso, tecnológicamente hablando, es el de la televisión digital, la cual por ser interactiva y permitir al usuario un uso parecido al de Internet, hace que el reto del comercio electrónico sea pasar a este medio y evolucionar de acuerdo con las características del mismo. Uno de los primeros problemas a los que se va a enfrentar este mercado es el del cambio de usuario: en España el usuario de Internet (según la AECE, Asociación Española de Comercio Electrónico)es mayoritariamente varón, con una edad comprendida entre 25 y 34 años; la televisión, sin embargo, es un medio muy difundido y al alcance de todos, lo que supondrá un cambio tanto en el contenido como en la forma de presentar la información (en definitiva, el producto que se desea vender).


Author(s):  
Mateo Pérez

GEOGRAFÍA DE LA MIRADA. EL PAISAJE DESDE LA MIRADA FOTOGRÁFICA CONTEMPORÁNEA RESUMEN ¿Cómo entender el concepto de paisaje a partir de las prácticas fotográficas contemporáneas? Este artículo busca responder a esta pregunta con la ayuda de un proyecto finalizado de creación artística que tenía como objetivo exponer una serie de imágenes fotográficas del Salto del Tequendama y alrededores, en las inmediaciones de Bogotá. Se trata de comprender la manera en que se abordó este proyecto artístico y también de dilucidar ciertos aspectos del concepto de paisaje, especialmente la forma en que hoy se le considera desde la fotografía. Con este acercamiento, se hace una revisión histórica de las imágenes que existen del Salto del Tequendama de modo que, a través de ellas, se pueda comprender e interpretar mejor las formas de representación actuales, específicamente las que se produjeron para la exposición. El artículo señala cómo el concepto de paisaje es un concepto dinámico, construido a partir de su contexto histórico. PALABRAS CLAVES Fotografía, paisaje, Romanticismo, Salto del Tequendama, sublime, suicidio. AWANINAMANDA KUWANGAPA ATUN LLAGTA KAWANGAPA MAIPI NUKANCHI KAUSAGTA SUGLLAPI Kaipi ninakumi imasai kawachinaku nukanchipakausadiruta parlanakume sug kilkawa imasami karunimanda kawanaku tapuchiskata añispa kawachispa kunauramandakunata kai fotokuna salto de Tequendama suti, paikuna rurankuna sug iachachikuna mana chingaringapa kai ñugpamanda kausaikuna chasallata tukui rurakuna tukuikunata iachachispa kawachispa tukuikunamanda. IMA SUTI RIMAI SIMI: Kawachiikuna, sachaku, llakii, wañui kawachispa sutipa llullangapa. GEOGRAPHY OF THE GAZE LANDSCAPE AS SEEN FROM THE CONTEMPORARY PHOTOGRAPHIC GAZE ABSTRACT How to understand the concept of landscape based upon contemporary photography practices? This article tries to answer this question with the help of a concluded artistic project, whose main objective was exposing a series of photographic images of Tequendama Falls and its surroundings, near Bogotá. The article tries to understand the way in which this artistic project was addressed and to explain certain aspects of the concept of landscape and of the way it is conceived by photography today. With this approach, an historic overview of some historical images of Tequendama Falls is carried out, so as to improve the processes of understanding and interpreting contemporary forms of representation, specifically the ones produced for the exhibition. The article points out how the concept of landscape is a dynamic one and how it is based on its historical context. KEYWORDS Photography, landscape, Romanticism, Tequendama Falls, sublime, suicide. GEOGRAPHIE DU REGARD LE PAYSAGE A PARTIR DU REGARD PHOTOGRAPHIQUE CONTEMPORAIN RÉSUMÉ Comment comprendre le concept de paysage basé sur les pratiques de la photographie contemporaine ? Cet article tente de répondre à cette question avec l’aide d’un projet artistique conclu, dont l’objectif principal était d’exposer une série d’images photographiques du Salto del Tequendama et ses environs, près de Bogotá. L’article tente de comprendre la façon dont ce projet artistique a été abordé et aussi d’expliquer certains aspects de la notion de paysage et de la façon dont il est conçu par la photographie aujourd’hui. Avec cette approche, un aperçu historique de quelques images historiques du Salto del Tequendama est réalisé de manière à améliorer les processus de compréhension et d’interprétation des formes contemporaines de représentation, en particulier celles produites pour l’exposition. L’article souligne comment le concept de paysage est dynamique et comment il est basé sur son contexte historique. MOTS-CLEFS Photographie, paysage, romantisme, Salto del Tequendama, sublime, suicide. GEOGRAFIA DO OLHAR A PAISAGEM DESDE O OLHAR FOTOGRÁFICA CONTEMPORÂNEA RESUMO Como entender o conceito da paisagem a partir das práticas fotográficas contemporâneas? Este artigo procura responder a esta pergunta com a ajuda de um projeto finalizado de criação artística que tinha como objetivo expor uma série de imagens fotográficas do Salto do Tequendama e aos redores, nas imediações de Bogotá. Trata-se de compreender a maneira em que se abordou este projeto artístico e também de (desoxidar) certos aspectos do conceito da paisagem, especialmente a forma em que hoje se lhe considera desde a fotografia. Com esta aproximação, se faz uma revisão histórica das imagens que existem do Salto do Tequendama de maneira que, a través delas, se possa compreender e interpretar melhor as formas de representação atuais, especificamente as que se produziram para a exposição. O artigo assinala como o conceito da paisagem é um conceito dinâmico, construído a partir de seu contexto históricoPALAVRAS CHAVES Fotografia, paisagem, Romantismo, Salto del Tequendama, sublime, suicídio.   Recibido el 07 de octubre de 2014 Aceptado el 03 de diciembre de 2015


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