Faces

As individuals who abuse methamphetamine (MA) often exhibit socially maladaptive behaviors such as violence and aggression, it is possible that they respond abnormally to social cues. To investigate this issue, we exposed 12 MA-dependent participants (abstinent 5-16 days) and 12 healthy comparison participants to fearful and angry faces while they performed an affect matching task during functional magnetic resonance imaging (fMRI). Although the groups did not differ in task performance, the healthy participants showed more task-related activity than the MA-dependent participants in a set of cortical regions consisting of the ventrolateral prefrontal cortex (VLPFC), temporoparietal junction (TPJ), anterior and posterior temporal cortex, and fusiform gyrus in the right hemisphere, and the cuneus in the left hemisphere. In contrast, the MA-dependent participants showed more task-related activity than the healthy participants in the dorsal anterior cingulate cortex (dACC). As expected, the task elicited activation of the amygdala in both groups; however, contrary to expectation, we found no difference between groups in this activation. Dorsal ACC hyperactivity, along with high self-ratings of hostility and interpersonal sensitivity in the MA-dependent group, suggest a hyper-sensitivity to socially threatening cues in the MA-dependent participants, while lower VLPFC activation could point to a deficit in integrating socio-emotional information and/or regulating this limbic hyperactivity. Additional activation differences in neural circuitry related to social cognition (TPJ, anterior, and posterior temporal cortex) suggest further socio-emotional deficits. Together, the results point to cortical abnormalities that could underlie the socially inappropriate behaviors often shown by individuals who abuse MA.

The present study explores the place of manipulation within the management
of human appearance. It focuses on the theme of the mask thought of as an articial face and on masking understood as communicative and semiotic phenomenon.
Whilst the face is the most important part of the human body where the display of
masks occurs, from the semiotic perspective masking takes on a broader meaning,
which encompasses a wide and heterogenous range of phenomena, transcending the
covering of the human face. What are the functions and types of masks? How does
a mask operate and what is its inner mechanism? What is the role of masking in the
management of appearance and how does it affect the subject? These are all relevant
questions in debating the place of masking in human relations.

Disponible en: http://redalyc.uaemex.mx/src/inicio/ArtPdfRed.jsp?iCve=27615334004 ... Redalyc Sistema de Información Científica Red de Revistas Científicas de América Latina, el Caribe, España y Portugal ... Almirón, Analía; Bertoncello, Rodolfo; Kuper, Diego; Ramírez, Lucas

Este libro nace de una fascinación.

Una fascinación por la idea de que el carácter moral de una persona pueda revelarse mediante signos corporales y, especialmente, faciales. Una fascinación que se extiende a todas las formas no lingüísticas de la moralidad, a la información no verbal que transmitimos e interpretamos en el encuentro cara a cara. Una fascinación, en definitiva, por las diferentes formas históricas y culturales que toma la idea metafísica –profundamente arraigada– de que la cara es el espejo del alma.
Por supuesto, son muchas las disciplinas que abordan esta cuestión de un modo u otro. Al fin y al cabo, hablamos de identidad, de alteridad, de comunicación interpersonal. ¿Y a qué otra cosa se dedican la antropología, la sociología, la psicología y el resto de las ciencias humanas, así como una parte fundamental de la filosofía? Sin embargo, una historia moral del rostro tal como aquí se ensaya resulta novedosa y atípica. Y ello porque intenta integrar lo más interesante de todas esas fuentes que generalmente no suelen mezclarse, para desembocar en los fundamentos de una ética del rostro.
ÍNDICE:
Prólogo
I.  EL ROSTRO, ¿ESPEJO DEL ALMA?
II. FISIOGNOMÍA: DETERMINISMO Y LIBERTAD
III. BIEN-BELLEZA-VERDAD: UNIDAD Y ESCISIÓN
IV. CARA A CARA: EL ENCUENTRO ÉTICO CON EL OTRO

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The Society's artistic justification and value will grow and develop over time in synchrony with the scientific content, becoming an important illustration of the possibility of unifying science and art in the life of Man. This indeed may reveal itself to be the highest value generated by the study of the human visage in all its mysterious dimensions through the worldwide activities of the Society for Faces.

Readers are advised that this paper forms the foundation for three newer writings that should be read together with it for an integrated and particularized approach to the context, the form (or plan), the neurophysiological underpinnings, and the exhibition of the Trifurcated Face of Man (see 'Plan of Face Derived and Explained,' The Soul of Life and the Spirit of War,' and 'Desiderata for Primary Exhibition of the Face' on this page).

A fifth paper ('Convergences of Human Face in Life and Death') will, in due course, clarify and strengthen the contributions to the theory of the face by the present author and form the basis for substantial new research on the idealist theory of the Visage of Man by theorizing the integration of the individual facial conformation at first maturity with the totalized face in death (the Totenmask), all as envisioned by the 'Prospectus of the Society for Faces,' but now at last rooted in true psychology and demonstrable neurophysical reality.

Readers of this foundational paper originally dated 2000 will benefit from our recently uploaded analytical conspectus ('Analysis of Max Picard's "Human Face" With Implications for Portraiture and Its Exhibition') (which is essentially paper #6).

Coming soon in addition is a further paper ('Thematic Apperceptions of Max Picard's "Human Face" With Implications for Portraiture and Its Exhibition') (which will be #7) based on a close re-reading of Picard's masterwork in the astoundingly faithful poetical dress given to it by the late screenwriter S. Goldstein (1930), originally published in New York.

The translation of Picard is not mentioned in published accounts of Goldstein's career or in his 'New York Times' obituary (he died in 1970) but it undoubtedly constitutes Goldstein's most notable literary achievement. This is especially noteworthy since Goldstein, who studied languages at Columbia University, was by all accounts obstreperously leftist-materialist in outlook (actually a communist) but in Picard brilliantly and objectively handled the masterwork of an extraordinarily strong idealist at the height of his powers.

Hyperrealistic replicas of the human face owe their documentary value to the belief that they result from mechanical reproduction. The idea that a picture is automatically produced through a process of imprint taking is often enough to convince the viewer of its truthfulness and reliability, thus contributing to giving images an aura of authenticity and to creating the myth of pure objectivity. But what happens when the link between hyperrealism, mechanicalness, and truthfulness is disentangled? In 2017, French artist Raphaël Fabre successfully applied for an ID card using a computer-generated picture where the real face was, in fact, an artificial, synthetic mask. Starting from this case study, the essay tackles the issue of the increasing overlapping of actual reality and digital (un)reality, particularly focusing on the concerns raised by the confusion between faces and masks caused by the rapid spread of so-called deepfakes in a world that speeds from documentality towards what I propose to call "mockumentality".

This essay explores the question of (inter)faces as a problem of mimetic form in the work of Sergei Eisenstein. While Eisenstein ’s early theory of attractions emphasizes the production of audience effects through “motor imitation,” his later writings appear to depart from this model for the sake of a notion of “ex-stasis” that would transport the spectator out of her or his current state. These two sides of Eisenstein’s thought are brought together here in the concept of “plasmatic mimesis,” which is explored through the figure of the face in a number of his theoretical texts and his first film Strike (1925). By taking up the device most associated with
the face in Eisenstein – typage – and reading a specific instance in Strike ’s superimposition of animal and human faces, this essay ultimately aims to decenter the face as a privileged site for mimesis-as-mirroring in cinema and audio-visual media. Thinking the face through concept of “plasmatic mimesis” makes it into one form among others but in doing so it frees the face to assume the principle Eisenstein calls “formal ecstacy”: the capacity of all form not simply to mimic but to ex-statically stand beside and beyond itself.

Autism spectrum disorder (ASD) is characterized by reduced attention to social stimuli including the human face. This hypo-responsiveness to stimuli that are engaging to typically developing individuals may result from dysfunctioning motivation, reward, and attention systems in the brain. Here we review an emerging neuroimaging literature that emphasizes a shift from focusing on hypo-activation of isolated brain regions such as the fusiform gyrus, amygdala, and superior temporal sulcus in ASD to a more holistic approach to understanding face perception as a process supported by distributed cortical and subcortical brain networks. We summarize evidence for atypical activation patterns within brain networks that may contribute to social deficits characteristic of the disorder. We conclude by pointing to gaps in the literature and future directions that will continue to shed light on aspects of face processing in autism that are still under-examined. In particular, we highlight the nee...

The Stones of Radiance assembled in the Body to house the Primordial Paired Energies as FACES that compose the Universe of Intelligence determining space and language.

It is necessary to reDress terminologies of reference to figures and words accustomed to in selected cultural narratives to unlock the primordial energies suspended in stereotypes for the Breaths to carry their universal energies of Soul and their intelligence into states of evolution, freeing the Soul from self imposed boundaries of strife and demise.

The Eye gate is open to jump through as the cow jumps over the moon, to go beyond classical rhetoric and story telling and to hear pure messages in the Primordial SkEye Energies in which Sounds originate to enter into states beyond this residence. Hereby we are able to connect to Vibratory Native Sounds in the Universe. Setting forth freely the expense in Seed to be in the Mouth and Garments of the Serpent.  Offerings have risen into the Eye of Malekkiytsedeq—King of Righteousness to be aligned to the Primordial Faces which supersede man’s story telling generated to support their perspectives of having cultural rights and pseudo authority over other men.

The alignment of Malekkiytsedeq—King of Righteousness connects to all processes as nations to extend their Illumination via branching to far reaching isles and lands which are set as inheritances of Soul, as a body being prepared for guests to enter with their Stones.The Tutephúwt/phylacteries as head dressings of Soul to keep eyes focused in The Derek/PathWays.

Migration of Soul from a worm to a flying serif;  paired Faces of Yehu unite as an Eye of Oyin O/16 whereby the full scope of Seeing are within the healed Soul to comprise a Whole Eye of its OYIN O/70 Names

The BODY MAN is the SOUL BREAD of the Faces of eMANations

The origin of Mashiyachh

The paired Faces of Hhúwa—the Generations of Heavens/Names and their Residences.

The Nesharim/Eagles of Yehu whom carry Soul

The 70 Names of the OYIN Soul

Topical Index

footnotes

Hardbound copies are available upon request.

In Convivium II, 1

The representation of Christ portrayed in the mosaic at S. Pudenziana (402-417) is one of the most important images dating from Late Antiquity. Usually considered a visual echo of Imperial images or of pagan gods, it has always been studied in the context of the decoration of the whole apse. The present contribution, instead, intends to concentrate specifically on the face and figure of Christ, which show the same features as the images of Jupiter Serapis.
In the context of early 5th century Rome, a sim- ilar resemblance cannot be accidental. From the archeological investigations we know that the image of Serapis was widely present all over town. On the other hand, by Christian authors Serapis was considered the incarnation of the devil, and his ‘confusion’ with Christ sems at a first glance unacceptable.
This paradox, instead, can be understood in the years immediately following the destruction of the Serapeum in Alexandria, in 391. Historians and theologians witnessed the idea, circulated after the destruction of the temple, that Serapis had forseen his own death and the victory of Christianity. The extreme interpretation of this event was when Jerome wrote: «Iam et Aegyptius Serapis factus est Christianus». Christ would therefore have adopted the visage of his converted enemy. This occurrance is particular- ly understandable in the context of Christian triumphalism – witnessed in an exemplary way by Ruffino of Aquileia – who saw Theodosius’s edict as the final victory of Christianity and the actual end of history.
For this reason it seems important to antedate the mosaic, which is generally considered to follow the sack of Rome in 410, to the years 402-410. The apocalyptich context described by the mosaic is not that of the besieged city, but on the contrary, it is the eschatological tri- umph of the cross.
Christ therefore takes the face of Serapis in order to signify the latter’s defeat; the mecha- nism at the origin of this ‘migration of faces’ is equally interesting, nonetheless, and it might be explained with a well-known anthropologi- cal phenomenon, studied in the context of tribal cultures: to win one’s enemy, ritually, was to wear his face. This general observation seems to be all the more appropriate, because at the end of the 4th century the text of the Pseudo-Clementine Apocrypha, where a very similar phenomenon is described, was translated into Latin.

En 1939 Sartre publica en el nº 5-6 de la revista Verbe un artículo intitulado “Visages” [“Rostros”]. Se trata de una descripción fenomenológica de la aparición de los otros a la conciencia. Previamente a su célebre teoría de la mirada de 1943, Sartre expone una concepción del otro basada en la intuición del cuerpo, sobre todo del rostro ajeno, como un objeto mágico que sintetiza los modos de ser de la espontaneidad de la conciencia y de la inercia de los objetos. Allí afirma que “el sentido de un rostro es ser una trascendencia visible”. Esta concepción corresponde a lo que la crítica denomina el período berlinés del pensamiento sartriano (1933-1939). Estos años se caracterizan por una lectura muy personal de Husserl, una adhesión heterodoxa a su fenomenología trascendental y un debate acérrimo con las recientes disciplinas psicológicas en la Francia de inicios del siglo XX. Mi exposición consistirá en reconstruir la comprensión del otro del Sartre berlinés a partir de una exegesis del texto “Visages”, acompañada por referencias a las obras filosóficas y literarias del período mencionado. Aunque “Visages” sea, como defenderé, un texto de transición a la concepción de la mirada de 1943, concentra los puntos esenciales de la primera teoría sartriana de la intersubjetividad.

While humans can recognize faces without much effort, facial recognition is a challenging pattern recognition problem in computing. Facial recognition systems attempt to identify a human face, which is three-dimensional and changes in appearance with lighting and facial expression, based on its two-dimensional image. To accomplish this computational task, facial recognition systems perform four steps. First face detection is used to segment the face from the image background. In the second step the segmented face image is aligned to account for face pose, image size and photographic properties, such as illumination and grayscale. The purpose of the alignment process is to enable the accurate localization of facial features in the third step, the facial nature extraction. Features such as eyes, nose and mouth are pinpointed and measured in the image to represent the face. The so established feature vector of the face is then, in the fourth step, matched against a database of faces.

Cada vez con más frecuencia escuchamos o leemos en la bibliografía sobre gestión empresaria acerca de la complejidad que rodea a las organizaciones y sobre el marco de incertidumbre en el que interactúan. Si bien coincidimos con que el medioambiente que enfrentamos está totalmente impregnado de incertidumbre, que lo normal es el cambio, y que la sobreinformación reinante nos impide saber con precisión hacia donde vamos, no compartimos los métodos actualmente utilizados para facilitar la toma de decisiones en dichas condiciones. Ante esta situación no resultan aplicables las técnicas clásicas porque para poder abordar los problemas de índole económica y social, ya no son suficientes los conocimientos basados en la lógica formal. Por tal motivo, proponemos para la resolución de problemas en condiciones de incertidumbre la aplicación de la Matemática Borrosa con sustento en la teoría de los subconjuntos borrosos, que surge a raíz de considerar una lógica multivaluada en contraposición ...