Paul Ekman is an American psychologist who pioneered the study of facial behaviour. Bringing together disciplinary history, life study, and history of science, this paper focuses on Ekman’s early research during the twenty-year period between 1957 and 1978. I explicate the historical development of Ekman’s semiotic model of facial behaviour, tracing the thread of iconicity through his life and works: from the iconic coding of rapid signs; through the eventual turn from classifying modes of iconic signification using gestalt categories to classifying modes of producing iconic sign-functions using minimal units; to the role and importance of iconicity for the study of the facial expression of emotion, both in terms of the similarities between iconic and analogue signs as well as the differences between facial coding and linguistic signification. In this intellectual genealogy, I argue not only that Ekman relied extensively upon conceptualizations and terminologies from semiotic thought for the creation of the Facial Action Coding System (FACS), but also that the question of iconicity is the pivotal problem across the many discoveries and innovations in what I term ‘Ekmanian faciasemiotics’.
The call for a biosemiotic perspective within medical semiotics has been steadily increasing over the late twentieth and early twenty-first centuries. In Food and Medicine: A Biosemiotic Perspective, Yogi Hale Hendlin, Johnathan Hope, and the nine contributions in their edited volume boldly seek to bridge the segregation between nature and culture in the medical sciences as well as in the medical humanities. To a large extent, they achieve this aim by explicating the sign relations in food and medicine, the sign relations of medical theory and practice, and the sign relations between the biology in medicine and medicine of society. Taking up a semio-historical approach, I contextualize two select contributions from Hendlin and Hope’s Food and Medicine with the medical semiotics of the Hippocratic tradition. By comparing the biological semiotics from the contributions to the medical semiotics from the Corpus, I critically explicate the ways in which biosemiotics moves this subdiscipline forward and why the perspective is significant not only for the health of humans, but also for the health of other animals, and indeed for the health of the planet that we all inhabit together. On these grounds, I propose a turn from medical semiotics to health semiotics. This program for semiotics would encompass not only food and medicine, but also lifestyle and wellbeing, as well as the subjective, qualitative perspectivism that makes biosemiotics frontier research, thereby constituting a biosemioethics and promoting a semiotic fitness.
Our knowledge about the facial expression of emotion may well be entering an age of scientific revolution. Conceptual models for facial behavior and emotion phenomena appear to be undergoing a paradigm shift brought on at least in part by advances made in facial recognition technology and automated facial expression analysis. And the use of technological labor by corporate, government, and institutional agents for extracting data capital from both the static morphology of the face and dynamic movement of the emotions is accelerating. Through a brief survey, the author seeks to introduce what he terms biometric art, a form of new media art on the cutting-edge between this advanced science and technology about the human face. In the last ten years, an increasing number of media artists in countries across the globe have been creating such biometric artworks. And today, awards, exhibitions, and festivals are starting to be dedicated to this new art form. The author explores the making of this biometric art as a critical practice in which artists investigate the roles played by science and technology in society, experimenting, for example, with Basic Emotions Theory, emotion artificial intelligence, and the Facial Action Coding System. Taking a comprehensive view of art, science, and technology, the author surveys the history of design for biometric art that uses facial recognition and emotion recognition, the individuals who create such art and the institutions that support it, as well as how this biometric art is made and what it is about. By so doing, the author contributes to the history, practice, and theory for the facial expression of emotion, sketching an interdisciplinary area of inquiry for further and future research, with relevance to academicians and creatives alike who question how we think about what we feel.
Augmented photography can be used in the digital arts to over-code upon real-world environments with computer-generated data, in order to translate stimuli across sensory modalities, and thereby extent or increase our faculties for perceiving spatial and temporal relations. Because of this media-specific affordance, the augmentation of the photographic medium may have especial application for the “physiognomic gaze,” a way of doing “form interpretation” or “nature knowing” based on the physical behaviors and psychological phenomena of the human face, head and body. The innovativeness of such technological prosthetics becomes manifest how new ways are generated to both perceive and to know those experiences that were previously unseeable or otherwise unsensable. Here, I converse with Cedric Kiefer (co-founder and creative lead) of the onformative studio for digital art and design in Germany about their works Meandering River (2017), Pathfinder (2014) and Google Faces (2013). And we explore how onformative uses the augmented photograph in their digital artworks to extend the physiognomic gaze, bringing data not visible to the naked eye into the senseable sphere, to offer the audience different perspectives about space and time. Keywords: augmented photography, computer-generated data, digital art and science, onformative, physiognomic gaze
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