Likeness and Facial Recognition Research Networking resubmission

面部外观的表示和解释是人文科学、生物医学和生命科学研究的重要领域。虽然科学和美术之间的合作，通过艺术家在驻地方案已变得越来越普遍，一直是有限的分析，这些项目的成果和意识形态的影响，学者在人文和社会科学。同样，虽然新兴的“神经艺术史”的子学科正在研究科学模型在图像分析中的应用，但还没有对肖像画中面部识别的新科学模型的潜力进行具体调查。人文学科的研究人员已经研究了面部外观在文化上是如何理解和表现的。在艺术史上，这些研究与肖像画中“相似性”的历史变化定义以及面部外观反映内在自我的程度有关。相似性的概念可以追溯到哲学和精神分析对心灵与身体之间关系的研究，以及与18世纪和19世纪的面相学、面部表情和面部分类的科学理论的关系。尽管在学术界被认为是被新的科学模型所取代的不可信的方法论，但这些想法在流行文学中仍然有相当大的流通性，迫切需要解决它们在21世纪世纪艺术和科学中的遗产。目前对面部识别的科学研究关注的是它与感知和神经模式的关系，以及特定的面部特征如何帮助诊断疾病。然而，与此同时，面部识别技术使用面部外观作为证据，数字面部修改技术的发展以及整形外科的进步使面部外观用于识别目的的有效性变得不稳定。尽管如此，这些新技术为肖像的分析和制作提出了创造性的新方法。当代艺术家越来越多地使用肖像画来质疑关于面部外观的传统假设，利用数字面部变形等新技术来探索相似性的变化概念。这些调查提出了一个问题，即21世纪正在开发哪些新的相似模型。这些新技术在监视和面部识别方面的潜在用途也引发了艺术家和科学家使用这些技术的伦理问题，迫切需要将它们置于历史和相似性理论的背景下，面部分析和面部分类。该研究网络将调查数字和外科技术如何创造新的“相似性”模型，以及这些模型的协同作用和不协调肖像画中“相似性”的历史定义，解决以下研究问题：-面部识别和重建的新发现为艺术和人文学科提供了什么，作为理解历史和当代“相似性”模型的手段？艺术和人文科学的研究人员可以通过什么方式帮助完善社会和生物医学科学中面部识别调查所解决的研究问题，通过他们对面部图像制作和分析的历史背景的了解？面部识别技术和“相似性”的历史模型如何解释面部毁容，衰老和面部表情的变化？“相似性”的历史模型是如何被用来构建或支持特定的社会和文化模式，并推进特定的意识形态议程的？“相似性”在21世纪世纪是如何定义的，我们对它的理解在多大程度上受到新的数字和外科技术的影响，以及在新的研究中可以确定哪些出现的意识形态议程？

The representation and interpretation of facial appearance is an important area for research in both the humanities and the biomedical and life sciences. Although collaborations between the sciences and fine arts through artist-in-residence programmes have become increasingly common, there has been limited analysis of the outcomes and ideological implications of these projects by academics in the humanities and social sciences. Equally, although the emerging sub-discipline of 'neuro art history' is investigating the use of scientific models in the analysis of images there has not been a specific investigation of the potential of new scientific models of facial recognition in relation to portraiture. Researchers in the humanities have investigated how facial appearance is understood and represented culturally. In art history these investigations have been linked to historically shifting definitions of 'likeness' in portraiture, and the extent to which facial appearance reflects an inner self. The concept of likeness has been traced through philosophical and psychoanalytical enquiries into the relationship between mind and body, and in relation to 18th- and 19th-century scientific theories of physiognomy, facial expression and facial typing. Despite being seen in the academy as discredited methodologies superseded by new scientific models, these ideas still have considerable currency in popular literature and there is a pressing need to address their legacy in 21st century art and science. Current scientific research into facial recognition is concerned with the ways that it relates to perception and to neurological patterns, and how particular facial features can aid in the diagnosis of disease. Yet at the same time as facial recognition technologies use facial appearance as evidence, developments in digital facial modification technologies, and advances in plastic surgery destabilise the validity of the use of facial appearance for identification purposes. Nonetheless, these new technologies suggest creative new approaches to the analysis and production of portraits. Contemporary artists have increasingly used portraiture to question traditional assumptions about facial appearance, drawing on new technologies such as digital facial morphing to explore shifting concepts of likeness. These investigations raise the issue of what new models of likeness are being developed for the 21st century. The potential use of these new technologies for surveillance and facial typing also raises ethical questions about their use by artists and scientists, and there is a pressing need to contextualise them within histories and theories of likeness, facial analysis and facial typing.The research network will investigate the ways in which digital and surgical techniques are creating new models of 'likeness' and the synergies and dissonances of these models with historical definitions of 'likeness' in portraiture, addressing the following research questions:-What do new discoveries in facial recognition and reconstruction offer to the arts and humanities as means of understanding historical and contemporary models of 'likeness'?-In what ways can researchers in the arts and humanities help to refine research questions addressed by investigations into facial recognition in the social and bio-medical sciences through their knowledge of the historical contexts for facial image production and analysis?-How can facial recognition technologies and historical models of 'likeness' account for faces that change through facial disfigurement, ageing and facial expression?-How have historical models of 'likeness' been used to construct or support particular social and cultural models and advance specific ideological agendas?-How is 'likeness' defined in the 21st century, to what extent is our understanding of it affected by new digital and surgical technologies, and what emerged ideological agendas can be identified in new research?