Vincent Marquis
No. 114 – fall 2016

‘Making Faces Our Weapons’: Biometrics, Identity, and the Potential of the Visage

At this stage in the development of the global war on terror, it would be hard to be startled by the rhetoric of prevention and preventability that has tinted the aftermath of each of its turning points (…)

Want to read the rest of this article?
Subscribe to access our online content: choose option e-worm / hybrid / collector.
If you are already a subscriber, log in by clicking here >
Zach Blas, Face Cage #3, 2014. Performance. Photo: Christopher O’Leary. Courtesy of the artist/avec l’aimable permission de l’artiste.
Zach Blas, The Theory of Colour, installation detail/détail de l’installation, 2014-2015. Photo: Zach Blas. Courtesy of the artist/Avec l’aimable permission de l’artiste.
Ursula Johnson, L’nuwelti’k (We Are Indian), 2012-2016. Black Ash, variable dimensions/Frêne noir, dimensions variables. Clockwise from left/De gauche à droite : Male, 6.1, Qalipu Member, Landless Band, Female, 6.1, Urban Migrant, Female, 6.1 a, Off reserve and/et Female, Non-status, Urban. Photo: Mathieu Léger.
Ursula Johnson, Male, 6.1, Qalipu Member, Landless Band, 2013. Black ash, variable dimensions/Frêne noir, dimensions variables. As part of/Dans le cadre de L’nuwelti’k (We Are Indian), performance. Galerie d’art Louise-et-Reuben Cohen, New-Brunswick. Photo: Mathieu Léger.
Mushon Zer-Aviv, The Turing Normalizing Machine, 2015. Vue d’installation/Installation view. Eastern Bloc, Montréal. Photo: Justin G. Desforges.
Mushon Zer-Aviv, The Turing Normalizing Machine, 2015. Digital image/Image numérique. Photo: Mushon Zer-Aviv.
Rafael Lozano-Hemmer, Level of Confidence, 2015. Face-recognition algorithms, computer, screen and webcam, variable dimensions/Algorithmes de reconnaissance du visage, ordinateur, écran et webcam, dimensions variables. Photo: Antimodular Research.