Automated facial recognition algorithms are increasingly intervening in
society. This book offers a unique analysis of these algorithms from a
critical visual culture studies perspective. The first part of this
study examines the example of an early facial recognition algorithm
called "eigenface" and traces a history of the merging of statistics and
vision. The second part addresses contemporary artistic engagements with
facial recognition technology in the work of Thomas Ruff, Zach Blas, and
Trevor Paglen. This book argues that we must take a closer look at the
technology of automated facial recognition and claims that its forms of
representation are embedded with visual politics. Even more
significantly, this technology is redefining what it means to see and be
seen in the contemporary world.