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1981
Volume 30, Issue 60
  • ISSN: 0845-4450
  • E-ISSN: 2048-6928

Abstract

Abstract

This article examines contemporary biometric science against the backdrop of its development in nineteenth century eugenic and biostatistical practices, most notably the composite photography of Francis Galton. Focusing on automated face recognition, the article argues that contemorary biometric science is inextricable from its aesthetic investments, which in turn shape the ways in which faces and bodies are differentiated in identification systems. Based on a close reading of biometric engineering texts and projects, this aesthetico-scientific approach offers new ways of conceptualizing how biometrics constitutes rather than merely reflects bodies, and encodes racist, misogynist, and other social logics into the conception and design of technologies themselves. These are not biases that can be corrected, as ostensibly progressive biometric projects like IBM’s Diversity in Faces initiative suggest, but rather are inextricable from the biometric desire to render faces and bodies as transparent and machine-readable.

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/content/journals/10.1386/public_00009_7
2020-03-01
2024-11-04
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