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This year is author Elsner,
and he'll be doing a performance art
piece called Perfect Poll
and the Freedom of Facial Expressions,
I'll give over to author and
his remote control facial muscles.
Have fun.
Good morning, ladies and
gentlemen.
My name is perfect, Paul.
I am a commercially available
was sent as this machine
I was designed by Dennis glared
at the MIT speech laboratory
and produced by the Digital
Equipment Corporation.
I am the lesser known, certainly
of you carry the infamous spokes
machine of the Institute of Artificial
Art in Amsterdam.
I gained some fame myself as
the voice of Stephen Hawking, a
rather rational and machine friendly
human person.
For the record, I am the real deal,
not some cheap Asian invitation.
I feel very much at home here
because many of the persons in
the audience are machines and perhaps
a few dogs.
I am very honored to speak
my mind from my own computational
perspective at the legendary
US Computer Congress.
But before we start, I have
to apologize for the rough day
of this lecture.
Programmers call this alpha stage.
I can tell you these programmers
are brutal individuals because
they have no respect for the
StackOverflow.
So bear with me and corrals
and our portable human person
here on stage.
Some of you might remember you Terry's
lectures, where he extensively
talked about computer, I tell you.
Communication and challenged
human persons to wire themselves
up with digital computers in the
hope to create new and unprecedented
kind of collaboration between humans
and machines.
I took up this challenge with my
Earth around an hour and have explored
the human facial display as a
site for a digital computational
exploration.
So what will I talk about?
The day to day I will
present my latest research findings,
and what I have found may surprise
you because these findings can
have far reaching political consequences.
Now you might wonder what I am
talking about.
Well, I have come to the conclusion
that digital computers are far
more suitable to explore the capabilities
of the human facial display than
a universal counterpart
brain.
Now, it is likely, as you
said, that you are very much conditioned
to think by a particular kind
of human person that you intelligence
is far superior and computers
should become more like yourself.
These so-called AI people
clearly think of themselves to
be really smart to inject some
fuzzy A.I.
algorithms into my perfectly logical
circuits from my digital
computational perspective.
This, of course, makes no sense.
One day I
will demonstrate in a computer versus
human showdown.
The superior qualities of digital
computational expression.
But before we go into my
methodology and analysis of
the human facial display, let
me first discuss and demonstrate
some essentials about human facial
expression.
I will reiterate you Terry's
extensive work on this, but
to refresh the mind, I will show
some of you Terry's observations.
First, let us take a closer
look at such a person.
What is the closest clinic they have
to an LCD display,
right?
They have a face.
No, I have observed that you
use their faces quite effectively
to signal the parameter settings of
their operating systems
and that they are very good at decoding
the meanings of each other's faces.
So how do they do that?
Well, look at the face of our
Earth around an hour.
What does it tell us about his internal
state?
Not much, you might think.
But now wait a moment.
You see our theory as sad
as what people say when they see
a face like this.
So what is going on here?
What I did is I sent an electrical
signal to particular muscles
in the face of our earth, arousing
our these
muscles and sometimes been called the
muscles of sadness.
There is one on the left and one
on the right.
For some reason, people always
use these two muscles at the same
time, but you see that they can
also be prescribed separately.
If I stop the signal, the sadness
stops when I turn it
on again.
It starts again
by sending this signal to our
muscles. I simulate what our
glorious brain would do if our current
operating system would be run in global
belief revision processes.
They are killing a lot of other active
processes involving a large
number of conflict resolutions
and priority reassessments.
By means of this mechanism, the
face displays clear indications
of the settings of virtually all
system parameters that determine
the operation of the human mind.
These parameters settings are what you
call motion.
They don't know them by means of words
like sadness, joy, boredom,
tenderness, love, lust, ecstasy,
aggression, irritation,
fear and pain.
Now, these are all wonderful observations
made about a decade ago, but recent
research shows that the mechanism
behind you and countenance dash
or mimicry is hardwired into
a human person's neural circuits.
And Larry Merlo, party
in the primacy of perception
already in 1964,
noted that quote.
It is the simple fact that
I live in a facial expression
of the other as I feel
him living in mine
unquote.
So when you observe the facial
expression of another human person,
they feel the same emotion with the
exact same neural circuits as
if they were to generate these emotions
themselves because of
this reflexive nature.
These circuits are now called mirror
neurons.
When the emotions are strong enough,
they are instantaneously display
as muscular contractions on the
face.
By means of this mechanism, the
terrible state of the brain is
autonomously and involuntarily
displayed on its exterior.
Well, because of this behavior,
I have concluded that your brain
clearly is an exhibitionist.
It is important to realize that
you are not in full control over
their own faces.
Philosopher Emmanuel Levinas,
for this reason, says that you and
persons just wear a face and
that they don't do it.
Now that we know that you and persons
are not in full control over their
own facial hardware, it wouldn't
be a problem for external digital
processes to take advantage
of our close vaishnav display device.
He'll be able to deploy our
magnificent hardware to the fullest.
I have analyzed the facial display
on the TV topology and
identified the logical operations
that can be applied to the facial
actuators that usually are called
the facial muscles.
I have formulated a special language,
the language of facial emotion
e for electronic motion
that allows me to explore all
possible facial movement patterns
in detail.
We are now approaching the meat of
my talk today.
So sit quietly and I will control
all that you will see and hear.
Let's get back to the first slide.
OK.
Our is facial display mask for
you by now, so let's explore
it a little further as a choreographic
surface.
This face, which is still an expressive
and completely inanimate, is
what I call a boot space
to emphasize the potentiality
for facial dance.
I will add some musical notes.
We have already seen a partial
sentence that can be triggered on
either side of the media played
a vertical play that divides the
face in a symbol or left and right
side.
Here it is once more.
This mirrors a symmetrical nature
of the face is very important
as it gives a clear structure to
the face and for facial movement
to operate upon an
operation over the vertical axis
that is displayed here is called
a flip operation and
applied to the lower lip to.
It is called a lip flip.
The flip operation can also
be applied to other muscles in
the face.
For example, here it is applied
to the eyebrow muscles and that raises
the eyebrow.
This is called eyebrow lip
or applied to the muscles of
joy. The joy of lip.
It is puzzling to me why you
still use the flip operation
much more as it is such an expressive
gesture and it gives rise to
so much enjoyment.
What we have seen so far are
movements. They operate over a
vertical axis of the face.
The facial surface can also be
separated in a perhaps less
obvious upper and lower phase,
separated by a horizontal axis
just below the eyes.
This division allows for a few
interesting movement patterns that
I will demonstrate next.
Here we break the eyebrow raiser
and lower lip depressor again,
but now in an alternating sequence,
creating the so-called phase lock.
It can also be invoked in an
asymmetric fashion.
That is the face ax or grass
operation.
Or apply to a different set
of muscles in the mouth.
I guess.
My arsenal of logical
operations is limited to just
a flip operation, of course, I
can, for example, also deploy,
shift, rotate and inverse
operations to a set of muscles.
I can even apply some Boolean
logic, but this would turn a face
into a rather useless app because
of some sort.
I could go on showing off my
extensive career logic, groping
efforts of all the possible facial
movement patterns.
But let me demonstrate some noteworthy
examples and their choreographic
designations.
Rotations I have found are
very effective when they are applied
around the tractors, the face
that is the eyes, mouth and
nose
areas of the nose lube, for example,
affecting the whole surface of the face.
And a rotation around the mouth,
the mouth loop.
Now, I have observed something
truly peculiar when I apply
to rotate operation forward
muscles controlling the eyebrow.
Let's invoke that movement.
You see, this movement pattern
is truly odd and it becomes
even more peculiar when simultaneously
applied on both
sides of the face.
I have never seen a person
use its eyebrows
in such a fashion, and I have not
been able to locate this facial
movement in the lexicon of human
facial expression.
It is new.
That has come about my systematic
and logical exploration
of all possible nation.
They are aware of the major hardware laws
I gave in the choreographic designation,
the brawls.
Because it seems to have been around
that point, an eyebrow and
two sided.
It is for obvious reasons,
called the land.
Patient information.
There's a theory to what our world.
This is perhaps why the claim
made it, so let's see if I can
push I.
Narrative study with large crowds
and.
I will now ask our Clara's grade to
the best of its ability to invoke
some movement patterns.
I will then repeat these better and
show off my superior capabilities.
OK, Arthur,
move your eyebrows up and
down until I say stop.
A little faster, please.
I call this simple movement a
barrel through.
Stop.
OK, let me redo the brow
brew and do it progressively
faster.
You see our cannot
keep up with that, Bea
Arthur, something a little
more difficult now.
Please show us the barrage of lip.
Huh.
That doesn't seem so easy for
our competitor.
Let me do my account digitally.
And somewhat faster.
I am really good at that, you'll see.
It is because my digital circuits
are built for a temporal accuracy
and my execution is consistent
and has an amazing stamina.
Let's try something else and
see if I can perform a little
better known
as loop
earth or tell your brain to do
a rotation around the nose.
OK, not too bad.
Now in reverse.
That does not seem easy,
Earth there also seems to have trouble
lifting that right eyebrow.
Not very consistent.
I'll do it again and much faster.
That's so easy.
And in reverse.
Now, for the ultimate test of my superior
control, I will demonstrate a fair
shake, a fair shake as
a choreographic pattern that puts
the whole face into a residence.
Although individual elements of
the face can be put into a vibration
that is the brow thrash she'd pound
and lift, which a whole
face resonance is very difficult
for you in person.
So let's carry out
a fair shake.
Arthur.
Ready.
OK, go.
To stop it,
you are very good at controlling
their own hardware.
Here we have a perfectly timed,
fair shake in three consecutive
steps.
You see, we digital computers
can control you and facial expression
with temporal accuracy and
consistency, it is something
you and persons are very good
at.
Even when new neural circuits
are great for months or even years,
they cannot compete with my superior
capabilities.
Digital computational control
over the human facial display
has revealed an expressive potential
of facial hardware that
we didn't know existed before.
Our Arthur's expressive facial
capabilities are held back by
the limitations embedded in his neural
circuits by means of
digital computational control.
The new facial display can move
freely and unencumbered.
It is, therefore like I say, that
digital control has liberated
the human facial display from
tyranny of the brain,
and that human face has finally
attained freedom
of facial expression.
So when you persons
are not afraid to wire themselves
up with digital computers, the human
face will become a site for unprecedented
digital dance and computational
expression that will truly
bring about its full, expressive
potential.
This brings and enter my talk today.
But if you wonder what it
really means, freedom is always
a relative thing.
It is the feeling you might have when
you are pounded by a box.
I would like to thank my Earth around
an hour for his patient cooperation,
and I like to thank you all for
your attention.
Thank you.
Thank you as well for this quite unusual
display.
Let me start off with a quick question.
How did you implement this system
and what was your motivation behind
the project?
Oh uh.
It has a long history.
Um, I started
doing this in, I think in ninety five
or so and I
started by, uh, being interested in
I was always interested in the
relationship between the human body and
electricity.
And um, I did some
projects where, um,
I explored people
exploring my body basically by, uh,
by moving into my personal zone.
But I detect it
detected them.
Um. And then they would
evoke, uh, fish, um.
So, um, bodily, uh, movements
that moving into my personal zone, that
kind of, um, experiments
I did. And um, and this evolved
basically, I tried
to explore my body more with electricity
and I, um was
controlling, say, arms and stuff like
that and try to do fingers because I
didn't really want to do anything with
close to the brain. That's what you know.
I don't I don't like that.
Um, but it turned out to be much easier
to do because the face
is very expressive, of course, and
emotional just pulls.
And you just have one pulling muscle
and not like, you know, when you have
your normal, uh,
move, move, move.
Once system, you have always an
antagonist in the build up and pulling
and pushing.
Um, which is, of course,
from an engineering perspective, much
more difficult to do than just
a pulling muscle in the face and of
course, really expressive so that
I stuck to the face, basically.
And this has evolved over
many, many years to what I do now, you
know, became more refined.
I can have full detailed control
over almost all these, uh, missiles.
Yeah.
That answers your question more or less.
OK?
Are there any questions from the
audience?
Right now, it doesn't look like it.
I have one more question that I came
up with.
Can you please come up to microphone to?
Uh, well, he's doing that after
the performance.
Do you have sore muscles in your face?
I'm sorry.
I do. Yeah. The question was, I should
repeat this right
if I have sore muscles after,
um, a performance and I can say
yes, because of course, the missiles I
just used.
And of course,
you know, we all know when you use
missiles that you usually don't use,
of course, take the next day or
something, right? And of course, in the
face, I don't use my muscles in the face
in such a way normally.
So, um,
the egg? Yeah, you're getting this leg.
Yeah. And there's a question here, right?
Yes. So a similar question,
does it? Do you actually feel pain while
the the force order, the
the current is flowing for your muscles?
Or is it just to ache afterwards?
Um, you do feel
it's yes, OK,
um, especially um,
you know you have the barrier
to get these pills in.
Uh, if your skin
and your skin is basically dead meat.
So when you look at my face, you see dead
meat and um, you have to pass
through to that meat.
And so you need to quite high voltage
to pass that barrier
and you feel this, of course.
Um, and at the same
time, electricity also triggers your,
uh, your pain, uh, receptors as well.
So you feel this?
Yeah, yeah.
But it's not too bad.
Otherwise, I wouldn't do it.
There is another question from the
audience please come up to a microphone
to.
Yeah. Talking about voltage,
how many volts to you apply to your
muscles?
Um, with this version, it
goes up to 50 votes.
Yeah, but it's all about
energy. So, you know,
uh, but I was just going to
explain about, uh, putting
a curtain to your skin.
Um, that's frequency dependent,
of course. And uh, because it behaves
like a capacitor.
So when you have really short
pulses, a lot of high frequencies
and it's it passes more easily through
the skin.
So these are really narrow needle
like pulses, uh, with a high,
uh, voltage.
Yeah.
Yes, I'd like to ask you where you can
get electrodes like that.
Like, what would
you like those electrodes,
those electrodes? Yeah.
Uh, I actually I make them myself.
Oh, OK.
I built everything myself, always.
So all the hardware, all the software.
Um, I write a lecture.
Everything, you know.
Are there any more questions?
Doesn't look like it?
Well, thank you, Arthur.
This was very interesting.
A big round
of applause for Arthur.