from Techniques for creating facial animation using a face mesh

[0014] Obliquity of Eyebrow


The obliquity of eyebrow. A movement across the face in individuals suffering protracted aporia. Chief symptom: Contraction of “the grief muscles.” Orbitals against corrugators, corrugators against pyramidals. The eyebrow raising its tail but the inner end puckered. A fold at the bridge of the nose. Among melancholic subjects, the eyebrow kept persistently oblique. The condition at times performative, as if the eyebrow were the only path to the heaven of the skull.


Consider the moment behind the
trend line we invert.

[0051] Cephalic Index

30,000 invisible dots traveling from the camera. They loop the face in a sentient halo, each dot like the blue cartoon pins of an online map.

Columbus traced paradise in the bloody outline of his boot.

The face is the last parcel of that claim. Every smile a metered expression. Each dot a colony, rending its duty to crown.

Curl of brow?

Duration of curl?

To which totem does the subject most quickly respond?

Is there a slackening, or do the forty-three muscles compress—as if making a fist?

[0051] Rupture

The face we brought with us—a fist twisted between knots of skin.

No escape. Every morning a bird threading bright-red string through our center.

When the mesh fits around the face, a reckoning. At cheek, at chin. A sin once addressed to a doodling of cloud.

The mesh is bandage that absorbs the rupture.

Note: Note: The above pieces incorporate images and language found in Google Patents. They are part of an ongoing series which investigates how the human face has become a contested territory of hyper-capitalism. More than the serialism of Warhol’s Marilyn Monroe pieces, this work seeks to locate the monetization and surveillance dynamics present in source documents. The political semiotics of both covering and uncovering one’s face is also explored. If successful, the series should function as a digital cousin of Nancy Spero’s Torture of Women (1976) and Marcel Broodthaer’s Musée d'Art Moderne, Départment des Aigles (1968).