Face recognition In order to be able to recognize a person, one commonly looks at this persons face, for it is there where the visual features which distinguish one person from another are concentrated. Eyes in particular seem to tell a story not only about who somebody is, but also about how that persons feel, where his / her attention is directed, etc. People who do not want to show who they are or what is going on inside of them must mask themselves. Consequently, face recognition is a kind of electronic unmasking. "Real" face-to-face communication is a two-way process. Looking at somebody's face means exposing ones own face and allowing the other to look at oneself. It is a mutual process which is only suspended in extraordinary and voyeuristic situations. Looking at somebody without being looked at places the person who is visually exposed in a vulnerable position vis-à-vis the watcher. In face recognition this extraordinary situation is normal. Looking at the machine, you only see yourself looking at the machine. Face biometrics are extracted anonymously and painlessly by a mask without a face. Therefore the resistance against the mass appropriation of biometrical data through surveillance cameras is confronted with particular difficulties. The surveillance structure is largely invisible, it is not evident what the function of a particular camera is, nor whether it is connected to a face recognition system. In a protest action against the face recognition specialist Visionics, the Surveillance Camera Players therefor adopted the strategy of re-masking: in front of the cameras, they perfomed the play "The Masque of the Red Death" an adaption of Edgar Allen Poe's classic short story by Art Toad. According to Visionics, whose slogan is "enabling technology with a mass appeal", there are alrady 1.1 bn digitised face images stored on identification data banks world wide. When combined with wide area surveillance camera networks, face recognition is capable of creating a transparent social space that can be controlled by a depersonalised, undetected and unaccountable centre. It is a technology, of which the surveillance engeneers of sunken totalitarian regimes may have dreamt, and one that today is being adopted by democratic governments.

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Beautiful bodies However, artificial beings need not be invisible or look like Arnold Schwarzenegger in "Terminator". "My dream would be to create an artificial man that does not look like a robot but like a beautiful, graceful human being. The artificial man should be beautiful". Nadia Thalman's hopes for beautiful robots may become reality in the work of MIRALab, a research laboratory attached to the University of Geneva dedicated to realistic modelling of human functionalities. The laboratory has produced an artificial Marylyn Monroe showing just how beautiful artificial creatures can be, and there is a biography featuring details of her career and her - however virtual - love life. Yet beautiful creatures have been made before, at leas on the movie screen. Frank-N-furter, the protagonist of the Rocky Horror picture show ("I've been making a man / with blond hair and a tan / and he is good for relieving my /tension) did set remakrable esthetic standards. While in Hindu mythology, avatars are bodies chosen by gods for their representation on earth, often animals such as swans or horses, the avatars populating cyberspace have a different function. The cyber bodies of real people, often 3 dimensional images of creatures whose aesthetics reflects both the tastes prevalent in the entertainment and advertising industries as the state of art in visual representation.

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