[Video] Perfect Paul: On Freedom of Facial Expression

Perfect Paul is a sequel to my (in)famous Huge Harry lecture/ performance in which a digital persona lectures on computer to human communication. This new lecture/ performance, in a highly condensed fashion, will present the results of my recently completed doctoral artistic research entitled: “Facial Hacking: The Twisted Logic of Electro-Facial Choreography.” Perfect Paul will demonstrate in a live computer versus human showdown the superior qualities of digital versus neural facial control. Perfect Paul, when performed for the first time in Bilbao, Spain won the Technarte 2012 Best Speaker Award.

[Aug 14] Perfect Paul: On Freedom of Facial Expression

Arthur Elsenaar
Wednesday 14 August 2013, 7pm
Admission: Free

Harvestworks – www.harvestworks.org
596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker

Arthur Elsenaar (1962) is a performance artist, former radio pirate and facial hacker from the Netherlands. Elsenaar is fascinated by the intimate relationship of electricity and the human body and is the originator of electro-facial choreography.

Elsenaar has recently been awarded a Ph.D. from Nottingham Trent University in the UK on his pioneering artistic research on the expressive potential of the computer-controlled human face. His research presents a radical new view of human facial expression as a site for electro-facial choreography.

elsenaar1His award winning work has been shown throughout Europe and the United States of America and has been acquired by the Stedelijk Museum in Amsterdam. Since 2010 he is lecturing at the ArtScience Interfaculty of the Royal Conservatoire and Royal Academy of the Arts in the Hague, The Netherlands.

“@artelse facial hacking performance absolutely amazing! Need to see it to believe it #digi3”
Tweet by Digital Aesthetic conference

“Most disruptively, however, Arthur Elsenaar’s wonderful and hilarious performance, in which a computer externally controls his facial muscles, had to be rescheduled when the computer in question refused to play along.”
“Towards an aesthetic of failure” by Elaine Speight




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