art of face,

concerted aging in a family — a couples “visible soulwork” (more than just faces) on themselves, each other, children; outside influences mix in but rarely deflect the basal family changestream. With the lifetime length and closeness of the performance, it is the quintessential art for two — few feel the need to self-inf when single (in a curious reversal of “nature” where a single spends more time on grooming to attract a mate); a loners face is a static, slowly fading, snapshot of their last love. ■    Body malleability did more than strengthen family bonding: it may have made humans “too easy to love” — killed our ancestors' “hard love” triumphing over the decline of flesh (wasnt writing condemned for making remembering effortless?). Face is one canvas you cannot erase and start over; the “everfluid face of love” (“creative imperative: move ever on”) is evolutionary, always fading and always reborn in tiny daily steps, ultimately lived. An average art-of-facing couple may exemplify “the current definition of pretty” but a rare combination of talent and luck — having found the one — may produce, legendarily, a “disturbing harmony” “painful for the unaccustomed eye.”  ■    Early adopters gave art-of-face a bad name: once the floodgates were open, instincts of imitation and conformance spammed the world with “plastic” (genomic infing is no copying but its natural randomness may be creepy when unworked); at the same time easy faceforging gave a new weapon to those instinctively manipulative: it takes effort to suppress the hardwired face-reading intuitions — to see under the surface of a sculpted visage. Humanitys facescapes have since diversified to make these primordial intuitions much less automatic; face reading is now work: anyone art-of-facing with a sneaky backthought, or just not in a close feedback loop with a lover, risks looking fake — “artifacial.”

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