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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 tha
t 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 ha
rdware 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 t
o 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.