人臉辨識–揭示一種真實

Abstract

數位科技時代臉部辨識是最受矚目的一門科學，以簡明的生物辨識認證方法來確認人員的身分，甚至提供給企業應用轉化為更有價值的資訊，這也意味著一張「臉」有更多的細節和無限的想像空間。

一如人工智慧偵測臉部影像，分析會產生影像的物件符號數。本創作專題主要從對「人臉」的情感建構切入，從臉部表象的觀看去探索其背後主要感覺元素所帶來的一種「真實」。在實踐頭像繪畫創作過程，人臉畫面上採取幾何色塊和面相間交錯組合，將一種真實的斷片直接導入偽裝的假面中。畫作介於半抽象與具象之間，創造多重錯置的空間，藉以投射出心理層面的潛意識，將壓抑的原我動存於其中，並相對映出時間的軌跡，來傳達現實生命多重人格的存在性。本研究即以此視覺感知和直觀情感的角度，進入頭像繪畫的多向性表現作為創作基礎。

本文分為五章：第一章緒論，內容包含論述研究的動機與目的、研究的內容與範疇，及研究的方法與步驟。第二章學理基礎的探討，從文獻上了解人物繪畫表現形式與魅力，分析人物畫像之多元色彩和空間的轉換，到探究人像繪畫的潛意識心理投射理論，步入兩位繪畫藝術大師畢卡索與培根圖像中的真實世界，逐一進入專題研究。第三章闡明筆者之創作理念，亦同時說明筆者創作內容的選定及形式的表現。第四章則是創作鋪陳和研究實踐。第五章則是結論，總結此創作之研究成果與心得。

Facial recognition in the digital technology era is the most high-profile science. It uses concise biometric authentication methods to confirm the identity of personnel, and even provides enterprise applications with more valuable information. It means that a "face" has more details and unlimited imagination space.

Just like artificial intelligence detecting facial images, analyzing the number of object symbols that will produce images. This creative topic mainly starts from the emotion of "face" and explores a kind of "truth" brought by the main sensory elements behind it. In the practice of the avatar painting creation, that is interlaced with the geometric color blocks and the surfaces on the face, and a real fragment is directly imported into the camouflage mask. The painting is between semi-abstract and figurative. To creating multiple misplaced space projects the sub-consciousness on the psychological level.

I wish transmit the existence of multiple personalities of real life by author's stored deeply depressed id and reflecting the locus of time. This creative study takes the multi-directional expression of avatar painting based on the perspective of visual perception and intuitive emotion.

This article is divided into five chapters: The first chapter is an introduction, which contains the motive and purpose of research, the content and category of research, and the methods and steps of research.

The second chapter discusses the theoretical basis, from understanding the form and charm of character painting in literature, analyzing the multi-color and space conversion of portraits, and exploring the subconscious mind projection theory of portrait painting. Step into the real world in the pictures of two painting grand masters Picasso and Bacon for author's monographic study.

The third chapter clarifies the author's creative concept, and also explains the performance of the author's creative content and form.

The fourth chapter is about creative presentation and performance.

The fifth chapter is the conclusion which is summarizing the creative research results and experience.