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Physiognomy (from Greek φύσις (physis) 'nature' and γνώμων (gnomon) 'judge, interpreter') or face reading is the practice of assessing a person's character or personality from their outer appearance—especially the face.
The occipital face area is activated by the visual perception of single features of the face, for example, the nose and mouth, and preferred combination of two-eyes over other combinations. This suggests that the occipital face area recognizes the parts of the face at the early stages of recognition.
Face-space puts an emphasis on facial identification according to similarities or differences between whole faces, rather than individual facial features. [9] Accordingly, principal component analysis is used to derive certain dimensions or ‘eigenfaces’ from sample faces, which can be combined and encoded upon to construct new, whole, faces ...
It is suggested that the masculinity of facial features is a reliable indication of good health, or, alternatively, that masculine-looking males are more likely to achieve high status. [140] However, the correlation between attractive facial features and health has been questioned. [ 141 ]
It is distinct from phrenology, the pseudoscience that tried to link personality and character to head shape, and physiognomy, which tried the same for facial features. Today, physical and forensic anthropologists use craniometry to study the evolution of human populations, determining the origin of ancient remains such as the Kennewick Man.
In racist discourse, especially that of post-Enlightenment Western writers, a Roman nose has been characterized as a marker of beauty and nobility. [5] A well-known example of the aquiline nose as a marker contrasting the bearer with their contemporaries is the protagonist of Aphra Behn's Oroonoko (1688).
The face is the front of an animal's head that features the eyes, nose and mouth, and through which animals express many of their emotions. [1] [2] The face is crucial for human identity, and damage such as scarring or developmental deformities may affect the psyche adversely.
Evaluating the tones of certain works as a matter of intellectual study has been argued in the academic context as involving a critique of one's innate emotions: the creator or creators of an artistic piece deliberately push one to rethink the emotional dimensions of one's own life due to the creator or creator's psychological intent, which whoever comes across the piece must then deal with.