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Unknown to his family or childhood friends, Martin has been living a new life ever since. Now, however, Martin feels he can no longer keep his identity a secret; he wants Kelly to help him ignite a controversy that will help sell racial reassignment surgery to the world. Inventive and thought-provoking, Your Face in Mine is a brilliant novel about cultural and racial alienation and the nature of belonging in a world where identity can be a stigma or a lucrative brand.

Now, however, Martin feels he can no longer keep his new identity a secret; he wants Kelly to help him ignite a controversy that will help sell racial reassignment surgery to the world.

Describing Characters: How to Describe Faces | Now Novel

Kelly, still recovering from the death of his wife and child and looking for a way to begin anew, agrees, and things quickly begin to spiral out of control. His stories have been included in the Best American Short Stories and anthologies, as well as in Ploughshares. He is the… More about Jess Row. A wave of racial metamorphoses—a surgically-enabled denial of history? Row is unafraid to ask the hardest questions about what his hungry, homesick, vastly malleable characters are, at every level, and what binds them to one another.

In our time, when race is the most charged, complex and perhaps most important subject available for an American writer to take on, it is incredibly rare to encounter a book written by a white man that engages thoroughly, thoughtfully, and thrillingly with that very subject.

This is a necessary book. Talk about a rarity. Dick decided to collaborate. You turn the pages without being aware you are turning them. Join Reader Rewards and earn your way to a free book! Join Reader Rewards and earn points when you purchase this book from your favorite retailer. Read An Excerpt. Paperback —. Add to Cart. About Your Face in Mine A widely praised young writer delivers a daring, ambitious novel about identity and race in the age of globalization.

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Describing characters: 5 tips for drawing faces with words

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The Last Collection. We investigated the gazing behaviour of chimpanzees when presented with composite faces representing morphs between familiar and novel conspecifics. We identified the faces preferred by the chimpanzee when presented with three pairs of faces: familiar versus novel faces, familiar versus intermediate faces and novel versus intermediate faces.

Given that novel faces i. Eight chimpanzees Pan troglodytes , two males and six females, 4—17 years old participated in this study. The names, ages, and sexes of the chimpanzees were shown in Table 1. Relative dominances and kinship structures were shown in Tables S1 and S2. Loi, Zamba, Tsubaki, and Mizuki came to the institute from other locations when they were 3, 3, 3, and 2 years old, respectively, and since arriving have spent their time together in the same group.

Misaki was added to the group when she was 3 years old. Since then, she has spent her time with the above-mentioned individuals in the same enclosure, with few exceptions described below. Natsuki was born to Tsubaki, and Iroha was born to Mizuki. These offspring grew up in the same group with their mothers and other group members. Hatsuka is a daughter of Misaki but was neglected between the ages of 40 days and 2.

Face: A Novel

During this period, human caretakers nursed Hatsuka, but she spent 10 min to 3 h of nearly every day with all of the other chimpanzees in the same space. Misaki spent all of her time with the other chimpanzees except her daughter during this period. After the age of 2. However, they maintained visual contact with the other members in the neighbouring enclosure through wire mesh or transparent panels.


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In short, the adult participants Loi, Zamba, Tsubaki, Mizuki, and Misaki had known each other since they were 2—3 years old, for approximately 10 years or more, and the adolescent Natsuki and infant Hatsuka and Iroha individuals were born into this group and had known each other and the other group members since they were born. Three individuals, whose faces were presented to the subjects as familiar-face stimuli, also participated in the study Loi, Misaki and Zamba. Although these three individuals saw their own faces on a screen in the experiment, our previous study using the electroencephalography EEG recording showed that no significant difference was observed between self- and familiar-face recognition Fukushima et al.

The relative dominances and kinship structures between each subject and familiar-face stimuli were tabulated Tables S1 — S2.

Face to Face: A Novel

The eye movements of the chimpanzees were recorded using a table-mounted eye tracker Tobii T60, Stockholm, Sweden Hirata et al. Prior to the experiments, coloured and frontal-orientation photographs of familiar in-group chimpanzees and novel chimpanzees from an out-group housed at the Kumamoto Sanctuary, Wildlife Research Centre, Kyoto University were taken. Using computer morphing software Sqirlz Morph 2. To create intermediate faces, a familiar face and a novel face were morphed together using the software Sqirlz Morph 2.

Intermediate faces were created from photographs of different chimpanzees than those used as the familiar face and novel face stimuli; this step was taken to prevent an adaptation effect that could occur when the chimpanzees were repeatedly presented with images of the same faces even though the morphs bore only partial resemblance to the original faces. We used movie clips of dynamic facial expressions as visual stimuli because primates and humans are more responsive to moving faces than to static faces Shepherd et al.

We created moving stimuli of mouth-opening chimpanzee faces that were familiar, novel or intermediate; these stimuli are known as dynamic facial expressions or dynamic faces Kilts et al. Moving stimuli were created in the following manner: first, two coloured photographs mouth-closing and mouth-opening faces of each individual chimpanzee were taken prior to the main experiment. Then, to create a moving clip, the 12 images one mouth-closing image, 10 intermediate images and the final mouth-opening image were presented in succession.

Each image was presented for 40 ms, and the final image was presented for an additional ms; thus, each animation clip lasted 1, ms.


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Each clip was shown five times i. A human expert viewed the images to confirm that the presentation speed sufficiently reflected the natural changes in the dynamic facial expressions of chimpanzees. Two-point automated calibration was conducted by presenting a movie clip on each reference point. A relatively small number of reference points was adopted for the chimpanzees because they tended to view these reference points only briefly and no training procedure was adopted for them.

However, we checked the accuracy after the initial calibration and repeated the calibration if necessary. Our validation session confirmed the comparable accuracy between chimpanzees and humans see Hirata et al. Then, the chimpanzees were presented with the following four pairs of stimuli: 1 familiar versus novel faces, 2 familiar versus intermediate faces, 3 novel versus intermediate faces and 4 novel versus morphed faces of two novel chimpanzees. In each of the four trials, a pair of faces was presented side-by-side on an eye tracker screen for six seconds.

Each novel chimpanzee face was presented only once to prevent an adaptation effect.