3/2/2024 0 Comments Modern dazzle camouflageYet few people used these countermeasures on any regular basis until the Dazzle Club began last year as a response to the installation, later scrapped, of technology at King’s Cross, London. Researchers at the University of KU Leuven in Belgium managed to avoid recognition by holding a large photograph of a group of people. Others have used hats and T-shirts with patterns that are designed to trick cameras into not recognising part of an image as a human at all. Jing-cai Liu, a design student, created a wearable face projector, while Dutch artist Jip van Leeuwenstein made a clear plastic mask that creates the illusion of ridges along the face. Many other artists, designers and technologists have been inspired by his attempts to hide without covering the face. Design student Jing-cai Liu has created a wearable face projector to counter surveillance cameras. The concept was created by an artist, Adam Harvey, who coined the term “computer vision dazzle”, or “cv dazzle”, to mean a modern version of the camouflage used by the Royal Navy during the first world war. Makeup attempts to disrupt this by putting dark and light colours in unexpected places, either to confuse the technology into mapping the wrong parts of the face or concluding there is no face to map. That unique facial fingerprint is then matched with others on a database. Paul’s Cathedral in London.Facial recognition works by mapping facial features – mainly the eyes, nose and chin – by identifying light and dark areas, then calculating the distance between them. Mary’s Church Whitegate at Vale Royal parish in Cheshire and he has a memorial stone in St. His final resting place is in the churchyard adjacent to the St. Sir Muirhead Bone died in 1953 in Oxford. He received a knighthood in 1937.īone served again as official war artist in the Second World War from 1940, being commissioned in 1940 into the Royal Marines as a Major. In the inter-war period he exhibited extensively in London and New York, building up a considerable reputation. In 1923 he produced three portraits of the novelist Joseph Conrad during an Atlantic crossing. He began to undertake extensive foreign travels which increasingly influenced his work. He visited France again in 1917 where he took particular interest in the ruined towns and villages.Īfter the Armistice, Bone returned to the type of works he produced before the war, and was influential in promoting fellow war artists William Orpen and Wyndham Lewis. Over the next few months Bone returned to his earlier subject matter, drawing pictures of shipyards and battleships. He produced 150 drawings of the war, returning to England in October of that year. Where some artists might have demurred at the challenge of drawing ocean liners in a drydock or tens of thousands of shells in a munitions factory, Bone delighted in them he was rarely intimidated by complex subjects and whatever the challenge those who commissioned his work could always be sure that out of superficial chaos there emerged a beautiful and ordered design.Ĭommissioned as an honorary Second Lieutenant, he arrived in France during the Battle of the Somme, serving with the Allied forces on the Western Front and also with the Royal Navy for a time. Furthermore, Bone worked almost exclusively in black and white his drawings were invariably small and their realistic intensity reproduced well in the government-funded publications of the day. To many, Bone had the ideal credentials for this official appointment and, although thirty-eight years old at the outbreak of war, he was rescued from certain enlistment by the intervention of those in the art establishment who recognized what an asset his work might be as pictorial propaganda for the Allied cause. In 1901 he moved to London, where he met William Strang, Dugald MacColl and Alphonse Legros, and later became a member of the New English Art Club.īone was also a member of the Glasgow Art Club with which he exhibited.Īfter the outbreak of the First World War, Charles Masterman, head of the British War Propaganda Bureau and acting on the advice of William Rothenstein, appointed Bone as Britain’s first official war artist in May 1916. His subject matter was principally related to landscapes, architecture (which often focussed on urban construction and demolition sites) and industry. He began printmaking in 1898, and although his first known print was a lithograph, he is better known for his etchings and drypoints. The son of a printer, Bone was born in Glasgow and trained initially as an architect, later going on to study art at Glasgow School of Art. Sir Muirhead Bone (23 March 1876 ‘ 21 October 1953) was a Scottish etcher, drypoint and watercolour artist.
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