1 Introduction

“Any sufficiently advanced technology is indistinguishable from magic” [7]. Magic is a house with many rooms. Historically, there are two ‘magic’ traditions, that of magic as performance art, the other ceremonial: a collection of diverse ritualistic, esoteric, philosophical and socio-cultural practices [20, 48]. The ‘perceived’ division of performance and ceremonial magic is largely a modern phenomenon [30, 46]. Magicians in ancient cultures developed wearable, body-focused, interactive designs; which speak to Shusterman’s [51] somaesthetics where, “…use of one’s body (is) a locus of sensory-aesthetic appreciation (aesthesis) and creative self-fashioning”. Shusterman [52] acknowledges, “…art originally emerged from ‘magic’ and religious ritual…”. Aristotle reinforces this perspective in 335BC; in Poetics he describes the origin of Ancient Greek theatre; a core foundation of modern Western performance and interaction art; originating from the cult of Dionysus [3]. Ammitzboll et al. [2] and Kapsali [26] describe early paleo-lithic shamanic cultures embracing animal skins not only for their somaesthetic value but their technological: biomimetic properties of camouflage and deception [62]. Modern human-computer interaction (HCI) and media artists often collaborate with neuroscientists; however, “Neuroscientists are novices at deception. Magicians have done controlled testing in human perception for thousands of years” [47, 57]. Scientists at the Stanford Research Institute used sophisticated, military specification, video/audio surveillance; a variety of bio-sensing technologies and infrared; under controlled conditions studying magician and ‘psychic’ Uri Geller yet they were deceived [12]. Geller’s deception of world-class scientists (trained observers) and surveillance technologies; was repeated at Washington University by skeptic, magicians James Randi and Steve Shaw pka. Banachek as part of the Project Alpha hoax, they successfully maintained the deception for (4) years, under extreme, controlled surveillance conditions before self-disclosure [45, 55]. Macknik et al. [33] used human-computer interaction; to understand the neuroscience of magic; they discovered humans have a neurological ‘blind spot’ that allows magicians to camouflage their actions [56].

Historical Wearables.

The philosophical goal of ceremonial magic is to transcend the body; to become perfected; this tradition manifests in many ways today through the transhumanist movement [29]. Macknik et al. [33] state historically, “…magicians (are) at the forefront of technology and innovation…”. Media arts’ origin in film and theatre began with magician’s theatrical séances called: Phantasmagoria, today interaction designers and media artists continue to use an illusion technology called Pepper’s Ghost [43]. Prior to Steve Mann, ‘the father of wearable computing’ was Edward Thorp; credited as the inventor of the first wearable computer [39]. Thorp [14, 58] created a wearable computer utilized to cheat casinos; his device was used covertly, in secret, averting the casino’s CCTV and physical surveillance; his apparatus is similar to wearable devices used by modern magicians and mentalists. Keynote Wearables 2013 speaker Kirkland [27] describes, ‘the father of modern magic’, Robert-Houdin as a technologist and magician who worked with automata (robotics/interaction design) and watchmaking (wearable technology); he was utilizing, “…the nanotechnology of (his) day”. Robert-Houdin is cited as the figurehead who stripped performance magic of its ceremonial traditions; in addition, for the adoption of clothing fashioned with ‘hidden-in-plain-sight’ integrated and wearable technology. This disruptive innovation embraced a form of semiotic, social camouflage by using the familiarity of day-to-day fashion whilst simultaneously exploiting, visual salience, psychologically and visually concealing the magician’s skills, identity and apparatus [46]. Kirkland [27] is convinced Robert-Houdin, if he were alive today would continue his pioneering body-focused and interactive designs, “…he would be very interested in the biohacking movement”.

Weaponized Magic.

We are driven by our perception of reality not reality itself; and in magic and discourses of power and by extension military strategy- power perceived, power achieved. Machiavelli [32] states, “Never attempt to win by force what can be won by deception” and Tzu [61] reinforces, “All warfare is based on deception”. Sun Tzu [61] the genius military strategist of ancient China; emphasizes the critical importance of deception as a concept, tactic and strategic framework in warfare. Ting [59, 60] recounts ancient China’s ‘vagabonds’ (military assassins) precursors of feudal Japan’s ninja; utilized performance magic and wearable technology for psychological warfare and camouflage; strategically invoking the fears and superstitions of their enemies. ‘Smoke and mirrors’ coexists in the world of ‘cloak and dagger’; interaction design and wearable technology are essential to both. In 1856, a French colony in Algeria was in mortal conflict with local Arabian Tribal Chiefs and was upon the precipice of a violent rebellion, Colonel de Neveu enlisted Robert-Houdin who recalls, “…the government was, therefore, anxious to destroy their pernicious influence and reckoned on me to do so” [46]. Kirkland [27] says, “…he stopped a rebellion in Algeria by doing magic”. Robert-Houdin utilized one of the world’s first electro-magnets for an interaction design. Combining it with wearable technology; he convinced the Arabian Tribal Chiefs, “…we are their superiors in everything, and, as for sorcerers; there are none like the French” [46]. As a technologist, Robert-Houdin anticipated modern surveillance and security technology by inventing the first electric house security alarm; in addition his home was automated; security and automation are key domains of wearable interaction and the Internet of Things (IoT) [46]. Beyond Robert-Houdin, magician Jasper Maskelyne was enlisted by British Military Intelligence in WW2 to create large-scale interaction designs and wearable technology for: misdirections, deceptions and camouflage [17, 38]. Houdini inspired military intelligence techniques using wearable technology [33]. During the Cold War, the US: Central Intelligence Agency (CIA) enlisted magician John Mulholland to design wearable technology and, “…to teach magic (illusion) methods to field personnel” [40, 53]. Pilkington’s [44] Mirage Men historically documents to current day; ongoing global engagement by governments, military and intelligence agencies in campaigns of deception, camouflage, misdirection and disinformation. These psychological warfare campaigns are used during and between wartime on enemies of state and domestic citizens for ‘herd management’; the science of population management. Magic, deception, perception management, intelligence, information, interaction design, wearable technology and privacy are all inter-related concepts. Power perceived, power achieved; few philosophers understand discourses of power like Foucault [19].

Foucault’s Panopticon.

Foucault’s [19] concept of the: Panopticon; is of major importance in understanding the theories, issues and frameworks underscoring emerging surveillance technologies and it’s impact and response form the field of human-computer interaction and media arts. Foucault’s Panopticon echoes Machiavelli [32]; the idea is that modern governments enforce authority psychologically rather than physically. Surveillance technologies lead to self-governance of the population by winning their perceptions, conjuring conformity and banishing free will; setting the stage for what Foucault describes as ‘dynamic normalization’ [19, 34, 36].

Brignall [6] anticipated the rise of the Internet of Things (IoT) as a potential network enabling Foucault’s [19] Panopticon. Revelations of whistleblowers, Julian Assange’s Wikileaks, Edward Snowden, the NSA Trapwire Program (facial scanning CCTV surveillance on domestic populations) and masked hacktivists group Anonymous confirm the reality of surveillance permeating our lives [9]. On the fringes of the deep web, corporations and organized black hat hacker groups have taken control of home CCTV security systems and spime devices connected to the Internet of Things (IoT) for criminal purposes [23]. Steve Mann, pioneer of wearable computing describes the current environment as, “…the DEMOCRATIZATION OF VOYEURISM on a planetary scale, (that) has overexposed even our most private activities” [36].

Sousveillance.

Mann et al. [36] disclose their perspective that the art of deception, camouflage or magic is informing a Panopticon design that is, “…invisible through its disappearance into the fabric of buildings, objects and bodies” [31, 35, 37]. Mann argues the design-solution to the problem of surveillance is to embrace a personal counter-surveillance technology; in Mann’s case it’s his wearable computers; he calls this response, “Sousveillance: Surveilling the Surveillers” [15, 36]. As a form of passive resistance, alerting our awareness to the power dynamics of the various forms of surveillance and for personal protective documentation, sousveillance is great in theory; however, individuals are suspicious of cameras or anything visually unfamiliar; provoking violent reactions, Mann experienced this when he, “…was physically assaulted by McDonald’s employees who were acting in a vigilante capacity to enforce laws that do not even exist” [34].

Privacy Enhancing Technology.

Mann’s pioneering work is thought to have directly inspired Google Glass; yet, “Portable and wearable imaging devices such as mobile phones and Google Glass are a privacy threat of the current decade”; particularly when CCTV or bystander video/photography include facial-recognition of social media networks and meta-data of: time, date and geocaching location [10]. Dabrowski et al. [10] and Echizen [16] detail their work developing a wearable technology they call a Privacy Enhancing Technology (PET); the device is a visor that houses an array of mounted infrared LEDs. The infrared light obscures the wearers face to cameras; disrupting facial-recognition CCTV surveillance whilst exploiting the fact infrared light, whilst perceivable to computers and CCTV; is outside the visible spectrum of human sight [10, 16]. Although disrupting facial-recognition; this technology fails on (2) counts: (1) according to Goldstein [21], within camouflage theory the goal is, “…blending, disruption (and) mimicry”; the PET infrared visor on camera is like a flashlight in the dark; directing not misdirecting attention. (2) Dabrowski et al. [10] and Echizen [16] failed to consider Robert-Houdin’s [46] advocacy of the importance of: performance over dependence on apparatus and design for concealment of the apparatus. Although hidden from physical surveillance the device announces itself in digital surveillance space. This concealment is akin to animal camouflage and biomimicry. Surveillance algorithms or bots could easily receive a software patch to focus attention on unusual instances of infrared light.

Adaptive Camouflage – Invisibility Cloak.

Magic is a science and an art; so too is camouflage. In this context, when evaluating body-focused designs to counteract CCTV facial-recognition surveillance technology, according to Goldstein [21] first we must defer to camouflage theory as informed by animal camouflage and then biomimetics in wearable camouflage technologies. Contextually, camouflage in animals and wearables; is a performance that is dependent on blending and mimicry of the environment and disruption of the observers critical, scanning salience and supporting senses [21]. Furthermore, the human-computer interaction of surveillance CCTV technology; requires us to adopt a hacker’s insight when fashioning a design-solution for a wearable body-focused design that engages blending, mimicry and disruption to deceive facial recognition algorithms and bots [9]. Philip K. Dick’s A Scanner Darkly [13] offered a vision of future wearable technology in the “scramble suit”; that uses a continuous projection map of holographic generated identities. According to CNN [8] and other major media outlets; the most advanced military wearable camouflage technology renders the wearer virtually invisible; often this technology is referred to as adaptive camouflage or quantum camouflage. Inami et al. [25] developed a retro-reflective projection technology that has been cited since the mid-2000 s as an example of futuristic, military high tech dubbed by the media as the invisibility cloak. Upon researching their original patents I identified the fact their optical camouflage technology was actually a modern form of an old stage magic illusion called: Pepper’s Ghost [43]. Further investigation uncovered the nanotechnology-based textile to be a variant of common 3 M safety reflective material. What Inami et al. [25] have invented is not a camouflage technology but rather an in-camera illusion that relies on the principles of Pepper’s Ghost [43] and Marlon Brando’s reflective 3 M costume from the 1978 film Superman [24]. Unfortunately news coverage of the Inami et al. [25] invisibility cloak appears to be a military propaganda narrative with a reality more akin to Hans Christian Anderson’s (1837) The Emperor’s New Clothes.

URME Device.

Famed magician, Teller [57] explains the secret of magic is to, “exploit pattern recognition”. Selvaggio [49, 50] employed this tactic using a 3D printed, “…wearable, photorealistic prosthetic” called the URME device; he utilized deception, biomimicry and principles of camouflage theory [49, 50]. However, the device lacks ergonomics, is expensive to fabricate in stereolithic 3D printed resin and is rigid physically and conceptually locked by one alternate identity; missing possibilities presented by fungibility. Ahearn and Horan [1] describe the ‘Grayman’ concept; which stresses the importance of blending into a crowd and misdirecting attention. They describe the Internet of Things (IoT) and CCTV as accumulating a cross-referenced, digital footprint and they suggest utilising burner or decoy identities. Unfortunately, the URME carries a traceable digital footprint. Although the device may deceive CCTV; it simultaneously broadcasts its digital footprint; and in terms of physical surveillance the URME is victim to the uncanny valley effect; drawing attention and compelling repulsion from observers [41, 42]. The URME is a compelling piece of surveillance art but not a practical camouflage wearable technology.

2 Case Study - Prototype

Background.

The Grayman Device (prototype) (see Fig. 1) was designed utilizing 3D photogrammetry (see Fig. 2) by the author. 3D photogrammetry utilizes data from 2D photographs and laser scanning to accurately retrieve information of 1:1 scale, shape, texture, pattern and measurement to translate and reconstruct the physical object as a mathematically accurate, proportional 3D asset and digital material- complete with a photorealistic texture. The exported photorealistic texture can then be unwrapped providing a 2D stencil; much like a tailor’s clothing pattern. A 3D model is built using a polygonal structure; within the 3D modeling environment a designer may reduce the level of sculptural detail (reducing the polygons). Upon the creation of a low-polygon model (adjustable to the level of detail required); the 3D model’s photorealistic texture may be exported as a stencil and reassembled in 3D paper form using techniques of Japanese Pepakura (3D origami); this technique was adopted for initial rapid prototypes. I used a variety of high-end, photographic and laser based 3D photogrammetric devices used for the creation of 3D assets for: Virtual Reality (VR), Augmented Reality (AR), Volumetric Holography and 3D Visualization; in addition, I utilized High Dynamic Range (HDR) smart phone cameras due to recent advances in smart phone, open source photogrammetric applications. The advent of photogrammetric smart phone and portable device applications not only democratizes access to this technology at low cost; it enables an opportunity for the intended user of the Grayman Device to dispose of the burner phone (an anonymously registered prepaid disposable mobile phone) best practice for privacy or anonymity of digital footprint. The scanning process generally takes multiple passes and the scanner must adopt the simultaneous focus of a 3D modeler, photographer and sculptor. In my design process, I scanned each subject (facial profile); however, it may be possible with some development that a cost effective rig may enable the subject (facial profile) to self-scan. It is a goal for future development to further close the design and fabrication pipeline for autonomy, privacy and anonymity; this is also in keeping with the secretive traditions of magic; this secrecy becomes a source of literal power.

Fig. 1.
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Prototype of The Grayman Device demonstrated by the author.

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Fig. 2.
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3D Photogrammetry mapping biometric facial profile.

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After photogrammetry, the 3D asset (facial profile) is edited in a 3D modeling environment; I primarily utilized: Autodesk Maya, however, there are open source alternatives. The 3D modeling environment has many advantages especially: previsualization, scalability, 3D modeling, generation/manipulation of photorealistic UV texture maps and opportunities for myopic control of model polygonal topology: controlling the concave and convex features of a facial profile (mask) to custom fit, flush to the surface of the intended user making it blend visually upon observation but also embodying ergonomic design. This strong sense of ergonomics is a critical feature for the eyes; as each profile must align perfectly and as close as possible to the user’s eyes; not only is this for comfort but it’s to maintain a clear field of vision and eye line without any obstruction. Before detailing the 3D design pipeline it is important to understand it in contrast to the traditional silicon-based prosthetic design process.

Uncanny Valley.

Historically, silicon-based makeup prosthetics, are used as a persuasive disguise for: magic and theatric purpose but in a modern context also for strategic deception within: law enforcement, military intelligence and spy craft. The technology behind silicon-based photorealistic prosthetics are also used extensively for medical facial prosthetics to mediate facial disfiguration and also in realistic android robotic morphology in the field of social robotics as seen in the android designs of David Hanson of Hanson Robotics and Hiroshi Ishiguro’s Geminoid F. There are multiple issues with silicon-based designs as a solution to deceive physical and digital surveillance. The design process of silicon molds, on both a technical and creative level toward final application is resource intensive. It requires prosthetic workshop resources: plaster bandages, clay, fiberglass, molding and casting materials; and the physical presence of a team of professionals; which further compromises the privacy loop and anonymity of the user. The cost and time of manufacture is also resource intensive. The application of prosthetics is dependent on the cooperation of others but so too is the prosthetic’s removal, so as a wearable it rarely allows for autonomy in the field or rapid deployment- as a consequence the user is mostly constricted to one alternate identity. Highly realistic prosthetic makeup can convincingly dilute, augment or exaggerate a person’s features; however, the process of skin texturing and airbrushing may create a compelling result on camera but fall short of physical realism- even the best prosthetics require blending makeup for concealment, the goal of silicon prosthetics is to create a convincing illusion; in instances of makeup apparatus the illusion in best cases can be realized, however, this becomes increasingly difficult in the area of: masks, medical prosthesis, bionics and in particular android robotics design as they’re subject to Mori’s [41] Uncanny Valley Effect. Mori [41] theorized that the closer we get to achieving a human-like, photorealistic visage the observer initially experiences a connection or empathy that is quickly followed by an overwhelming sense of eeriness or repulsion. I speculate and it requires further research; but I propose that as aspect of the uncanny valley effect relates to our subconscious, primal survival instinct and hyper vigilance to potential biomimetic, camouflaged predators. Silicon molding and casting reproduces the scale and size of the source face or object; however, 3D design enables an extremely detailed level of virtual scaling and surface sculptural manipulation allowing for a customized fit of a (biometric facial profile) to another face (user) with a minimum material profile and without the need for an extensive workshop. This aspect created a design opportunity to create a series of composite, rapidly interchangeable, highly realistic facial profiles that collectively, seamlessly fit to the user’s face and nest together, like a metaphoric matryoshka doll. Upon adopting this design I pursued inspiration from the ancient Chinese magic art of bian lian or face changing.

Manipulation of the 3D polygonal topology and scaling are essential to creating a series of composite facial profiles (masks) for an effective Grayman Device. The author found the preparatory use of 2D photographic manipulation and editing software (Adobe Photoshop was utilized) served as a useful diagnostic tool to better match the facial profiles to one another for the nesting process (see Fig. 3). By layering upon a split screen, a designer may easily align facial profiles that are complimentary for nesting; front and most importantly the side facial profile may be tested with transparencies and scaling tools. 2D photographic editing tools are also essential for altering the exported photorealistic texture map and provides the opportunity to color grade the skin tone to the user’s own skin tone. I found as with blending makeup on silicon prosthetic pieces; the illusion of blending is more convincingly camouflaged by gradually blending the skin tones to the eye lids; this also subtly mitigated the uncanny valley effect placing the Grayman Device more in the domain of prosthetic makeup despite being functionally an adaptive, composite mask with a fixed expression. However, a tight, flush shadow and depth-free positioning to the eyes is essential for a user. Key facial features are: the setting of the eyes and nose from the front perspective and the nose and jaw from the side perspective. 3D facial models may be tested in the 3D environment before proceeding with digital fabrication. 3D modeling and animation platforms enable real world, virtual simulations of: light, shadows, movement and angles that may be customized for testing the performance aspect and the target environment (as this environmental awareness is key to camouflage theory as too successful magical illusion) and predicting topology requirements (level of detail) and the predictive distance and angles for defensive camouflage (see Fig. 4). Generally, the Grayman Device provides defensive camouflage at a 140-degree angle and at a minimum of 2 m. The initial Grayman Device prototypes could retain a loading of (3–5) alternative biometric facial profiles; however with further research and development this is likely to increase. From the perspective of magic, the set up time for the device is minimal; however, the focus of this paper is the design of wearable technology not a magic performance instruction or an expose of bian lian; one of magic’s most guarded secrets and an important part of China’s cultural heritage. With any tool of camouflage or defensive technology: training, rehearsal and performance are critical to success; this is especially the case for bian lian; the Grayman Device for this reason is not a ‘magic bullet’; however, camouflage is situational, mission specific and designed for environmental conditions- for example, arctic camouflage is not appropriate for the desert. Although our focus is on counter-surveillance, wearable technology to deceive the biometrics of military grade facial recognition; we must acknowledge that‘weaponized’ magic is routinely employed in law enforcement, military intelligence and spy craft through the use of disguise and quick-change magic techniques. Bian Lian masters often not only change their faces, they instantly change their clothing, head to toe with lighting speed when surrounded by spectators at a short distance.

Fig. 3.
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Split-screen 2D facial profiles utilized as a tool to select nesting facial profiles.

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Fig. 4.
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3D virtual environment simulation informs digital fabrication whilst isolating requirements to counteract artificial intelligence and facial recognition.

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Inspired by modern magic wearable apparatus and medical facial prosthesis design- each subsequent facial profile (mask) adheres using a concealed, low profile neodymium magnet; in extreme instances the entire armature of the Grayman Device may be adhered to the face using concealed subdermal neodymium magnetic implants or a simple concealed wearable disposable elastic attachment (as per prototype). Incorporated into the design is a tactile, concealed tab system to the side of the face allowing for decisive selection and instant attachment or detachment of the device’s: individual or collective biometric facial profiles by the user. Utilizing one of the many mechanical, wearable techniques of bian lian, physics and in general misdirection psychology and performance of modern magic, each facial profile is built to accommodate a magician’s pull (a manual, retractable hidden pulley system) evading physical and digital surveillance (including higher frame rates); as in magic, ‘the hand is quicker than the eye’, which is essentially the skilled magician’s manipulation of an exploitable neurological ‘blind spot’. As each biometric facial profile (mask) retracts; they retreat into a concealed tailored pocket; a wearable utility feature commonly employed by magician’s referred to as a magician’s Topit. Although, initial Grayman Device rapid prototypes were constructed utilizing cardstock; working the concept closer to traditional bian lian; it is possible to use heat transferable printer ready photographic sheets which transfer the 3D asset’s exported photographic texture map as a stencil which may be adhered to matte silk material; maintaining the thin profile of paper but conforming to bian lian master’s traditional use of silk. The silk may be hardened and molded into the facial form of the user using starch or other textile hardening formulas.

Further Development - Grayman Project.

As the creator and designer of the Grayman Device; the author, at the initial stage of creation of the first rapid prototypes, in realization of the concept; utilized 3D photogrammetric scans of (3) voluntary subjects; whose biometric facial profiles as physically manifest 3D assets were incorporated in the nested device- utilizing the concept of multiple decoy identities. Clearly, there are ethical implications for using another’s biometric facial profile to deceive physical and digital surveillance. However, the Grayman Device is the foundation for what the author proposes as an ethical design solution to this problem in the companion: Grayman Project. The Grayman Device to completely realize its potential as an adaptive, biomimetic, defensive camouflage device must be designed as a physical wearable but also toward a digital footprint of anonymity and privacy that incorporates on-demand generative design. Through social network visualization mapping, triangulation of the various digital footprints, facial biometric databases and the increasing sophistication of surveillance technologies occupying physical and digital materiality, it is critical to employ a: strategic and tactical, defensive, adaptive, encrypted information architecture that is cyber security conscious to more effectively combat future advances in human-computer interaction and artificial intelligence. Currently, each successive Grayman Device, like many wearable technologies of magic are custom made according to the profile template for the end user; as tailor made precision is essential in convincing, repeatable illusion performance. It is the goal of the Grayman Project to establish a biometric facial profile database of its own 3D assets. These facial profiles will be procured from as wide a range of age, gender, ethnicity, geo-location and nationality as possible. One possibility may see individual 3D facial assets anonymously uploaded utilizing Tor browser with end-to-end military grade encryption to a cloud based server in Iceland with a mirror in Switzerland- selected for their strong privacy laws and jurisdictional advantages of anonymity. The host server subscriptions would utilize crypto currencies; dispersed through a utility like Dark Wallet. The database of 3D assets would be used for generative design to create original non-existent facial profiles for use with a Grayman Device; rather than reproducing a doppelganger of another’s facial profile. As seen in the historical use of political decoys and decoys used in intelligence circles for tactical illusions; it is more than likely that each individual has a lookalike or ‘twin’; this is currently being explored by the online community: Twin Strangers which provides a platform for users to locate and socially connect with their real world doppelganger. To counteract this possibility, the 3D assets, could be subdivided into their respective features: nose, eyes (left and right)… then drawing upon a compatible pool of 3D facial profile faces; a composite new, purpose specific face may be created through generative design; in effect it’s similar to a forensic artist’s composite sketch only in 3D space using photogrammetric data. For example, if there were a database of (1000) 3D profiles and (8) component sections the mathematic potential combinations would be vast and with each successive composite nesting facial profile that potentially would be exponential. To illustrate the point, the 3D classic designer combination puzzle: the (3 × 3 × 3)Rubik’s Cube has: (43) quintillion possible combinations. The Grayman Device combined with the potential combinations of the Grayman Project’s 3D composite generative designs may provide a wearable, ‘cryptographic’, camouflage to defend against not only current but future advances in digital surveillance, biometric facial recognition and artificial intelligence.

Bian Lian - Illusion Technology.

One of the most guarded secrets of magic is the ancient Chinese magic art of: bian lian or face changing [11]. Among China’s population of 1.375 Billion people it is estimated 200 magicians guard the secret of bian lian. Originally from Sichuan Opera, today bian lian is a Chinese, “…second-class national secret”; that is, “…registered with the State Secrets Bureau” [22, 54]. I can disclose the principles for my device are based upon traditional bian lian; however, the realization of the device has drawn upon wide influence from other forms of mask magic; one modern example of the art is seen in famed magician Jeff McBride. I utilized Autodesk Reality Computing [5] for 3D photogrammetry; then textured the acquired photorealistic, UV texture map and facial topology to a Japanese Pepakura (paper craft) inspired prosthetic. In designing my device I will utilize multiple 3D scanned photorealistic faces (biomimicry); these faces will be deployed in reproducible, digitally distributable stencil format for reasons of fungibility; the data may also be repurposed to generate random faces; these faces may realize fungibility and be, “…materialized in different ways” [18]. A modern 3D photorealistic bian lian device to deceive CCTV achieves fungibility and as a body-focused, biomimetic, defensive camouflage technology it is companion to Mann’s sousveillance [36]; as a mask it resides in Shusterman’s [51] somaesthetics to counter human-computer interaction and facial scanning it achieves what Flanagan and Vega [18] states as, “…(engaging) with flows of information and integrates seamlessly with the physical world – blurring the boundaries between body, clothing and the physical environment, between the real and the artificial” [18]. As a deception, camouflage and decoy; as its paper based it is what Ahearn and Horan [1] describe as “burnable”, counteracting digital footprints.

Grayman Device as Bio-digital Artifact of (HCI).

In the context of Human Computer Interaction (HCI), the Grayman Device is clearly aninput device, although as itself it is free of onboard computing it is purpose designed to extend human-computer interactive/communicative functionality and designed (or one could say programmed) for a specific outcome from the interaction. Upon the Grayman Device’s introduction into the human-computer loop of interaction it not only mediates and disrupts that interaction; as 3D modeled physible bio-data the sensors of the surveilling computer system’s application detect and authenticate physiological biometric identifiers-the computer identifies a ‘human’. Furthermore, the computer records the exchange of data visually in the form of video; convincingly enough that a human observer may also recognize a ‘human’ upon investigation of the recorded video data. In this exchange of information, the device enables the user to conceal their identity but it also allows for the deliberate programing of biometric data into an adaptive wearable input device. Facial recognition systems utilize multiple algorithms and there are numerous competing applications, however, the technology remains imperfect, in an effort to evolve, research and design in the field is moving toward three-dimensional facial recognition. The emerging technology sees the advent of a wider net of biometric identifiers; the Grayman Device anticipates this move toward facial recognition focused (HCI) moving toward three-dimensional physiological interactions. Security focused (HCI) and authentication relies on preemptive programming of recognition or validation data; in this sense, similar wearable technologies that extend and are part of this loop of interaction include implantable or wearable devices that utilize: Near Field Communication (NFC), Radio-frequency Identification (RFID) or a QR code; each of these technologies are only realized upon interacting with a computer. In this respect as an input device, the Grayman Device similarly stores programmed data and communicates it upon interaction and becomes a disruptive/mediating technology in the loop of interaction. 3D photogrammetry itself begins with a process involving sensors and (HCI) in the recording, recognition and controlled design of biometric data based designs but like steganography, 3D photogrammetry has further potential applications as a receptacle of data that can inspire innovation in the design and technology that informs wearables and the field of Human Computer Interaction (HCI). The potentiality for 3D based designs as smart objects and expressions of data infused objects that may be digital and material give rise to Mixed Reality (MR) applications, which can lead to the design of our own ubiquitous computer interactions.

3 Conclusions

Inami et al. [25], Dabrowski et al. [10] and Echizen [16] all attempted to use additive light in various frequencies for camouflage; the issue with this is humans exist on the subtractive color space model whereas light generating electronics or LEDs exist on the additive color space model [28]. In time I foresee my 3D photogrammetry textured, modern, bian lian concept evolving and utilizing projection mapping or spatial augmented reality; the masks will become a projected surface and appear to a human observer akin to Asai’s [4] OMOTE Project. Before this occurs, from the perspective of human-computer interaction; the difference in color space models (subtractive and additive) must be resolved; I speculate; possibly through the creation of what I would call a nano-based textile that is a: synthetic biological, biophotonic cell.

No doubt this advanced technology would be indistinguishable from magic.