Oh, hey, look, it is an opportunity to explain how people look to me!
As I've mentioned before, I have
prosopagnosia, or face-blindness. I think it's hard for people who don't have it to understand what that means. I mean, Hannibal had a character who had it, and tried to replicate the effect by always blurring everyone's faces whenever they
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I have pretty decent facial recognition, but it's depressingly racist: I find it generally much more difficult to tell Asian faces apart than white or black faces. I always have to work harder to learn my Asian students' names... from what I've read, that seems to be one of those cognitive-development things (depends on what kinds of faces you were exposed to in childhood - kind of like language depending on what words you were exposed to during the critical period) that no amount of good intention or adult exposure can wholly remediate.
However, it has the odd effect that I CAN tell when my fusiform gyrus has caught up. Suddenly the faces of my Asian students are as particular and distinct to me as those of the rest of my class. It's just delayed, not fully automatic.
Anyway, /tangent...
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I cannot answer your question honestly, because I know all of the original portraits, so the only ones that are even faintly confusing for me are the ones with either extensive makeup (the Karsh Hemingway) or the ones without a clear view of Malkovich's face (the Leibowitz Lennon), although in both cases I could tell you that neither picture looks quite right. The Dalí might confuse me if I saw it without context, because it's easy to recognize Dalí by his mustache and move on. The rest I know the faces that should be in them, so I know Malkovich isn't it.
That's a fascinating effect, no matter what.
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*i do not know the appropriately inclusive way to frame this.
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