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Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they published a nonfactual account of the images in the essay "Excavating AI: The Politics of Images in Machine Learning Training Sets." The present article recounts the creation of the JAFFE dataset and unravels each of Crawford and Paglen's fallacious statements. I also discuss JAFFE more broadly in connection with research on facial expression, affective computing, and human-computer interaction.

In this essay I make three arguments on Ezek 23:3–4: first, "in Egypt … in their youth" (v. 3) does not refer to Israel's time in Egypt before the exodus, but to the early political histories of Samaria and Jerusalem. Second, the statement ותהיינה לי (v. 4) should not be rendered "and they became mine" (referring to the event of marriage), but rather "and they were mine" (referring to the fact of marriage). Third, the vocabulary used in vv. 3–4 functions at the local level within the argument of Ezek 23:1–27, but also on a larger level as part of the editorial coordination of Ezek 16 and 23. The allegory in Ezek 23:1–27 can therefore be understood as a coherent critique of Judahite foreign policy, without any reference to traditions of Israel's origins in Egypt. ; Publisher PDF ; Peer reviewed

Two art exhibitions, "Training Humans" and "Making Faces," and the accompanying essay "Excavating AI: The politics of images in machine learning training sets" by Kate Crawford and Trevor Paglen, are making substantial impact on discourse taking place in the social and mass media networks, and some scholarly circles. Critical scrutiny reveals, however, a self-contradictory stance regarding informed consent for the use of facial images, as well as serious flaws in their critique of ML training sets. Our analysis underlines the non-negotiability of informed consent when using human data in artistic and other contexts, and clarifies issues relating to the description of ML training sets.

This study attempts to bring a fresh perspective to the study of presidential personality. Critics of the personality approach doubt that personality really has much impact on presidential leadership, and they question whether the approach will contribute to the development of a presidential leadership theory. Critics also see problems with the conceptualization of personality variables in particular studies, such as James David Barber's much‐praised, much‐maligned The Presidential Character. The study proposes the use of the Myers‐Briggs Type Indicator (MBTI) to analyze the relationship between presidential personality and presidential leadership. Administered to about 1.7 million people annually by psychologists, career counselors, and business managers, the MBTI makes possible the classification of each president as one of 16 personality types, and it offers predictions about many characteristics of leadership style for each type. The study concludes with an extensive MBTI analysis of President Clinton's leadership style.

Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they published a nonfactual account of the images in the essay "Excavating AI: The Politics of Images in Machine Learning Training Sets." The present article recounts the creation of the JAFFE dataset and unravels each of Crawford and Paglen's fallacious statements. I also discuss JAFFE more broadly in connection with research on facial expression, affective computing, and human-computer interaction. ; n.b. All JAFFE images in this article are subject to specific terms of use and may not be reused without permission, regardless of the license applied to the document as a whole.