Lindsey Drury's contribution highlights how histories of physiognomy, caricature, and portraiture – the transposition, in other words, of the face's expressive meaning to the page – can be understood as a subterranean force informing interface theory from the eighteenth-century silhouette to facial recognition technology. Drury's contribution further functions as a critical introduction to François Dagognet's Faces, Surfaces, Interfaces (1982) and its life – or afterlife – in theoretical address of analogue and digital interfaces since the publication of Alexander Galloway's influential essay Unworkable Interface (2008) and subsequent book The Interface Effect (2012).