You just can't stop them.
An image economy demands displays of sincerity and, in an ethical inversion of the feigned objectivity of the news media, the ‘artist’ is almost morally obliged to play with the textures of the subjective.
However, conflating raw emoting with an unsubtle histrionics just seems inappropriate; not necessarily naive and redundant but, more depressingly, merely an example of a restaging of a surveillance of sameness.
Displays of tears flag up a collective introspection aestheticizing potential engagement, using the deadened cladding of three-dimensional ‘portraiture’ and assuming a complicity between artist and viewer in presenting an insinuation of an inner state, yet the flattening, insular mechanics of art protocol merely reveal a mutually agreed pose.
However the space of otherness cannot ignore the subjective context. If a smile merely apes the contours of the material as a means of delivery there is always a mutual awareness that the correct proportions of the imaginatively malleable, historically proscribed pose of the ironic is an eloquent abstraction. Sincerity, the differential continuity of an interior life, is actually parasitic and enmeshed with the delusional stance of autonomous agency.
Perhaps genuineness begins to exist in the attempt to fabricate an awareness of selfhood; a momentary pointer towards a belief in expression as a critique of the limits of a strained individuation.