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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

Catching Ghosts Bill T. Jones, writes digital artist Paul Kaiser (2003) , “danced like a man possessed—possessed in turn by eight or nine distinct selves.” Improvising on the unforgiving concrete floor of a motion-capture studio, Jones

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Cyclic Existence, Iteration, and Digital Transcendence

Lu Yang's Live Motion Capture Performances

Ashley Lee Wong

Lu Yang's work brings contemporary culture, science and technology from neuroscience, motion capture and games, together with traditional Chinese medicine and anatomy and Buddhist and Hindu iconographies in a multi-layering of temporalities, as

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Solitude in Pixels

Lu Yang's Digital Figuration of Corporeality

Pao-chen Tang

Sutra , Doku is conceptualized as Lu's “digital reincarnation,” which at once replicates, desubstantializes, metamorphoses, and reconfigures the artist's body through several digital modeling technologies such as motion capture, 3D facial scanning, and

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The Self On-Screen

Pavel Pyś Reflects on The Body Electric

Pavel Pyś

, motion capture, avatars, computer-generated animations), and many were grouped under the moniker “post-internet art,” which, by the time the exhibition had opened, had become an exhausted term with little currency (see Droitcour 2014 ). The impetus was

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Lu Yang

An Artist in Transformation

Ari Heinrich, Livia Monnet, and Gabriel Remy-Handfield

nightmarish (see, for example, works like Uterus Man , Lu Yang Delusional Mandala , The Great Adventure of Material World Knight Game Film , and the live motion-capture performance Delusional World ). In creating these universes, Lu Yang frequently cites

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Narrating (Sur)face

The Marquardt Mask and Interdisciplinary Beauty

Kallie Strode

of shapes as a static, established symbol. When it comes to the human face's technological reproduction, abstracting it as gnomonic growth is a key tenant. For example, in the context of motion capture, a face must be algorithmically transformed

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Screening Vulnerability

Brian Bergen-Aurand

on transformation and women beauty vloggers’ self-representations under the rubric of #thepowerofmakeup; Heather Warren-Crow’s study of primitivism, vitality, and visual art in relation to the motion-capture video Ghostcatching (1999); Andrew Webber

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Challenging Binaries in Posthuman Worlds

An Analysis of Lu Yang's The Great Adventure of Material World

Jori Snels

_00047_1 . Gaskin , Sam . 2022 . “ Lu Yang Destroys Self in Motion Capture Performance .” OCULA , 31 January . . Gatti , Giuseppe . 2021 . “ The Mecha That

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

; Humanization of the Digital Film scholar Lisa Purse discusses the “digitization of the human” with reference to Scott Balcerzak's work on performance capture, in contrast to making motion-capture digital effects appear more realistic by “humanizing the

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When Lamps Have Feelings

Empathy and Anthropomorphism Toward Inanimate Objects in Animated Films

Alyssa D. Edwards and Daniel M. Shafer

that a moving zombie would be more disturbing than a motionless corpse since dead people are not expected to move. However, Piwek and colleagues (2014) found that natural motion (generated by human actors using motion-capture technology) actually