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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Before and After Ghostcatching
Animation, Primitivism, and the Choreography of Vitality
Heather Warren-Crow
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
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
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
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
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
Editorial
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
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 . https://ocula.com/magazine/art-news/lu-yang-destroys-self-through-motion-capture/ . Gatti , Giuseppe . 2021 . “ The Mecha That
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
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
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