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Capture, hold, release: an ontology of motion capture

Woodcock, Rose 2016, Capture, hold, release: an ontology of motion capture, Studies in Australasian cinema, vol. 10, no. 1, pp. 20-34, doi: 10.1080/17503175.2015.1082223.

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Title Capture, hold, release: an ontology of motion capture
Author(s) Woodcock, RoseORCID iD for Woodcock, Rose orcid.org/0000-0002-3629-3699
Journal name Studies in Australasian cinema
Volume number 10
Issue number 1
Start page 20
End page 34
Total pages 1615
Publisher Taylor & Francis
Place of publication London, Eng
Publication date 2016
ISSN 1750-3175
1750-3183
Keyword(s) animacy
animation
motion capture
ontology of movement
Summary In proposing an ontology of motion capture, this paper identifies three modalities — capture, hold, release — to conceptualise the peculiar affordances of motion capture technology in its relationship to a performer's movement. Motion capture is unique among contemporary moving image media in its capacity to re-perform a performer'srecorded movement a potentially limitless number of times, e.g. as applied to innumerable different CG characters. Unlike live-action film or even rotoscoping (motion capture's closest equivalent), the movement extracted from the captured performance lives on, but only by way of the inimagable (non-visible) domain of motion data.Motion data 'holds' movement itself in inimagable form, and 'releases' it in the domain of the digital moving image. This tri-fold conception relates an important dimension of (Heideggerian) Being to the idea of movement as fundamental to an ontology or 'being' of motion capture. At the same time, the proposed ontology challenges the 'illusion of life' metaphor as the accepted definition of (motion capture) animation.The Oscar's Special Rules for the Animated Feature Film Award asserts that 'by itself' motion capture does not qualify as an animation method. The notion that a technology could do or be anything 'by itself' affords a conceptual leap toward Heideggerian thinking on the nature of Being as embodied in temporality, in which past, present and future are unified.In its capacity to operate outside the domain of the digital moving image, the concept of 'movement itself' not only articulates an ontology of motion capture: motion capture itself can be understood to be brought into being by movement, thus also challenging the notion that capture technology has a parasitic relationship to a performer's originary performance.
Language eng
DOI 10.1080/17503175.2015.1082223
Field of Research 190104 Visual Cultures
190201 Cinema Studies
190202 Computer Gaming and Animation
190203 Electronic Media Art
190103 Art Theory
190102 Art History
Socio Economic Objective 930203 Teaching and Instruction Technologies
HERDC Research category C1 Refereed article in a scholarly journal
ERA Research output type C Journal article
Copyright notice ©2015, Taylor & Francis
Free to Read? No
Free to Read Start Date 2018-07-01
Persistent URL http://hdl.handle.net/10536/DRO/DU:30077740

Document type: Journal Article
Collection: School of Communication and Creative Arts
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