Uncontainable: Broken Stillness. International Symposium of Electronic Art, Istanbul
This source preferred by Susan Sloan
Authors: Sloan, S.
Start date: 14 September 2011
The use of Motion Capture has been developing in many areas such as entertainment, military, medical and engineering fields. It is a process that records motion data from a moving subject in 3 dimensions. There are many Mocap systems in use and they fall into 3 main areas, mechanical, optical and magnetic. In essence, they all track markers which are fixed to the body (animal/human) at key pivot and rotation points and produce a set of 3D co-ordinates and their rotations and trajectories over the period of the movement sequence. This tracking data is fed back to a software system and applied to a virtual skeleton. In the entertainment industry such as Games and Film and within the Performing Arts this is often called Performance Capture. The performer and the data recorded will drive the virtual skeleton. In these cases the virtual skeleton is often referred to as a puppet. In the field of gait analysis however, it is often not a performance that is being captured but normal function in the study of animal and human walk cycles for Orthopaedics and Physical-Therapy Motion Capture portraiture lies somewhere in between these two areas of motion study. I am attempting to record a gestural stance, or an awkward tilt of the head and yet I am also drawing from traditions of painting and sculpture in the representation and interpretation of that data .Whilst the portrait is entirely constructed in 3D modelling software the motion of the subject is recorded from real life. The works become a record and an interpretation at the same time. The relationship between the recorded data and manually animated and sculpted forms becomes significant. The portraits are not just an interpretation of the external visible characteristics of the sitter but also a document of their spatial co-ordinates, their motion and very often their emotions.