Abstract
The Kinesthetic Index: Video Games and the Body of Motion Capture
Highlights
Before I turn to discuss the history of graphic adventures, I want to elaborate these claims by looking at a triptych of synchronized faces, all of which speak with the same voice and move with the same facial gestures
Performance capture is employed to add a level of realism in digital animation and video games, using human faces to reproduce subtle gestures of emotion rarely represented in the history of these media
Digital animation is able to evoke emotion, they suggest, only because of the accuracy of the embodied emotions inscribed into digital models, reproducing an understanding of affect as a mirrored transmission from one body to another, processed by the brain’s empathy circuit rather than evoked by, say, the narrative capacity of digital media—a similar claim advanced by those Worringer critiques on the aesthetics of empathy
Summary
Cubic Motion and 3Lateral present this demo as about problems of inclusion, suggesting the necessity of broadening realist representational techniques to accommodate other languages and markets beyond the hegemony of Anglophone countries.[9] Even though realism in the audiovisual arts has been less about media’s ability to represent reality than about spectacle, technical virtuosity, and the evocation of the senses,10 3Lateral and Cubic Motion position these digital representations as a mimetic copy of human bodies, capable of evoking emotion in game players and spectators.[11] Digital animation is able to evoke emotion, they suggest, only because of the accuracy of the embodied emotions inscribed into digital models, reproducing an understanding of affect as a mirrored transmission from one body to another, processed by the brain’s empathy circuit rather than evoked by, say, the narrative capacity of digital media—a similar claim advanced by those Worringer critiques on the aesthetics of empathy.
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