Created with digital motion capture, or mocap, the virtual dances Ghostcatching and as.phyx.ia render movement abstracted from choreographic bodies. These depictions of gestural doubles or ‘ghosts’ trigger a sense of the uncanny rooted in mocap’s digital processes. Examining these material processes, this article argues that this digital optical uncanny precipitates from the intersubjective relationship of performer, technology, and spectator. Mocap interpolates living bodies into a technologized visual field that parses these bodies as dynamic data sets, a process by which performing bodies and digital capture technologies coalesce into the film’s virtual body. This virtual body signals a computational agency at its heart, one that choreographs the intersubjective embodiments of real and virtual dancers, and spectators. Destabilizing the human body as a locus of perception, movement, and sensation, mocap triggers uncanny uncertainty in human volition. In this way, Ghostcatching and as.phyx.ia reflect the infiltration of computer vision technologies, such as facial recognition, into numerous aspects of contemporary life. Through these works, the author hopes to show how the digital gaze of these algorithms, imperceptible to the human eye, threatens individual autonomy with automation.

中文翻译：

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捉鬼：动作捕捉的数字凝视

使用数字动作捕捉（mocap）创建的虚拟舞蹈捉鬼敢死队和 as.phyx.ia 渲染从编舞身体中抽象出来的运动。这些对手势替身或“幽灵”的描绘引发了一种植根于动作捕捉数字过程的不可思议的感觉。通过检查这些材料过程，本文认为这种数字光学不可思议是从表演者、技术和观众的主体间关系中沉淀出来的。Mocap 将活体插入到一个技术化的视野中，该视场将这些身体解析为动态数据集，这一过程将表演身体和数字捕捉技术结合到电影的虚拟身体中。这个虚拟身体标志着其核心的计算机构，一个编排真实和虚拟舞者和观众的主体间体现的机构。动作捕捉破坏了人体作为感知、运动和感觉的场所的稳定性，在人类意志中引发了不可思议的不确定性。通过这种方式，捉鬼和 as.phyx.ia 反映了计算机视觉技术，如面部识别，渗透到当代生活的方方面面。通过这些作品，作者希望展示这些算法的数字凝视（人眼无法察觉）如何通过自动化威胁个人自主权。