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Early film was therefore similarly associated
with aspects of the occult or of the world of ghosts
and so the use of Lumiere Ghosts as a uniting metaphor
for our work seems quite natural as a compliment to
the history of the image technologies that precede us.
Therefore,
as developers, as instructors, as students, and as artists
working with the Lumiere Ghosting Project we are passionately
interested in the idea of ghosts, both in the occult
sense (haunting and foreboding), the spiritual sense
(religious, historical, philosophical), and
in the theatrical sense (as a narrative device, as a
convenient distraction to cover a slight of hand, as
a frightening and thrilling crowd pleaser).
In the development of the technologies
for our project, we are also interested in mating the
ideas of theoretical interaction and critical dialectic
with the actual, somewhat “physical” interaction
with imagery itself. We
are also interested in the idea of making the “subject”
of an image a simultaneous “creator” of
that image in the same way that Japanese keitai
users can create and interact with their virtual tomogachi
characters, and then let them loose into
the world to take on lives of their own.
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