"When [Image Metrics] first started working on Emily, our goal was to create an exact replica of the real actress Emily O'Brien. Why? Because there was no other way to determine how close we had come to reality if we did not replicate a 'real' person. Judging from the reaction of people at SIGGRAPH 2008, and the hundreds of media hits, we've come pretty close to the mark.
Image Metrics began planning the Emily project in March 2008. After Image Metrics developed a script for the animation, the ICT Graphics Lab scanned O’Brien to develop the template for her CG double. A team of eight artists working part-time on the internal project then built a custom rig for the Emily character, captured O’Brien’s performance with video and applied it to the CG character with its proprietary facial animation solution. Once the capture and rigging processes were finalized, the 90-second animation took just one week to complete."
"The continuities between art-and technology and conceptual art are more readily apparent from a historical distance of three decades, removed from the aesthetico-political debates of that time. Advances in electronics, computing and telecommunications?and especially the advent of the Internet?have provided tools that enable artists to interrogate the conventional materiality and semiotic complexity of art objects in ways that were not available 30 years ago. Such developments also bring into relief the failure of critical discourses to reconcile how the work of an artist could be allied simultaneously with both art-and technology and conceptual art."
(Edward A. Shanken, 2002, p.438)
1). Roy Ascott (con Joseph Giribet), Mind shift, 1999, Bienale do Mercosul, Brasile.
2). Shanken, Edward A (2002). 'Art in the Information Age: Technology and Conceptual Art', Leonardo, Vol.35, No.4, pp.433-438