A Quote by Peggy Fleming
When I was on the ice, in the lights, with the music and the motion, there was a certain kind of flirtation that gave great energy and expressiveness to my performance.
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Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
I don't think I gave a good enough performance to be nominated for it. I thought I gave a fine performance, but those things are supposed to be about giving an extraordinary performance.
There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
Everyone longs for expressiveness. That's why love carries so much weight. Because so many lives are without other means of expressiveness.
The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.
I guess I'm fascinated with motion because I find that whenever anything is moving, I have some feeling about it. It doesn't matter what kind of motion it is. A motion will always evoke some kind of reaction.
For relaxation, I like to figure skate. Being on the ice and spinning and jumping, I feel very close to nature. In particular, I feel very close to Newton's laws of motion. On the ice, you can experience Newton's laws of motion in their purest, most elegant form.
Then, we realize that the degraded cocoon we have been hiding in is revolting, and we want to turn up the lights as far as we can. In fact, we are not turning up the lights, but we are simply opening our eyes wider. We catch a certain kind of fever.
Everything is energy. All matter is energy. Energy cannot be created or destroyed. It is the cause and affect of itself. It is evenly present in all places, at all times. Energy is in constant motion and never rests. It is forever moving from one form to another. Energy follows thought.
Growing up as an athlete, I started skating very young. My parents didn't know anything about the sport, so they went with the flow. I had two great coaches who gave great advice and gave guidelines for my parents. My parents let the coaches dictate what was going on on the ice.
When you are doing a show, it can get really dull. You are sitting so long while they set up the lights, then you say a couple of lines, then they tear down the lights again. At least stunts are something that uses your physical energy a great deal.
There are certain things you can say off the ice, but I think it's mostly on the ice. There are certain situations where you feel like the team may need a big play, something like that, where you feel like it's your responsibility to step up and you do that, but I definitely do that more on the ice than off.
What's important is a great set of objective ears, years of experience and a great room with a true sound. Look at this way: If the equipment in a studio is a high performance car, and the mastering engineer is the driver, putting the car on ice and trying to achieve a good lap time is like trying to master music in a bad room, all the equipment in the world wont help you connect with the music and let you hear what's really happening. The room is the environment in which the mix performs to its potential, as the road is to the car. It's hugely important.
Performance matters because games are built on great performance, but form factor and energy efficiency matter incredibly because they want to build something that's portable and transformable.
At one time, the treatment for a certain kind of psychosis had been to push an ice pick up through the orbit of the eye, into the frontal lobe; the ice pick was then stirred around until it reduced the problematic brain tissue to non-functioning porridge.
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