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Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University.Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties. Irrespective of the motion type selected to be animated (cartoonish, caricaturist or very realistic) human beings are natural experts on any kind of motion. Since we are experienced with other peoples' motions, and comparing each motion to the others, we can easily judge one individual's mood from his/her body language. As being a natural master of human motions it is very difficult to convince people by a humanoid character's animation since the recreated motions can include some unnatural artifacts (such as foot-skating, flickering of a joint).

Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University.Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties. Irrespective of the motion type selected to be animated (cartoonish, caricaturist or very realistic) human beings are natural experts on any kind of motion. Since we are experienced with other peoples' motions, and comparing each motion to the others, we can easily judge one individual's mood from his/her body language. As being a natural master of human motions it is very difficult to convince people by a humanoid character's animation since the recreated motions can include some unnatural artifacts (such as foot-skating, flickering of a joint).

Dieses Themenheft diskutiert die Möglichkeiten und Grenzen des Konzepts der "Wissenszirkulation" in der Geschichtswissenschaft. Die Wissensgeschichte versteht "Wissenszirkulation" als einen mehrdimensionalen Prozess, in dem Wissen zirkulär produziert, mobilisiert und transformiert wird. Der Ansatz ermöglicht somit, eine Vielfalt von Akteur*innen, Kontexten und Handlungsräumen sichtbar zu machen, die in das Bewegen von Wissen eingebunden sind, ohne dabei vorhandene Machtverhältnisse zu ignorieren. Unter Einbeziehung verschiedener Definitionen und methodischer Ansätze fragt der Band, inwiefern es gelingen kann, neben hegemonialen Praktiken der Repräsentation und Anerkennung auch Ermächtigungsstrategien und Handlungsfähigkeiten auszumachen, wenn Wissensproduktion als kommunikativer (Aus-)Handlungsprozess gefasst wird.

Memory in Motion illustrates the ways that replicating a now-lost culinary practice achieves stickiness through the affective transfer of ideas and experiences for visitors in history museums. It explores how embodied re-enactment both preserves and creates memories, while instilling senses of social value, currency and meaning in the museum, and in heritage more broadly. The work also considers museums, particularly house museums, recipes, and in this instance—sponge cake—as sites of memory and nostalgia, and their contemporary relevance. By interweaving resonant fragments of the museum's collection and family (hi)stories with a performative activity embedded in memory and motion, we see the development of stickiness through a relational assemblage framework centred around emotional connections to food in the past and in the present, with a view to the future.with a view to the future.

Abstract
Through sensitive engagement with the experimental films of Arthur Jafa, the flex choreography of Storyboard P, and performance of #BlackLivesMatter protests, this essay submits revenant motion as a concept through which to think about black being and phenomenology in this era. The entwined reflections on black life, death, and aesthetics offered up by Jafa, Claudia Rankine, Hortense Spillers, Elizabeth Alexander, and Sylvia Wynter shape these speculations toward a black creative, curatorial, and cultural practice attentive to the other(wise) worlds opened by uncanny reanimation. The suggestion here is that revenant motion might name a genre (à la Wynter) of the perennial danse macabre, which often figures Death dancing among the living as a reminder to too-worldly humans of its ever-presence and equalizing power. The creative and critical practices considered here also persistently foreground the melancholy possibilities and pleasures that our collective entanglements with black after/other/lives affords. This study of the macabre aesthetic as it manifests in latter-day memento mori sharpens our awareness of the proximity of horror and romance. In doing so it provides us with an occasion to think about how the gothic character of black life emerges in the sensual and sensorial performance of mourning and artful response to grief.

In the wide-ranging and innovative essays of Cultures in Motion, a dozen distinguished historians offer new conceptual vocabularies for understanding how cultures have trespassed across geography and social space. From the transformations of the meanings and practices of charity during late antiquity and the transit of medical knowledge between early modern China and Europe, to the fusion of Irish and African dance forms in early nineteenth-century New York, these essays follow a wide array of cultural practices through the lens of motion, translation, itinerancy, and exchange, extending the

How should we understand social memory in the age of new media? Classic sociology described the ways in which social memory was enacted through ritual, language art, architecture and institution - phenomena whose persistence over time and whose capacity for a shared storing of the past was contrasted with fleeting individual memory. Society is memory, Émile Durkheim stated. However, today's new time technologies compel us to rethink this concept of memory and its emphasis on a shared past. For in the age of digital computing, instant updating and transfer functions and interconnection through real time networks give an unprecedented priority to the present and the future, while challenging the very distinction between individual and collective memory. New media technologies raise the question of the temporalities of memory to a principle, challenging not just the classic description of social memory, but also the social ontology that it presupposes. 'Memory in Motion: Archives, Technology and the Social' discusses the new technologies of memory from perspectives that explicitly investigate their impact on the very conceptualization of the social.