ASRI. Art and Society. Journal for Research in Arts and Digital Humanities
ASRI. Art and Society. Journal of Research in Digital Arts and Humanities, ISSN: 2174-7563 is a semi-annual open access scientific publication coordinated by the research group on Visual Culture and Artistic Practices (CUVPAC) of Rey Juan Carlos University. The main objective is to offer an exchange instrument for the investigation and dissemination of the multiple forms of expression and representation of the material and virtual world that we inhabit. A critical thinking platform that contributes knowledge in a systematic and multidisciplinary way and is oriented towards researchers and artists in art, cultural and visual studies, digital humanities, doctoral and master's students and enthusiasts of hypermedia culture, internet and information technologies. communication, information and visual representation. To broaden the scenario for discussion and debate of ideas, 4 lines of thought have been created: for their monographic issues: Poetics of the Image/Visual Studies (Green Collection); Audiovisual Narratives/Cinema (Blue Collection); Design (Red Collection) and Digital Humanities (Purple Collection). We also have an open line #OPENASRI to publish articles in the miscellaneous modality. Key Words Art, Artistic Practices; Digital Humanities; Hypermedia Culture and internet; Image Technologies; Photography.
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The haptics of memory through Moist Media: interspecies interactivity in the installation Lay Here With Me
The New Media experience has been marked by a tendency to represent the digital and virtual dimensions of reality. However, many artists today seek a physical engagement with and through the artwork, using interactivity to bring the aesthetic experience into the realm of the tangible. Within this shift, Moist Media —the hybridization of technological and vegetal media— emerges as an opportunity to rethink the relationships formed between viewer, living artwork, and digitality, proposing affectivity and interspecies interrelation as objects of study. This article offers a reconsideration of the notion of “interspecies hapticity”, focusing on a conceptual analysis of the work “Lay Here With Me”. The installation, which provides the viewer with a multisensory experience, invites a “moist” reconnection between alterity, past, and present. It demonstrates how technology facilitates a relational experience between human and plant, whose co-touch intervenes in and transforms the work as it unfolds. Through co-creation, the installation opens a space for affective engagement with vegetal life, evidencing the layers inherent to Moist Media. This, in turn, allows us to intertwine the aesthetic and political dimensions of more-than-human relations, prompting a reflection on care in times of instability.
Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0/
The Role of Technical Imagery in the Conservation of Architectural Heritage: 3D Modeling and HBIM as Operational Visual Devices
Architectural heritage faces challenges due to material deterioration and limited technical documentation for structural analysis. This study applies the Scan-to-HBIM-to-FEM workflow, integrating photogrammetry (SfM), terrestrial laser scanning (TLS), HBIM modeling, and finite element simulation to the San Antonio de Padua Church in Riobamba, Ecuador. The results demonstrate a three-dimensional model with high geometric accuracy (deviations < 0.2%), suitable for structural analysis. FEM simulation allowed for the identification of critical stress zones and their relationship to geometric irregularities. It is concluded that the proposed workflow is effective for the documentation and structural evaluation of heritage sites.
A look at museums through apps: current events, reflections, and good practices
The article analyzes how museums use mobile applications as tools for cultural mediation and visitor support. Its main objective is to examine the orientation, resources, and potential of museum apps through an exploratory and comparative methodological approach. The study combines a literature review with a qualitative analysis of five applications selected for their institutional and technological diversity. The results suggest that these tools can contribute to pedagogical mediation, the personalization of the visitor experience, and accessibility depending on the functionalities observed, although informative and narrative models still predominate and the use of immersive technologies remains limited.
The Poetics of Paratext: Interpretations of Félix González-Torres’s Mounds
This article aims to analyze the mound-shaped works of artist Félix González-Torres based on the notion of paratext developed by Gérard Genette. Paratexts are considered to be external elements that, although not part of the work, operate as thresholds that extend meaning beyond their own materiality. Meaning does not arise solely from the visible form, but from the symbolic framework that surrounds it, where language, biography, and viewer participation reconfigure the political, emotional, and ethical interpretation of the installations. The mound is a recurring motif in contemporary art and coincides with some of González-Torres's works, allowing this form to be inscribed in a network of formal and conceptual resonances. To explore this idea further, we turn to Julia Kristeva's concept of intertextuality, which she defines as the relationship that a text establishes with previous texts, forming a “mosaic of quotations” in constant dialogue with different traditions and artistic productions.
The Transformation of the Museum through the Lens of Critical Museology at the Turn of the Century
Far from the static image traditionally associated with museums, the institution has undergone profound transformations in recent decades. Within the framework of critical museology, this perception of change was articulated through a substantial body of literature that, particularly around the turn of the millennium, addressed various aspects of this transformation. This scholarship portrays a museum that rethinks, reinvents, and reconfigures itself, shaped by processes of change, crisis, and reformulation that point toward a model substantially different from that of the twentieth century. This text offers a reflection on the reconfiguration of the museum based on an analysis of museological studies produced approximately between 1990 and 2010, focusing on the Anglophone tradition, where a critical approach to the institution is widely developed. This perspective contributes to an understanding of the museum as a phenomenon closely linked to a specific historical and cultural context.
From Iconography to Educommunication: The Piano as a Resource for Art Education in Digital Contexts
The article analyses the pictorial representation of women pianists based on a corpus of thirteen works, ranging from nineteenth-century realism to the avant-garde and reinterpretations of the twentieth century. Using a qualitative-descriptive approach, scenes are analysed that reflect the transition from a tutored model of musical learning —generally, under the figure of the pedagogue— to representations of autonomous performers, alone and aware of their artistic activity. The work incorporates an innovative component by linking iconographic analysis with educommunication, proposing differentiated didactic applications for each thematic block of the corpus. These proposals, aimed at teacher training and cultural mediation within the framework of the digital humanities, show how art can be integrated into contemporary learning strategies, encouraging critical reflection, creativity and student participation in the knowledge society.
From terror to Humor: The Costume as an Icon of the Reinterpretation of Classic Monsters in Mortadelo and Filemón Comics
This study examines the use of monster costumes or disguises in the Mortadelo y Filemón comic series, focusing on their narrative and symbolic functions. It explores how this resource promotes an archetypal shift in classic horror characters through a comic lens. The research follows a semiotic-narrative methodology based on Seymour Chatman’s structural model, encompassing two analytical dimensions: narrative structure (story) and enunciative structure (discourse), each with specific variables. The results show that the costume or disguise serves both intradiegetic and extradiegetic narrative functions and operates within a comedic framework in both cases. The study concludes that these transformations act as symbolic resignification devices, turning horror into humor through various expressive and narrative strategies.
Technology and Sound Creation. An Artistic Research Practice
This article presents a study of artistic research through the creative process of the work Impasto I, a sound installation that combines acousmatic music and visual experimentation. The study is grounded in a theoretical framework that understands creation and composition as forms of research. Technology does not function merely as a tool, but as an epistemological mediator that shapes the artist’s relationship with sound, perceptual experience, and creative thinking. Methodologically, the creative process of Impasto I is documented in six phases, following the guidelines of the Humanities and Arts Research Council. The analysis of the work is conducted using the spectromorphological method, characteristic of electroacoustic or acousmatic music, which enables the description of the evolution of sound material, texture, gesture, and spatialization, as well as their interaction with visual elements throughout the formal sections of the work. The results demonstrate that technology transforms both the creation and the perception of sound and that, in conclusion, artistic knowledge is generated through practice.
Pulvis et Umbra: Visual Reflections on Death and Ist Rituals
The article examines two works from the Pulvis et Umbra series (2015-2023) created by Rodrigo Bruna in the cities of Temuco and Santiago, Chile. The works are constructed from visual and auditory records linked to the funerary ritual. The research analyzes how contemporary artistic practice produces situated knowledge about death as a fact and dying as a process within a specific cultural context. Unlike anthropological or historical approaches, the study is situated within artistic practice as research. This perspective interrogates its epistemological conditions through its material and medial dimensions, that is, how supports, techniques, and media generate meaning. To this end, it combines a review of philosophical conceptions of death with a historical analysis of the funerary ritual in the West, delineating the conceptual framework of the work. Methodologically, the notion of material thinking (Bolt, 2010) is adopted as an analytical tool. Formal and technical decisions are thus examined, showing how the works resignify documentary archives associated with the funerary. The results indicate that these operations transform the visibility of the archive and modulate the temporal and affective experience of mourning. In this way, the works expand the discourses of contemporary art and make the dying present in the public sphere. This demonstrates how artistic production generates critical knowledge about the visual culture of death.
From the Universal Subject to the Dissident Body: An Ethical and Aesthetic Perspective from Latin America´s Postmodern Art
This article proposes a critical reading of postmodernism as both an aesthetic and ethical rupture with the universal values of modernity. By articulating contemporary philosophical theories (Bauman, Vattimo, Lyotard), postmodern feminist thought (Butler, Haraway, Braidotti, Segato), and Southern epistemologies, this study examines the emergence of a new sensibility that decenters Enlightenment reason and canonical hierarchies. Postmodern art, particularly from feminist and decolonial perspectives, becomes a critical device that challenges the binarisms and epistemic exclusions that sustained the modern project. From this vantage point, the study analyzes contemporary manifestations, especially performance art, that reformulate the place of the body, desire, identity, and otherness. Through these practices, it explores how corporeality and memory activate an ethics of difference, paving the way toward a horizon of resistance, symbolic justice, and collective reparation.
Art as a tool for political action: the ecocritical practice of Oliver Ressler
This article examines the praxis of Oliver Ressler, a pivotal figure in ecocritical art whose trajectory has taken a radical turn in response to the scale of the environmental emergency. Through a hybrid qualitative methodology —linking in-depth interviews with visual interpretation— this study explores how his work moves beyond mere representation to embrace an operational necessity. This shift redefines art as a vital tool for social intervention and mobilization. The research delves into Ressler’s rigorous application of arts-based research to fuse climate science with political activism. His work frontally rejects conventional aestheticization, functioning instead as a tactical and pedagogical device rooted in the criteria of crystallization, epistemological honesty, and transferability. By integrating the roles of documentarian and political security agent, Ressler transforms his work into a catalyst for counter-hegemonic practices that interrogate cultural institutions and generate critical knowledge. Ultimately, his legacy is defined as an emergency public service: an indispensable operational map for social restructuring in the era of planetary collapse.
The policontextual relations of the arts
This paper analyzes the polycontextual relationships of the arts. The present study draws on the work of Nicolai Hartmann's aesthetics and Rudolf Kaehr's diamond theory to propose an understanding of aesthetic experience as a dynamic system of non-linear relationships. From this perspective, the artwork operates as a proemial object capable of generating multiple links between the material and the immaterial, the individual and the collective, the local and the intercultural. This theoretical framework will be applied to the analysis of a work by vocal artist Fátima Miranda, in order to explore art as a living practice that intertwines memory, imagination, and new values within an intercultural framework, going beyond simply being a vehicle for meaning.
Artificial Vision and Human Perception: Correspondences and Divergences
This research stems from the correlation established between neuroscience and computation with the emergence of connectionism in Artificial Intelligence (AI) research—a relationship that would give rise to contemporary deep learning and, in particular, to convolutional neural networks (CNNs) for computer vision. The hypothesis proposed in this article is that this relationship brought with it a neuromythology underlying the contemporary AI media narrative, according to which we are close to achieving a human-like computational superintelligence. Using CNNs as a case study, the article analyzes the relationships and divergences between computer vision and human perception, with the aim of demystifying this narrative.
Copyright (c) 2025 https://creativecommons.org/licenses/by/4.0/
Review: Five senses. A digital exhibition. Sensoriality, art and scenographic culture in the early modern period
The review analyzes the digital exhibition Five Senses. Sensoriality, Art and Stage Culture in the Modern Age, developed within the I+D project led by Concepción Lopezosa and Carmen González-Román. This initiative offers a holistic approach to multisensoriality in festive celebrations from the 15th to 18th centuries, structured around five thematic paths—each dedicated to one of the senses: smell, taste, sight, touch, and hearing. The exhibition, created by the Kunsthistorisches Museum in Vienna, is complemented by a scientific catalog published by Tirant Lo Blanch. Each section explores how the senses shaped festive scenography, from the aromas of fireworks to the flavors of courtly banquets, the guided gaze in religious ceremonies, the spiritual dimension of touch in devotional art, and the soundscape of Iberian events. The digital format enables an interactive, non-linear experience using audiovisual resources, AI-generated animations, and audio descriptions, enhancing accessibility and experiential learning. The project stands out for its originality and ability to merge academic research with cultural outreach, offering a critical and engaging view of past scenographic culture. Despite the inherent limits of multisensory representation, the initiative successfully conveys the emotional and performative richness of historical celebrations.
Between work and project: situated knowledge, art technologies and new specialisations
The relationship between multimedia artistic work, situated knowledge, and project is discussed. The case study of Santa Marta (Venice) is explored in depth, between the ‘presence effect’ and the ‘meaning effect.’ It is concluded that attention to the culture of the between in artistic practices produces more conscious and responsible digital art, geared towards new experiments and spatialities, attentive to hybridisations, the invisibilities of concepts and the non-visibility of algorithms.
Copyright (c) 2025 https://creativecommons.org/licenses/by/4.0
The biomechanical art of H.R. Giger in the posthumanist narrative of the videogame Scorn
The aim of this study is to reflect on the artistic and philosophical approaches belonging to the narrative, interactive, and playable world of the video game Scorn, which have been drawn from the work of H.R. Giger, creator of the xenomorph design for Alien: The Alien and proponent of biomechanical art. Through an interdisciplinary approach combining posthumanist theory, visual studies, and video game design analysis, the influence of Giger on the artistic direction of this digital work is explored, focusing on its symbolic elements (organic-mechanical architectures, hybrid creatures, and bodily imagery) and its biopunk, decaying atmosphere. The study examines how Gigerian aesthetics — which fuse organism and machine — are reinterpreted in Scorn to articulate a critical discourse on the posthuman condition. It is also concluded that Giger’s work has been transferred to Scorn through a posthumanist narrative characterized by existential absurdism and scientific determinism, packaged in the Swiss artist’s biomechanical and sexualized art.
The Development of Stage Machinery in the Drottningholm Court Theatre (1764-1766)
The Drottningholm Court Theatre is a prime example of the aesthetic and technical aspirations of courtly spectacle in the second half of the eighteenth century. Its sophisticated stage machinery, based on the innovative vertical capstan and inspired by Central European models, enabled the dramatic space to be transformed with remarkable precision and dynamism. Conceived by Carl Fredrik Adelcrantz under the patronage of Queen Lovisa Ulrika of Prussia, it combined spatial richness with mechanical splendour to create the total theatrical illusion. This integration of architecture, painting, music and movement represents the culmination of Baroque scenography while also anticipating the modernity of artifice. In the contemporary digital landscape, technique has evolved to serve as a conduit for aesthetic expression, seamlessly integrating reality with illusion to create a distinctive experience.
The role of interactivity in Klaus Obermaier scenographic spaces
This paper examines the role of interactivity in scenographic environments through the analysis of the intermedia dance performances of Klaus Obermaier. Through systems of real-time motion tracking, computer vision, and body mapping, his work transforms the stage into an interactive device that eliminates the traditional hierarchy between stage, artist, and performer. In this context, interactivity becomes a generative dramaturgical principle, a process of real-time meaning-making that redefines experiences of presence, embodiment, and participation for both dancers and audience. The analysis situates Obermaier’s practice within the broader discourse on digital scenography and contemporary choreography, arguing that responsive media redefine the terms of the artistic process and the role of the dancers.
The evolution of stagecraft at Eurovision Song Contest
Since its inception in 1956, Eurovision Song Contest has evolved from minimalist stages to hybrid and technologically experiences, integrating light, space, and multimedia. Innovations such as LED screens, mapping, augmented reality and kinetic elements transform audience’s perception. Influences from Appia, Craig, Svoboda, Wilson and Lepage demonstrate the transition toward the “total artwork.” Additionally, Turrell and Eliasson’s proposals enrich the expanded scenography, exploring light as a material and multisensory participation. Each edition acts as a scenographic laboratory, where the physical and digital converge, redefining the aesthetic experience and establishing the festival as a benchmark of technological and visual innovation in large-scale events.
Velázquez Meets Queer Tango: Portraiting Dissident Lineages
This article presents an artistic investigation focused on a series of oil portraits of queer tango dancers, created through a contemporary and dissident rereading of the Spanish portrait tradition, particularly influenced by Velázquez, Zuloaga, and other visual genealogies. Using a qualitative, autoethnographic, and visual artistic methodology, a pictorial archive is constructed that activates new forms of representation for dissident bodies—not from a place of marginality, but from dignity, complexity, and desire. Thus, conceived through a situated practice that intertwines artistic creation and embodied experience as a tango dancer, the project explores portraiture as an archive of queer subjectivities, proposing an affective cartography of bodies and identities that escape normativity. The various portraits display a deliberate aesthetic diversity that dialogues with multiple eras and visual imaginaries, pointing to a queer trans-temporality that connects visual genealogies of the past, present community, and future possibility. The dancing body—and its pictorial representation—becomes a space of political inscription, where tensions between gender, desire, memory, and affect are explored. Through an articulation of painting, performativity, critical theory, and care, the proposal seeks to make dissident corporealities visible and complex, conceiving art as a space for resistance, reinterpretation, and the creation of possible worlds.
Transfer as practice and creation force in artistic graphics: an experience from the mokulito technique
This paper arises from my doctoral research on contemporary graphic arts, and it develops the idea that the different practices of contemporary printmaking are crossed by a constitutive and singular force specific to its field, which is the transference. In this sense, the analysis starts from the reflection on Deleuze's ideas about what the act of creation implies, specifically in the case of the act of creation of graphic arts. Transference acts as a creative force that articulates the practice and production of printmaking, beyond the regulations and functioning of each technique. In consequence, this paper presents the arguments why transference is considered an intrinsic and distinctive element of the practices of printmaking, which serves as an anchor for the analysis of what the development of this field of knowledge implies within the contemporary arts. Similarly, it includes an analysis of an experience of creating art prints using the mokulito technique from which the artist-researcher assumes his own practice of transference.
Generative artificial intelligente in the production of a posthumous portrait cast in bronze
The creation of posthumous sculptural portraits poses significant challenges in the absence of morphological documentation. This study proposes a hybrid methodology that integrates generative artificial intelligence, perceptual validation, and digital modelling, focused on the production of commemorative busts with a critical approach to the creative process. AI platforms were used to generate synthetic images of the honouree’s face, which were evaluated and selected using a questionnaire administered to people who knew them during their lifetime (n = 12). The images served as the basis for the construction, reflecting on the capacity of AI to intervene in the construction of memory and representation of the body. The results show that the integration of AI not only has an impact on the sustainability of material resources, but also opens up new possibilities for questioning authorship, representative fidelity and the boundaries between technique and artistic creation. The final bust achieved a high degree of morphological and expressive recognition by the community, showing how hybrid processes can articulate collective memory, technological innovation, and aesthetic value. The methodology allows for a rigorous approach to the problems arising from the absence of data in postmortem portraits, contributing to the debate on the role of AI in...
Punk music and social criticism in Indonesia. The controversy of the song Bayar Bayar Bayar and the institutional response
The song Bayar Bayar Bayar by the punk band Sukatani sparked controversy in Indonesia, showing how punk music has become a tool of social criticism of economic policies and structural injustices. This issue is important in the broader discourse on cultural censorship, freedom of expression, and the role of institutions in responding to social criticism through music. This research aims to analyze the meaning of the song's lyrics, public and media reactions, and institutional responses to them. Using a qualitative method with critical discourse analysis, this study examines media texts, audiovisual recordings, and interviews with academics. The results of the analysis show that punk music remains a form of resistance to state hegemony, despite facing censorship and silencing. Thus, the repressive response to music with social criticism strengthens the song's appeal as a symbol of resistance. This study emphasizes the need for more inclusive cultural policies, as well as more open dialogue between artists and institutions to accommodate freedom of expression in public spaces.
Representation of gender and feminist values in the television series the Marvelous Mrs. Maisel
This paper is framed within the context of gender studies that examine the representation of women in audiovisual media and focuses specifically on a television series as a case study. The main objective is to analyse the representation of the female protagonists of the series The Marvelous Mrs. Maisel (Prime Video, 2017-2023) from a gender perspective. To achieve this, a textual analysis based on the identification and description of the traits that characterise the female protagonists, Miriam Maisel and Susie Myerson, is applied. Through a phenomenological approach, three dimensions are studied: physical, psychological and social. The second objective is to evaluate this representation in terms of the principles of different waves of the feminist movement and the possible presence of sexist stereotypes. The results lead to the conclusion that the series proposes a revision of the 1950s by presenting women who challenge the patriarchy of the time through their artistic and professional activity. The research concludes that, although there are some conventional physical representations of beauty and youth, the female characters exhibit a psychological and social depth that transcends classic stereotypes. The series aligns itself with contemporary feminist values, especially those of the second and fourth waves, by denouncing gender discrimination and advocating for equality.
Aesthetics of betrayal. Desire and censorship of gay memory in contemporary art
This article offers a critical and controversial analysis of gay history through contemporary art, adopting a negative queer perspective that destabilizes normative narratives of identity, desire, and memory. Through the study of works by artists such as Collier Schorr, Attila Richard Lukacs, Catherine Opie, and Pierre et Gilles, the article explores how visual art can reconfigure traditional representations of homosexual masculinity, particularly those linked to fascist aesthetics, militarism, and fetishism. These artists employ aesthetic ambiguity—between desire and discomfort—to push the boundaries between eroticism, symbolic violence, and politics. The investigation draws upon theoretical frameworks developed by Jack Halberstam, Leo Bersani, and Susan Sontag, whose ideas on masochism, queer negativity, and aesthetic fascination allow these images to be read not as affirmations of identity, but as symbolic acts of betrayal that open new paths for rethinking discomfort.
Video mapping as a didactic strategy to design learning situations in teacher training
Video mapping is a technique widely used in public art that transforms the appearance of all kinds of surfaces with projections. Given that the means used to perform these productions are the same that we can find in a classroom, this article proposes a teaching strategy based on the use of these ICTs to achieve artistic and technological literacy among trainee teachers. As a result, three artistic interventions developed in three different contexts and based on the methodological foundation of a/r/tography are presented.
Audiovisual animation as an agent of social change: honoring our elders and the value of their life experience
The animation project La vela (De Miguel, 2023) uses 2D animation to portray the life of an elderly man during COVID-19, reflecting on the digital exclusion faced by older generations. Inspired by the personal story of a grandfather and his granddaughter, the film highlights the isolation experienced during lockdown while promoting empathy and intergenerational connection. Methodologically, it is structured through a three-axis helical model linked to the project’s phases and to the academic profile that combines researcher and artist.
The stage as screen: intermedial perspective on expanded audiovisuals in contemporary performing arts
This study explores the expansion of audiovisual media in contemporary performing arts from the perspective of intermedial studies. Drawing on a theoretical and methodological framework based on the work of Rajewsky (2005) and Bruhn and Schirrmacher (2021), it examines how cinema is integrated into live arts, generating new experiences of aesthetic perception. Key concepts such as intermediality, hypermediality, expanded audiovisual formats, and cinematic experience are addressed. The research proposes an analytical model focused on the interactions between media and their impact on the spectator’s experience. This approach allows for a deeper understanding of hybrid practices, particularly those dramaturgies built through audiovisual language and technologies. To apply these concepts and observe their manifestations in specific projects, the study analyzes three case studies that represent different forms of scenic intermediality: Los días afuera (Lola Arias, 2024), Festen (La dramática errante, 2023), and Cosmogony (Gilles Jobin, 2021).
Paths: Sensory Drawing as a Means to Trace the Body’s Memory
This article presents the results of the research-creation project: Sentimental Drawing, multisensory experiences for the creation and contemplation of drawing, whose first result is Paths, an audiovisual piece in which sensory drawing is explored as a medium to recognize and trace the memory of the body. The work, a video performance, is constructed through contact with stretch marks on the skin, generating a process of graphic inscription that follows the traces time has left on the body. This action, which links tactile perception with drawing, caress with line, is conceived as a form of corporeal cartography in which the gesture of touching and tracing becomes a strategy for recognition and appropriation of one’s own image. The objective of this work is to explore the relationships between body, memory, and line, proposing an expanded view of drawing as a performative practice. To that end, the article examines theoretical references concerning the body as archive, and the ways in which the materiality of drawing can function as testimony and narrative. Finally, the work is analysed in the context of contemporary artistic practices that connect self-exploration with action and graphic gesture.
History of artistic anatomy teaching tools in western culture
This article explores the history of artistic anatomical teaching tools in Western culture, from its establishment in Classical Greece to the present digital era. It specifically focuses on human anatomy and traces the most significant milestones in its development, such as the transition from the Greek ideal to the individuality of ancient Rome, the access to cadavers in Renaissance universities, the use of photography to understand anatomy in motion and the and the more recent creation of three-dimensional digital models.