What is "lifecasting"

Etymology 1 n. The creation of a three-dimensional copy of a living body by means of molding and casting techniques. Etymology 2

n. The broadcasting of events in one's life to the Internet, especially by means of a webcam.

Lifecasting is the process of creating a three-dimensional copy of a living human body, through the use of molding and casting techniques. In rare cases lifecasting is also practiced on living animals. The most common lifecasts are of torsoes, pregnant bellies, hands, faces, and gentalia and it is possible for an experienced lifecasting practitioner to copy any part of the body. Lifecasting is usually limited to a section of the body at a time, but full-body lifecasts are achievable too. Compared with other three-dimensional representations of humans, the standout feature of lifecasts is their high level of realism and detail. Lifecasts can replicate details as small as fingerprints and pores.

Lifecasting is a continual broadcast of events in a person's life through digital media. Typically, lifecasting is transmitted through the medium of the Internet and can involve wearable technology. Lifecasting reverses the concept of surveillance, giving rise to sousveillance through portability, personal experience capture, daily routines and interactive communication with viewers.

Originally being called lifelogging or lifestreaming, during the summer of 2007, Justin Kan's term lifecasting escalated into general usage and became the accepted label of the movement. Other labels for lifecasting and related have occasionally surfaced, including cyborglog, glog, lifeblog, lifeglob, livecasting and wearcam.

Lifecasting is a ballet choreographed by Douglas Lee for the New York City Ballet to the third movement of Ryoji Ikeda's Opus 1 (2000–2001) and Steve Reich's Triple Quartet (1998). The premiere took place on Thursday, 22 January 2009 at the David H. Koch Theater, Lincoln Center. Lee has previously made dances for City Ballet’s New York City Ballet#Choreographic Institute. Costumes were designed by Ines Alda and lighting by Mark Stanley.