دکترا

– پست  شخصی- بورس تدریس ایران  / دانشگاه های فرستاده شده/ پروپوزال ها موضوع و شیوه نامه/ توصیه نامه نویسی/  estatement of purpose/ دانشگاه ها  –


send

kent university 1/ cartoon 2/computer 3/fine art

SOAS

Leeds – completed

گفت تافلت دو سال گذشته

Universidad Politécnica de Madrid

گیر داد که مدرکت ناقصه ! میگه نامه می خوام که تو میتونی دکترا بخونی!!!
warwick| مهلت بورس تموم شده برای همین برای 2016 اقدام می کنم
goldsmiths دکترای هنر art رو submit کردم
upsala رشته ی تاریخ  ایده ها و ..سریع جواب داد و به خاطر نداشتن مطلعات مربوط رد کرد
chalmer  – computer graphics
serse italia https://serse.sns.it/en/concorsi  سعیم رو کردم ولی سیستم از یه جایی به بعد غیر فعال بود حالا ایمیل زدم
________________________________
Hull University  فرستادم ولی مدارکم رو نتونستم تو فرمتی که اونا گفتن جا بدم از نظر حجم و فرمت
Thank you for your application to study for the PhD in PhD Computer Science at the University of Hull. After careful consideration I regret to inform you that your application has not been successful.

The main reason for this decision is as follows: There were other candidates with more closely aligned skills and experience
__________________________________
academy of fine arts viena
http://blogs.akbild.ac.at/phdinpractice/the-program/call-for-applications/
________________________
iggi
I regret to inform you that your application for an IGGI Studentship was not selected to be considered at our final interview round. This year we had a large number of exceptionally strong applications and competition was even more fierce than we had anticipated, and with such a small number of studentships available, we were unable to take your application further.

________________________________________

 http://xn--mgbc5c3bf.xn—-omcztlc7kir78gcl.com/

http://www.phdazmoon.net/

http://www.iranresearches.ir/

edinburgh

computer/ design/ art

design رد کرد

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اطلاعیه بورسیه 92 امسال دو تا فرصت داشتپویا نمایی – هنر اسلامی تبریز

واقعیت مجازی – هنر اسلامی تبریز رو هم زدم

انیمیشن ( تصویر متحرک) – غیر انتفاعی مازیار نور

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practice based
practice led

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proposals 

 

****************

The relation between cartoon, caricature, manga and animation over time

factors of framings, moving comics, coloring and color key

final try: deriving to form an infographic informations.

******************************

Adding exaggeration and artistic features to motion captures data and other recorded facial, body and lipsynch animatons.  in order to avoid the uncanny valley and make it easier to animation

– using of sound and emotions of voice

– extraction of styles of animatoins

-its applications in robotics and giving characteristics to robots

– steganography

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making morph in animations smarted up by step shape morphs rather than point to point morphing

synching the steps with music

************************************

ambient data visualizations using art

-> changing in bitrate or betweens of animation

*************************************

extraction of exaggerated or actions from animatls movement in relations with skeleton in cartoons and devine proportins

***********************

cognition of history in reding of cartoons

and change of gaze factor ..

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بحث فواصل اجتماعی در شبکه های احتماعی

اگر جادویی هوار تا هم مقاله داره

NLP  و فیلم نامه سورئال یا انیمیشن

رمزگشایی ویژوال

خودم: ترکیب gaze factor  با layout  در انیمیشن

کمک به انیمیشن stop motion

محیط زیست  computing for futruie of the planet

PHD human centered computing \

استیگانوگرافی و کشف ویژوالایز کردن ترافیک شبکه

دکترای تاریخ هنر

دانشگاه هاروارد و اهمیت به علوم بین رشته ای ژاپن و آسیا

CG

distributed roborics

عکس دوباره میگیرن با همان زاویه

پیشنهدا استاد پیتر ambient I .. visualization using generated art

abstract mapping for ancient & contemp… cities

ساخت دیاگرام های اتوماتیک

MIT LAbs

data visualization => characterization

film history visualization/ art history visualization

ذخیره سازی گرافیکی و درخت search

حطاطی و انیمیشن

استفاده از CS در سلامت روان

کمیک و کارتون و و مانگا -< انیمیشن شدن

steganographu in animation

in mocap data   با تغییر ریتم

مثلا با نرم افزار layer رو به آسمان بگیرید و crowd computing  و یا ساخت تصاویر پارانومای جهانی

matrix anime

طرف کار هنری بکنه و کامپیوتر مقایسه و  data extraction

خودش یک کمبریج بازی که هرکی بازی کنه به شناخت مغز کمک کنه

من : درمان انییمشن و یه گیم در در مان فوبیا از ارتقاع

خودش : یک برای که بر اساس تولید براش هنری کند

– یک چیزی کگخ سبک بده گوشه دار کنه

– ویژوالابز کردن

–  تغییر رنگی فیلم و انیمشن

-cognitive  و درک کاریکاتور و کارتون

نسبت های طلایی و اغراق در آن ها -< کارک1111111111111111111111111111111111اتور کند

تفکیک لایه های بک پراند و یا سبک پارانومایی دادان

اتوماتیگ  استروئوسکوپیک کنه

انیمیت خودکار آسان ؟ با صدا ، جرکت،موشن کپ

دستکاری موشن کپچر برای فرار از uncanny valley

اغراق لیپ سینک . ..

ایجاد هیجام در صدا ( روبات و ..) و مکث … در تخصص من نیست

data viz  تخیل وو … تصمیم گیری مردم

دسته بندی عکس های تاریخ از یک جا

تلقین و شیوه زندگی ( با کامپیوتر و هنر )

دکترای کارتون و کاریگاتور

آیا می شه روبات رو با data viz مخلوط کرد؟ حرکت + انیمیشن

حرکت دوربین + نسبت آماری حرکت گراف ها فضا کهکشان حیات فرازمینی

فیلم کوبیسم بده

لیپ سینک و اعراق

اطلاعت فضایی gourp computing

فشرده سازی تصاویر و فضاپیماها با الگوریتم خاضی

virtual world

experimental media virtual cultire and design

سینستزیا ( آموزش موسقی با تصویر یا تصویر با موسیقی)

ثبت اطلاعات روی کارهای هنرمندان بزرگ ( آشنایی -> درک بهتر ) + آثار فتورئالیسم

ثبت اطلاعات بر اساس فریم ریت یا بیت ریت

یه چیز برداد سخت افزار بوده

تشخیص چهره در کاریکاتور

مورفیک در انیمیشن و شاید به توپولوژی هم رسید

crowd morphing مرحله به مرحله به جای نقطه نقطه ( مکانیکی و نه تبدیلی)

ترافیک شبکه بر اساس داده عکسی routing

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بحث دیداری سازی داده ها data visualization

selecting semantically resoant colors for data visualization , shan lin, Fortuna, Chinmay Kulkami Maureen Stone, Jeffery Heer  ( viz.stangord.edu)

– shakes  -> molecules

– spots -> colores / changing color/ speed

– trees -> camera  – education

-camera -> longshot , traveling shot => importance of subject

speed of camera movement, sudden stop on something, objects on the floor

word clouds -> just size

-> color

growing -> shaking , hear beating => more alive

****

به کار گیری 12 اصل انیمیشن در دیداری سازی اطلاعات

cinema rules/ strech and squeeze/ anticipation/ staging(place, shadow, light) / straight ahead, pose to pose / follow through and overlapping action/ slow in slow down fps/  arc speed teez speed bala monhani/ secondary action/ timing/ exaggeration ( educational) / solid drawing 3D, volume, weight Jphnson and Tomas warned Twins lifeless/ Appeal  appealing monster villain , symmetrical.

**

mishe  walking characters به جای  chart bar

– character khasteh

– khamide,

-sari midavad

-aroom midavad

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توصیه نامه علمی

https://owl.english.purdue.edu/media/pdf/1367380800_982.pdf
http://www.essayforum.com/letters-19/supervisor-dissertation-recommendation-studies-45879/
https://www.e-education.psu.edu/writingrecommendationlettersonline/book/export/html/137
https://www.e-education.psu.edu/drupal6/files/wrlo/Ch5pdf2.pdf
https://www.e-education.psu.edu/drupal6/files/wrlo//Ch5pdf1.pdf
https://www.e-education.psu.edu/drupal6/files/wrlo/Ch5pdf3.pdfhttps://owl.english.purdue.edu/owl/resource/982/02/
 

__________________

بورسیه ها

http://fundsforstudy.ir/post/tag/%D8%AF%DA%A9%D8%AA%D8%B1%D8%A7

http://scholarship-positions.com/

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نوشتن essay

http://www.callutheran.edu/career_services/documents/Sample%20Graduate%20School%20Essays.pdf

https://www.cs.purdue.edu/homes/dec/essay.dissertation.html

http://www.iwriteessays.com/samples/statement-of-purpose-computer-science

http://www.criticalproof.com/phd-essay-samples/

http://www.petersons.com/graduate-schools/graduate-school-essay-mistakes.aspx

http://writepass.com/journal/2013/06/phd-research-proposal-samples/

http://www.brighthub.com/education/postgraduate/articles/73762.aspx

ورد کردم چند تا لینک دیگه رو خوندم دقیق و با ماژیک فسفری اوف

این هم لینک آون فایل ورد

http://s5.picofile.com/file/8144431092/Statement_of_Purpose.docx.html

3 Questions You Should Ask Your PhD Supervisor Before Choosing A Career In Science?

Graduate School Advice Series: 10 Things You Should Know Before Starting A PhD

http://people.csail.mit.edu/mip/docs/

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پیدا کردن موضوع

کتابخانه ی گلدسمیت

http://www.gold.ac.uk/library/collections/theses

لیستی از پایان نامه های دکترای دانشگاه هنر لندن

http://ualresearchonline.arts.ac.uk/view/types/thesis.html

پایان نامه های دکترای هنر دانشگاه جورجیا

http://art.uga.edu/areas-of-study/graduate-studies/art-history-ma-phd/art-history-grad-topics

دانشگاه واشنگتن

http://art.washington.edu/art-history/graduate3/doctoral-degree/dissertation-thesis

دانشگاه یو بی سی

http://www.ahva.ubc.ca/gradThesisDisplay.cfm?ProgramNameID=11

I was searching
and found these topics interesting

http://www.dissertation-help.co.uk/dissertation_guide/Animation-dissertation.htm

 

  • The effect of different types of kinematics and dynamic methods on animation
  • The natural light simulation in 3D animation
  • Creating different advance systems for multiple applications
  • Using 3D in printing
  • Thorough study of animation art
  • Animation and facial effects
  • Using the texturing art in animation and games
  • Animation editing and formatting
  • Animations and role of emotions
  • Film making on internet

 

 

http://guides.library.yale.edu/content.php?pid=9130&sid=62425

http://research.animationsinstitut.de/

  • SARA – Stylized Animations for Research on Autism 
  • A Platform and Tools for Collaborative Virtual Production
  • The collaborative research project explores innovative software solutions for stereoscopic content creation
  • The Muses of Poetry is an interactive installation that explores how interactive animated characters can transmit the intrinsic emotions conveyed in poems to an audience, expanding in this way the act of reciting poetry. It goes a step forward in the computational creativity direction by bringing into existence a Virtual Poetry Interpreter.
  • n an ongoing collaboration project with LANG-FILM the R&D team is developing and evaluating techniques to transfer the heritage of hand drawn animation sequences into modern production pipelines.

Conference on Animation, Effects, Games and Transmedia

The course Computer Animation will discuss a variety of topics related to computer animation, such as: motion capture, blending, (inverse) kinematics, physics-based animation, and more

Art animation research lab

Animation research could offer unparalleled control of characters without skeletons

http://grail.cs.washington.edu/theses.html

2014

Image-Based Remodeling: A Framework for Creating, Visualizing, and Editing Image-Based Models
R. Alex Colburn, Ph.D. Thesis, 2014.

2013

Interactive Playspaces for Object Assembly and Digital Storytelling
Ankit Gupta, Ph.D. Thesis, 2013.

2012

Unstructured Image Mosaics
Rahul Garg, Ph.D. Thesis, 2012.

2011

A Framework for Scientific Discovery through Video Games
Seth Cooper, Ph.D. Thesis, 2011.

The Design of COVE: a Collaborative Ocean Visualization Environment
Keith Grochow, Ph.D. Thesis, 2011.

2010

Decision Mechanisms for Real-time Character Animation
Yongjoon Lee, Ph.D. Thesis, 2010.

Indriyati Atmosukarto, Ph.D. Thesis, 2010.
Ian Simon, Ph.D. Thesis, 2010.
Jia-chi Wu, Ph.D. Thesis, 2010.

2009

Katarzyna Wilamowska, Ph.D. Thesis, 2009.
Pravin Bhat, Ph.D. Thesis, 2009.

2008

Mira Dontcheva, Ph.D. Thesis, 2008.
Keith N. Snavely, Ph.D. Thesis, 2008.
Ke Colin Zheng, Ph.D. Thesis, 2008.
Wilmot W. Li, Ph.D. Thesis, 2008.
Adrien Treuille, Ph.D. Thesis, 2008.

2007

Jue Wang, Ph.D. Thesis, 2007.
Daniel R. Goldman, Ph.D. Thesis, 2007.

2006

Aseem Agarwala, Ph.D. Thesis, 2006.

2005

Yi Li, Ph.D. Thesis, 2005.
Brett Allen, Ph.D. Thesis, 2005.
Li Zhang, Ph.D. Thesis, 2005.
Cheng-Yun Karen Liu, Ph.D. Thesis, 2005.

2004

Daniel N. Wood, Ph.D. Thesis, 2004.
Jonathan Ward Shade, Ph.D. Thesis, 2004.
Yung-Yu Chuang, Ph.D. Thesis, 2004.
Steve Capell, Ph.D. Thesis, 2004.

2003

Douglas Zongker, Ph.D. Thesis, 2003.

2002

Craig S. Kaplan, Ph.D. Thesis, 2002.

2000

Chris Prince, M. S. Thesis, 2000.

1999

Fred Pighin, Ph.D. Thesis, 1999.

1998

Eric Stollnitz, Ph.D. Thesis, 1998.

1997

Kari Pulli, Ph.D. Thesis, 1997.
Michael Salisbury, Ph.D. Thesis, 1997.

1996

Adam Finklestein, Ph.D. Thesis, 1996.
Jean E. Schweitzer, Ph.D. Thesis, 1996.
Georges Winkenbach, Ph.D. Thesis, 1996.

1995

Per Christensen, Ph.D. Thesis, 1995.

1994

Hugues Hoppe, Ph.D. Thesis, 1994.
Michael Lounsbery, Ph.D. Thesis, 1994.
David Meyers, Ph.D. Thesis, 1994.

1992

Surface Approximation Using Geometric Hermite Patches

Realism in Research:
Innovative Use of 3D Animation for
Qualitative & Quantitative Research Methodologies

by
Michael Richarme, Ph.D. and John Colias, Ph.D.
  •  

Computer Animation Research Centre Overview

The National Centre for Computer Animation (NCCA) is a recognised centre of excellence and a pioneer in the establishment of the discipline of computer animation, fusing technical developments in computer science with underlying artistic principles and practice.This has included the development of tools and techniques for animators as well as the production of computer animations and other visual productions that exploit and explore the potential of the technology. We continue to develop innovative and creative work across disciplines, advancing technology and its applications; embedding, extending and consolidating core research strengths.

In February 2012 the NCCA Received the Queen’s Anniversary Prize for Higher and Further Education for our contribution to research and education in computer animation;

The NCCA has been described by the NESTA (National Endowment for Science, Technology and the Arts) report, Next Gen. (2011) as a ‘a global leader in education and research in computer animation and visualisation’;
We have been awarded over £4m in research funding, representing a five-fold increase in external income compared with the previous review period, from £800k in the previous RAE cycle to £4.3m in the current REF cycle;
We secured and established an EPSRC-funded Industrial Doctoral Centre (£6.3m) in 2009 jointly with the University of Bath and successfully added a further EPSRC grant (£5.3m) awarded in the autumn of 2013 to extend this significant development from 2014-2021/2;
We have supported a three-fold increase during this period in doctoral student numbers compared to RAE2008.

Overview of research strategy

Our research strategy during the last five years has built upon the approaches and principles laid out in RAE2008, which defined computer animation as an academic research pursuit, an art-form and an industrial discipline. These principles underpin our research direction, investment and support strategies. We have continued to produce a creative blend of art and science in applied projects, supporting arts practice-based cultural explorations and driving the active development of relationships with industry.
Our strategy includes the following priorities: contributing to the growth in new techniques and technologies; production of internationally recognised creative theories and artefacts; and the multidisciplinary application of computer animation. Much of our work represents the fertile intersection between rigorous mathematical investigation and the understanding of practical application in creative industries, digital arts and in an array of application areas.

We are open to new potential topics of research and welcome proposals from interested candidates with suitable qualifications and from organizations and companies with appropriate projects.

Selected achievements

We have prioritised multidisciplinary applications of computer animation hosting; for example, Computer Graphics International in 2012. This has contributed to strengthening our collaborations across industry and academia.

Our work demonstrates the application of computer animation technology in innovative settings, directly addressing user needs. For example:

The EPSRC-funded “Bystander Project” (Zhang, £290k in collaboration with University College London and University of Lancaster) validates the use of Virtual Reality for studying behavioural psychology.

The EU-InterReg-funded SHIVA project (Sculpture for Health-care: Interaction and Virtual Art in 3D; Pasko, £175k) involves creative collaboration between five EU institutions. It explores intuitive gesture interfaces for virtual sculpting for rehabilitation for children with disabilities.

The Augury (Augmented Reality Surgery) project (Zhang; £25k Bournemouth Hospital, £58k Higher Education Innovation Fund) developed a sophisticated colorectal surgery simulation, receiving positive feedback from consultant surgeons from Bournemouth and Poole NHS and from
medical instrument manufacturers.

The successful delivery of these strategic priorities emerged from commitments laid out in RAE 2008 foregrounding creative innovation, cultural-theoretical exploration and multidisciplinary applications of computer animation in academic, industrial, cultural and social settings.

Organization

From an administrative point of view research within the NCCA is organised as the Computer Animation Research Centre (CARC), with Prof Jian J Zhang as Head.

Professorial and other staff are engaged in supervising a growing number of PhD students.

Staff within the centre are associated in research groups :

the Computer Graphics and Visualisation Research Group (CGVRG) includes staff who research and develop techniques and algorithms in computer graphics, animation and visualisation best evaluated by traditional scientific criteria.

the Modelling, Animation, Games, Effects Group (MAGE) includes staff exploring emerging techniques looking to the next generation of computer animation systems.

the Visual Research Group (VRG) includes staff engaged in the production and critical appraisal of visual artefacts more appropriately pursued and evaluated by established art and design methods.

Computer Animation

This course will teach you about state-of-the-art in computer animation algorithms. By the end of the course you should be able to:

  • use the basic animation techniques to produce motion for an animated sequence
  • read and critically evaluate the current literature in computer animation

This course will introduce techniques such as keyframing, morphing, procedural methods, motion capture, and simulation. The course will also explore state-of-the-art research topics in computer animation such as dynamic simulation of flexible and rigid objects, automatically generated control systems, and evolution of behaviors.

computer graphics, interaction, and virtual environment research techniques and problems. Research-level topics are based on recent ACM SIGGRAPH papers and special effects techniques

ACM SIGGRAPH

Character animaition

Facial Animation: General

  1. P. Ekmanand W. Friesen. “Facial Action Coding System.” (http://www.cs.cmu.edu/afs/cs/project/face/www/facs.htm)
  2. CASSELL, J., PELACHAUD, C., BADLER, N., STEEDMAN, M., ACHORN, B., BECKET, W., DOUVILLE, B., PREVOST, S., AND STONE, M. “ANIMATED CONVERSATION: Rule-based Generation of Facial Expression, Gesture & Spoken Intonation for Multiple Conversational Agents” (http://citeseer.ist.psu.edu/cassell94animated.html)

Facial Animation: Lip Syncing

  1. COHEN, N. AND MASSARO, D. W. “Modeling coarticulation in synthetic visual speech” (http://mambo.ucsc.edu/psl/ca93.html)
  2. Yong Cao, Petros Faloutsos, Eddie Kohler, Fred PighinReal-time Speech Motion Synthesis from Recorded Motions” (paper:http://people.cs.vt.edu/~yongcao/Documents/Cao_102.pdf, video:http://people.cs.vt.edu/~yongcao/Videos/SCA04_102.mpg).
  3. BREGLER, C., COVELL, M., AND SLANEY, M. “Video rewrite: driving visual speech with audio” (http://mrl.nyu.edu/~bregler/videorewrite/)
  4. EZZAT, T., GEIGER, G., AND POGGIO, T. “Trainable videorealistic speech animation” (http://cbcl.mit.edu/projects/cbcl/publications/ps/siggraph02.pdf)
  5. BRAND, M. 1999. “Voice puppetry” (http://www.cs.cmu.edu/~ph/869/papers/Brand-sigg99.pdf)

Facial Animation:

Expressions

  1. CHUANG, E., DESHPANDE, H., AND BREGLER, C. “Facial expression space learning” (http://graphics.stanford.edu/~echuang/espace/)
  2. Yong Cao, Petros Faloutsos, Fred Pighin “Unsupervised Learning for Speech Motion Editing” (http://people.cs.vt.edu/~yongcao/Documents/Cao_154.pdf)
  3. PIGHIN, F., HECKER, J., LISCHINSKI, D., SZELISKI, R., AND SALESIN, D. “Synthesizing realistic facial expressions from photographs” (http://smg.www.media.mit.edu/classes/VirtualSociety99/temp/p75-pighin.pdf)
  4. Jun-yong and Noh Ulrich Neumann, “Expression Cloning” (http://graphics.usc.edu/cgit/pdf/papers/sig2001.pdf)
  5. TENENBAUM, J. B. AND FREEMAN, W. T. “Separating style and content with bilinear models”. (http://web.mit.edu/cocosci/Papers/NC120601.pdf)

Facial animation:

Physical model

  1. WATERS, K. “A muscle model for animating three-dimensional facial expression” (http://portal.acm.org/citation.cfm?id=37405&coll=portal&dl=ACM)
  2. Sung-Hee Lee and Demetri Terzopoulos “Biomechanical Modeling and Neuromuscular Control of the Neck” (http://www.cs.ucla.edu/~dt/papers/siggraph06/siggraph06.pdf)
  3. Kolja K�hlerJ�rg Haber and Hans-Peter Seidel, “Geometry-based Muscle Modeling for Facial Animation” (http://citeseer.ist.psu.edu/642487.html andhttp://www.mpi-sb.mpg.de/resources/FAM/)

Full body Animation:

General

  1. HODGINS, J. K., WOOTEN, W. L., BROGAN, D. C., AND O’BRIEN, J. F. 1995. Animating human athletics. (http://www.cs.virginia.edu/papers/sig95.pdf)
  2. ZORDAN, V. B., CELLY, B., CHIU, B., AND DILORENZO, P. C. “Breathe easy: Model and control of simulated respiration for animation.” (http://graphics.cs.ucr.edu/papers/zordan:2004:BEM.pdf)

Full Body Animation:

Motion Capture

  1. Michael Gleicher “Retargetting Motion to New Characters” (http://portal.acm.org/citation.cfm?id=280820)
  2. Lucas Kovar, Michael Gleicher and Fred Pighin, “Motion Graphs” (http://www.cs.wisc.edu/graphics/Papers/Gleicher/Mocap/mograph.pdf)
  3. Okan Arikan, David A. Forsyth “Interactive Motion Generation from Examples” (http://www.cs.utexas.edu/~okan/papers/s2002/s2002.pdf)
  4. O. Arikan, D. Forsyth and J. O’Brien, “Motion Synthesis from Annotations” (http://www.cs.utexas.edu/~okan/papers/s2003/annotationSynthesis.html)
  5. Lucas Kovar and Michael Gleicher, “Registration Curves” (http://www.cs.wisc.edu/graphics/Gallery/kovar.vol/RegistrationCurves/)
  6. Kang Hoon Lee, Myung Geol Choi and Jehee Lee, “Motion Patches: Building Blocks for Virtual Environments Annotated with Motion Data” (http://mrl.snu.ac.kr/~zoi/motion_patch/motion_patch.html)
  7. GROCHOW, K., MARTIN, S. L., HERTZMANN, A., AND POPOVI�C , Z. “Style-based inverse kinematics” (http://grail.cs.washington.edu/projects/styleik/)
  8. Jinxiang Chai and Jessica K. Hodgins, “Performance Animation from Low-dimensional Control Signals” (http://graphics.cs.cmu.edu/projects/performance-animation/pa_projectpage.html)
  9. Meinard M�uller Tido R�oder and Michael Clausen, “Efficient Content-Based Retrieval of Motion Capture Data”
    (http://www-mmdb.iai.uni-bonn.de/projects/mocap/SIGGRAPH2005_results/SIGGRAPH2005.html)
  10. Katsu Yamane, James Kuffner, and Jessica K. Hodgins, “Synthesizing Animations of Human Manipulation Tasks”
    (http://graphics.cs.cmu.edu/projects/planning/)

Full Body Animation:

Physics based

  1. Petros FaloutsosMichiel van de Panne and Demetri Terzopoulos, “Composable Controllers for Character Animation” (http://www.cs.ucla.edu/~pfal/papers/siggraph2001.pdf)
  2. Zoran Popovi�c and AndrewWitkin “Physically Based Motion Transformation” (http://www.cs.washington.edu/homes/zoran/sigg99/)
  3. Liu, C. K., Hertzmann, A. and Popović, Z. “Learning Physics-based Motion Style with Nonlinear Inverse Optimization” (http://grail.cs.washington.edu/projects/charanim/phys-style.html)
  4. Zordan, V. B., Majkowska, A., Chiu, B., Fast, M “Dynamic Response for Motion Capture Animation” (http://graphics.cs.ucr.edu/projects/mocsim/mocsim.html)

Animation:

Skinning

  1. Peter-Pike J. Sloan, Charles F. Rose, III and Michael F. Cohen, “Shape by Example” (http://research.microsoft.com/~rose/Shape_I3D2001.pdf)
  2. Sang Il Park and Jessica K. Hodgins “Capturing and Animating Skin Deformation in Human Motion” (http://graphics.cs.cmu.edu/projects/muscle/)
  3. Kevin G. Der Robert W. Sumner and Jovan Popovi�c “Inverse Kinematics for Reduced Deformable Models” (http://graphics.stanford.edu/~kder/ikrdm/ikrdm.pdf)
  4. JAMES, D. L., AND TWIGG, C. D. “Skinning mesh animations” (http://graphics.cs.cmu.edu/projects/sma/)
  5. J. P. Lewis, Matt CordnerNickson Fong, “Pose Space Deformation: A Unified Approach to Shape Interpolation and Skeleton-Driven Deformation”(http://www.idiom.com/~zilla/Work/PSD/PSD.pdf)

Hand Animation

  1. Paul G. Kry and Dinesh K. Pai “Interaction Capture and Synthesis” (http://www.interactioncapture.org/siggraph06.html)
  2. George ElKoura and Karan Singh “Handrix: Animating the Human Hand” (http://www.dgp.toronto.edu/~gelkoura/noback/scapaper03.pdf)
  3. Winnie Tsang, Karan Singh and Eugene Fiume “Helping Hand: An Anatomically Accurate Inverse Dynamics Solution For Unconstrained Hand Motion” (http://www.dgp.toronto.edu/~karan/pdf/HandPaper_SCA.pdf)

Hair Simulation

  1. Florence Bertails, Tae-Yong Kim, Marie-Paule Cani and Ulrich Neumann ” Adaptive Wisp Tree – a multiresolution control structure for simulating dynamic clustering in hair motion” (http://www-evasion.imag.fr/Publications/2003/BKCN03/)
  2. Johnny Chang, Jingyi Jin and Yizhou Yu, “A Practical Model for Hair Mutual Interactions” (http://www-sal.cs.uiuc.edu/~yyz/research/hair/)

Crowd Simulation

  1. W. Shao, D. Terzopoulos, “Autonomous Pedestrians” (http://www.cs.ucla.edu/~dt//papers/sca05/sca05.pdf) (Videos on:http://www.cs.ucla.edu/~dt//videos/pedestrians/)
  2. Branislav Ulicny, Pablo de Heras Ciechomski and Daniel ThalmannCrowdbrush: Interactive Authoring of Real-time Crowd Scenes” (http://vrlab.epfl.ch/~ulicny/crowdbrush.html)
  3. Adrien Treuille Seth Cooper and Zoran Popović, “Continuum Crowds”
    (http://grail.cs.washington.edu/projects/continuum-crowds/)

 http://graphics.stanford.edu/courses/cs448-09-spring/

Week Class Days Description
Week 1 April 1st Introduction
Week 2 April 6th and 8th Keyframing, interpolation, re-parameterization, quaternions
Week 3 April 13th and 15th Linked structures, forward kinematics, inverse kinematics
Week 4 April 20th and 22nd Motion capture: acquisition and processing
Week 8 April 27th and 29th Current research topics
Week 5 May 4th and 6th Rigid body dynamics
Week 6 May 11th and 13th Current research topics
Week 9 May 18th and 20th Current research topics
Week 10 May 27th Current research topics
Week 11 June 1st and 3rd Guest lectures from Larry Cutler and Jason Schleifer, PDI/Dreamworks

Lecture Slides

Week Description
Week 1 Course Overview
Week 2 Keyframing
Week 2 Animating Orientation
Week 3 Kinematics
Week 4 Motion Capture

Readings

Class Description
Monday, April 6th Optional: DeRose and Barsky, Geometric continuity, shape parameters, and geometric constructions for Catmull-Rom splines, TOG 1988
Wednesday, April 8th Optional: Shoemake, Animating rotation with quaternion curves, SIGGRAPH 1985
Wednesday, April 15th Optional: Girard and Maciejewski, Computational modeling for the computer animation of legged figures, SIGGRAPH 1985
Monday, April 27th Required: Lasseter, Principles of traditional animation applied to 3D computer animation, SIGGRAPH 1987
Required: Witkin and Popovic, Motion warping, SIGGRAPH 1995
Wednesday, April 29th Required: Bruderlin and Williams, Motion signal processing, SIGGRAPH 1995
Wednesday, May 6th Required: Raibert and Hodgins, Animation of dynamic legged locomotion, SIGGRAPH 1991
Required: Hodgins et al., Animating human athletics, SIGGRAPH 1995
Monday, May 11th Required: Witkin and Kass, Spacetime constraints, SIGGRAPH 1988
Wednesday, May 13th Required: van de Panne et al., Reusable motion synthesis using state-space controllers, SIGGRAPH 1990
Monday, May 18th Required: Gleicher, Motion editing with spacetime constraints, I3D 1997
Required: Gleicher, Retargeting motion to new characters, SIGGRAPH 1998
Wednesday, May 20th Required: Rose et al., Verbs and adverbs, Computer Graphics and Applications 1998
Required: Pullen and Bregler, Motion capture assisted animation: texturing and synthesis, SIGGRAPH 2002
Wednesday, May 27th Required: Kovar et al., Motion graphs, SIGGRAPH 2002
Required: Arikan and Forsyth, Interactive motion generation from examples, SIGGRAPH 2002
Required: Lee et al., Interactive control of avatars animated with human motion data, SIGGRAPH 2002
Monday, June 1st Guest Lecture: Larry Cutler (Character TD Supervisor on “Mastermind”, PDI/Dreamworks), “Rigging and Character Setup”, held in Gates 392
Wednesday, June 3rd Guest Lecture: Jason Schleifer (Head of Character Animation on “Mastermind”, PDI/Dreamworks), “Animation”, held in Gates 104

Assignments

The course has two programming assignments, both linked to in the handout list above. The first is on inverse kinematics and the second is on motion capture.

Date Description
Wednesday, April 15th Assignment 1, Inverse Kinematics: InstructionsStarting CodeBlank QuatSlerp.m
Monday, May 18th Assignment 2, Motion Capture: InstructionsFiles

http://minyos.its.rmit.edu.au/aim/RESarea02.html

‘Clarence Tells All’ – Investigating the Animated Character as a Device for Acquiring and Recounting Information within a Computer Environment. — Synopsis David Atkinson
email: datkinson@rmit.edu.au
www: Clarence.html
keywords: animationvirtual characterinteractive databasehuman computer interface,
Compositing Computer Generated Imagery with Live-action Motion Picture Imagery. — Synopsis Chris Drewnicki
email: chris.drewnicki@olivetti.com.au
www:
keywords: production strategiesanimation, special effects,
The application of animation principles existent in traditional character animation to 3D character animation. — Synopsis Shaun Marksjo-Elstob
email: shaun@bluetongue.com.au
www:
keywords: animation3Dvirtual character,
Evolutionary art: mutagenesis and animation of evolving organisms — Synopsis John Mazzocchi
email: johnm@nautilus.com.au
www:
keywords: animation3Dgenerative artnew media art,
“Ghosts in the Machine” – an Investigation into the use of Parallel Performance in Multimedia. —Synopsis Jeremy Parker
email: jparker@rmit.edu.au
www: _research/
keywords: virtual environmentsanimationvirtual characterinteractive narrative,
‘Kunstory’ — Synopsis Kiera Poelsma
email: kiera@tantamount.com.au
www:
keywords: animationentertainment,
‘Nanoworld – the Frontier Within’ – An exploration into Representations of Scale. — Synopsis Stuart Ramsden
email: Stuart.Ramsden@anu.edu.au
www:
keywords: animationnew media art3Dgenerative art,
An exploration of Alternative Techniques in Model Animation. — Synopsis Andrew Schultz
email:
www:
keywords: animationfilm,
An investigation of Under-Camera Animation Techniques as applied to New Digital Technology. —Synopsis Ann Shenfield
email: a.shenfield@vca.unimelb.edu.au
www:
keywords: animationfilm,
Making a Scene: An investigation of the Storytelling potential of 3D Modelling and Animation. —Synopsis Gaye Swinn
email: swinn@netspace.net.au
www:
keywords: animationvirtual environments3D,

_

http://creative.mmu.edu.my/fcm/research/research-areas/_________________________________

Research Areas

The following are the research areas related to the domain of Faculty of Creative Multimedia. However, the faculty is also interested to venture into other areas for the improvement of knowledge and skills in the field of creative multimedia.

1) DESIGN AND CREATIVITY

| Creativity | Design Process | Creative Strategy | Design and Development Process | Design Research | Research Methodology |

A research area focuses on the creative and design processes, strategies and methodologies, to facilitate the creation of quality and effective creative products, contents, applications and services. This area is also functioning to assist learners or practitioners towards the attainment of creativity in an art and design work / creation or programme. Prospect outcomes would be the acquisition of improved knowledge, techniques, and processes for creative and design processes and outputs.

2) INTERFACE DESIGN and PRODUCT DESIGN

A programme-based research area.
| Usability | User experience | Interface Design | Human Factors & Ergonomics | Universal Design |

Research and practice of usability and interaction design towards useful, usable, highly pleasurable and stimulating technologies, services and artefacts. This interdisciplinary research areas span the Sciences, Engineering, Design and Technology in bridging the digital and cultural divide. Area of research also seeking into a deeper understanding of human life itself, establishing symbiotic relationships between humans, environment and technology. The resarch area also considering the design of user interface that catered for various types of users, including people with bodily-disabled (hearing, visual, physical, and cognitive impairments), elderly and children.

3) ADVERTISING DESIGN

A programme-based research area.
| Advertising Design | Branding | Persuasive Design | Copywriting | Environment Design | Architectural Design |

In this research area, the researchers are looking into the potential of the latest innovations of new media, multimedia and electronic media for the improvement of product and service advertising at the marketplace. Research of innovation theory and practice of advertising, creativity and innovation, basic marketing, media, and indirectly, research skills as well as the business acumen will also be explored.

4) ANIMATION AND VISUAL EFFECTS

A programme-based research area.
| Animation (2D and 3D) | Character Design and Development | Modelling | Texturing | Voice Acting | Visual Effects | Storytelling |

Animation Design and Visual Effect Techniques are the research areas rely heavily on the art and science of utilizing computer graphics for creating animations and graphic works in various forms plus innovative stories or contents in it. The tools and techniques of animation art change constantly, due to ever-changing technology, computer hardware, updated software features, art trends and industry practices. This area of research explores the tools, techniques and potential use of various techniques and forms of computer art for the generation of animation for storytelling and content creation.

5) VIRTUAL REALITY

A programme-based research area.
| Virtual Reality | Visualization | Virtual Heritage | Simulation | Virtual Training | Augmented Reality | Space Design |

This is a research area focusing on the improvement of human experiences through virtual, immersive or non-immersive environment. In this multimedia age, users are all exposed to a multitude of communication modalities. It is therefore increasingly important for the research to look into the innovating experiential design for various space or content with high level of interactivity. It is about evoking the emotion of the user through a given space, form, context, content and senses.

6) VIDEO, FILM PRODUCTION and CINEMATOGRAPHY (CAP)

A programme-based research area.
| Media Production | Cinematic Arts | Film Production | Videography |

Media tools or camera technologies for producing video, film or motion pictures have constantly improving. The area of research focuses on the media production processes (pre-production, production, and post-production), tools and technologies plus content innovation and content delivery platforms. Cinematography techniques have moving into digital means, and is now largely merging with videography. Research on cinematography also looking into new form of photography and new aesthetic techniques for telling greater stories.

7) MEDIA ARTS

A programme-based research area.
| Media Art | Aesthetic Media | Art Theory and Philosophy | Interactive Art | Curatorial Practice |

This research area looks into the possibilities of expression through modern media, technology and culture, and how these relate to the artist and society. Aesthetic media research speculates on various problems that lie at the base of modern civilization through expression and social activities using media technology. Its activities include research, execution of practical design and art projects as well as engaging in scholasticism and criticism. Media arts research is an interdiciplinary research, scholarship, creation plus the curation of (new) media arts, and how these relate to society.

8 ) KNOWLEDGE MANAGEMENT

A programme-based research area.
| Knowledge Management | Project Management | Strategic Management | Knowledge Sharing | KM tools and technologies |

Many organizations now have some kind of knowledge management framework in place. Advances in Information and Communication Technologies (ICT) have changed the way of how organizations manage their knowledge in business.

This research area focuses on the processes of gathering, organizing, sharing, and analyzing knowledge in terms of resources, documents, and people skills. The outcomes of research are expected to highlight the best practices and the sharing the intellectual capital throughout their organizations.

9) MULTIMEDIA LEARNING AND E-LEARNING

A programme-based research area.
| Multimedia Learning | E-learning | Mobile and Ubiquitous Learning | Instructional Systems Design | Organization Learning | Computer Assisted Learning |

An evolving area of research due to the advancement of multimedia, learning technologies and learning ecosystems facilitated by the Internet or new media technologies. Media, contents, instructional strategies, learners, and instructors are getting more “sophisticated” for demanding a greater quality of theories, methods, media contents and delivery, etc for enriching learning experiences. Research on how learning can be improved for different group or age group of learners, in any form of content will also be looked into.

10) INTERACTION DESIGN

| Interactive Multimedia | Programming, Authoring and Scripting | Interactive System | Interactive Installation | Natural interaction | Multimodal interaction | Motion Detection | 3D Interaction Design |

A core area of creative interactive design across various context of multimedia applications, such as interface design, media art, virtual reality or even media for advertising, interactive movies, or learning and knowledge management. Interactivity has been a common concept of improving the delivery of media contents or services. There are new and advance way of interaction to be looked into by the researchers. This area has the base on human computer interaction (HCI) and to provide research and innovation ideas for new or improved human-computer experiences.

11) SOUND AND MUSIC

| Sound and Music | Audio Design | Audio Visual |

Sound is the core element of multimedia design and contents, but often neglected. This area of research explore the various potential of sound or audio design and applications for the improvement of communication and content creations. This form of media can be explored solely in research too.

12) VISUAL COMMUNICATIONS and GRAPHIC DESIGN

12.1) Visual Communication Theories and Principles | Visual Research

12.2)Photography | Digital Capture | Digital Imaging

12.3)Computer Graphics | Illustration | Motiongraphics | Graphic Design | 3D Graphics

12.4) Typography | Calligraphy

12.5) Fine art | Drawing | Painting

12.6)Comics | Interactive Comics

Being an important area of research for creative multimedia, visual communication emcompasses a wide range of studies or research into different media types or methods, or any combinations of these media types, such as digital imaging, graphic design, photography, illustration, motiongraphic, 3D graphics, typography, calligraphy, drawing, painting, fine art, comics, etc. The current state of theories and research in visual communication serve as a foundation for future scholarship and study in visual communications.

New media has transformed the design, creation, and delivery of visual contents; research of visual communication looks into the innovative methodologies which extend traditional media format and addressing a more advanced or creative way of communications through many visual forms and channels as stated in those sub-areas of research.

13) CREATIVE CONTENT

| Digital Archiving | Content Innovation and Creation | Digital Instructions | Content Reuse | Local Content | Documenting & Content Authoring |

Content is the king. Content and context which are based on research is an important area to be explored. All media platforms carry content and context; local and cultural contents, content reuse, documentation and authoring of contents are the interest of many researchers in this area. Advanced technologies such as Web, mobile, social media, etc are used for improving contents storage, retrieval, processes, and delivery for various applications areas, such as teaching and training, edutainment, advertising, public awareness, etc.

14) MEDIA, CULTURE & HUMANITIES

| Media and Humanities | Culture, Digital Culture and Heritage | Media History | Media Culture and Theory | Film Studies |

This area of research focuses on knowledge and studies which is built based on multidisciplinary ideas of media, culture and humanities. This area myriad ways in which people from the past, present or different group of people do for their living, in relation with art, media and communications. Knowledge of these records of their experiences gives us the opportunity to feel a sense of connection to those who have come before us, as well as to our contemporaries. Important topics of media, art, culture and humanities will be explored. A reflection of human interests, values, satisfactions, and, more importantly, their larger social commitments to the society.

15) GAME & EDUTAINMENT

| Digital Game | Edutainment | Interactive Play |

Game and play is a new idea for research and is gaining popular for its notions of engaging players of all ages. The theories of play and game has extended to many aspect of creation and applications including real life game play, gamification, social game, etc. Game contents, play strategies and interaction methods are also the interest of the researchers in this area.

16) Web, Mobile and Informatics

| Web Design and Technologies | Internet Applications | Web Authoring | Web Informatics | Web Programming |

Web and informatics is a discipline which also integrates with other creative media area such as Advertising Design, Knowledge Management, Media Arts, etc. Web is an invention that evolutionize the creative content creation and delivery. Web design and Internet based technologies is advancing from time to time and regulated by World Wide Web Consortium (W3C) to meet different demands of new technologies and delivery platforms. Therefore, this research area is also an area interested by the researchers for improving the creative and yet feasible delivery contents to the end users.

https://www.cs.duke.edu/brd/Teaching/Previous/Animation/animation.html

animation curriculum

http://www.deanza.edu/eve/curr_index.html

International Conference on Computer Graphics Theory and Applications

CONFERENCE AREAS

Each of these topic areas is expanded below but the sub-topics list is not exhaustive. Papers may address one or more of the listed sub-topics, although authors should not feel limited by them. Unlisted but related sub-topics are also acceptable, provided they fit in one of the following main topic areas:

1. GEOMETRY AND MODELING
2. RENDERING
3. ANIMATION AND SIMULATION
4. INTERACTIVE ENVIRONMENTS
5. SOCIAL AGENTS IN COMPUTER GRAPHICS

AREA 1: GEOMETRY AND MODELING

  • Modeling and Algorithms
  • Scene and Object Modeling
  • Modeling of Natural Scenes and Phenomena
  • Image-Based Modeling
  • Solid and Heterogeneous Modeling
  • Geometric Computing
  • Surface Modeling
  • Physics-Based Modeling
  • Sketch-Based Modelling
  • Multi-Resolution Modeling
  • Fundamental Methods and Algorithms
  • Model Validation
  • Texture Models, Analysis, and Synthesis
  • Reflection and Illumination Models
  • Anthropometric Virtual Human Models
  • CAGD/CAD/CAM Systems

AREA 2: RENDERING

  • Real-Time Rendering
  • Systems and Software Architectures for Rendering
  • Volume Rendering
  • Rendering Algorithms
  • Image-Based Rendering
  • Lighting and Appearance
  • Non-Photorealistic Rendering, Painting-like rendering, Drawing
  • Rendering Hardware
  • Point-Based Rendering
  • Shadows, Translucency and Visibility
  • High-Performance Computing and Parallel Rendering
  • Audio/Sound Rendering
  • Computational Photography

AREA 3: ANIMATION AND SIMULATION

  • Animation Algorithms and Techniques
  • Real-time Visual Simulation
  • Special Effects
  • Facial Animation
  • Animation Systems
  • Animation and Simulation of Natural Environments
  • Behavioural Animation
  • Animation from Motion Capture
  • Character Animation
  • Plausible Motion Simulation
  • Animation of Particle Systems
  • Animation Languages
  • Human Figure Animation
  • Motion Control
  • Crowd Simulation
  • Physics-based Animation
  • Image-based Animation
  • Knowledge-based Animation
  • Modeling and Simulation for Education and Training
  • Motion Synthesis
  • Retargeting of Motion Capture Data
  • Animation Retargeting

AREA 4: INTERACTIVE ENVIRONMENTS

  • Augmented, Mixed and Virtual Environments
  • Virtual Tours
  • Hardware Technologies for Augmented, Mixed and Virtual Environments
  • Collaborative Augmented, Mixed and Virtual Environments
  • Distributed Augmented, Mixed and Virtual Reality
  • Collision Detection
  • Real-time Graphics
  • Advanced User Interfaces
  • Mobile Interfaces
  • Graphical Interfaces
  • Virtual Humans and Artificial Life
  • Graphics in Computer Games
  • Interactive 3D Graphics and Immersive Systems for Servers, Desktop and Thin Clients
  • Interactive 3D Graphics for Mobile Devices Like Smart phones, PDAs and UMPCs
  • Non-Desktop Interfaces
  • Sketch-based Interfaces
  • Virtual Reality Tools and Languages (X3D, VRML, Java3D, OpenGL, …)
  • Integration and Interoperation Between 3D Documents and Web/Multimedia Technologies, Including the Semantic Web
  • e-Learning Applications and Computer Graphics
  • Games for Education and Training
  • Evaluation of Human Performance and Usability in Virtual Environments

AREA 5: SOCIAL AGENTS IN COMPUTER GRAPHICS

  • Social Agents and Avatars
  • Emotion and Personality
  • Autonomous Actors
  • Artificial Inteligence based Animation
  • Social and Conversational Agents
  • Inter-Agent Communication
  • Social Behavior
  • Gesture Generation
  • Emotional and Social Interaction with Virtual Agents

VISIGRAPP KEYNOTE SPEAKERS

Andrea CavallaroQueen Mary University of London, United Kingdom
Daniel ThalmannNanyang Technological University, Singapore
Gerik ScheuermannUniverstät Leipzig, Germany

PAPER SUBMISSION

Authors should submit a paper in English, carefully checked for correct grammar and spelling, addressing one or several of the conference areas or topics. Each paper should clearly indicate the nature of its technical/scientific contribution, and the problems, domains or environments to which it is applicable. To facilitate the double-blind paper evaluation method, authors are kindly requested to produce and provide the paper WITHOUT any reference to any of the authors, including the authors’ personal details, the acknowledgments section of the paper and any other reference that may disclose the authors’ identity.

Only original papers should be submitted. Authors are advised to read INSTICC’s ethical norms regarding plagiarism and self-plagiarismthoroughly before submitting and must make sure that their submissions do not substantially overlap work which has been published elsewhere or simultaneously submitted to a journal or another conference with proceedings. Papers that contain any form of plagiarism will be rejected without reviews.

Authors can submit their work in the form of a Regular Paper, representing completed and validated research, or as a Position Paper, portraying a short report of work in progress or an arguable opinion about an issue discussing ideas, facts, situations, methods, procedures or results of scientific research focused on one of the conference topic areas. All papers must be submitted through the online submission platform PRIMORIS and should follow the instructions and templates that can be found under Guidelines and Templates. After the paper submission has been successfully completed, authors will receive an automatic confirmation e-mail.

Conference Date: 11 – 14 March, 2015

Regular Papers

Paper Submission: October 7, 2014

________________

Suggested Topics

:

We invite proposals on a wide range of animation topics for papers, micro-talks, and posters. Topics may include (but are not limited to) the following topics:

  • Norman McLaren*
  • Auteur Animation ‘interpretations and definitions of ‘the animator”
  • Industrial & Independent Animation: practice, process, production
  • Animation in other art forms & industries (e.g. Theater, Music, science, architecture)
  • Animation within Social Movements and Documentary
  • Animation and broadcasting methods (e.g. web, audiences, distribution, advertising)
  • New technologies in animation (e.g. production pipeline applications, 3D printing)
  • Animation and Immersive, Interactive, Experiential applications (e.g. Gaming, Transmedia, Stereoscopy, Augmented & Virtual Reality)
  • Animation and live-action theory/practice relationships (e.g. Visual FX, Pre-viz)
  • Animation and Culture (e.g. pop culture, counter culture, generative animation)
  • Critical and theoretical approaches to animation histories or national movements/identities
  • Animation pedagogy (e.g. theory & practice in curricula, traditional & online learning )
  • ___________
  • Topics can include, but are not limited to:

    – Adaptations of written literature for comics and/or animation/film
    – Adaptations of comics and graphic novels as animation or live action films
    – Adaptations of films for written literature or comics
    – Influence of comics on animation and vice versa: historic and current
    – Comic adaptations of life action and animation films
    – Adaptations for games
    – Hybrid forms of written literature and comics/animation
    – Animated poetry
    – Analysis and comparisons of narrative structures in literature, comics and animation
    – Avantgarde approaches of combing and re-inventing the media in new context

    • Alan Cholodenko: (The) Death (of) the Animator, or: The Felicity of Felix; Part II: A Difficulty in the Path of Animation Studies
    • Caroline Ruddell – Breaking Boundaries: The Representation of Split Identity in Anime
    •  Leslie Bishko – The Uses and Abuses of Cartoon Style in Animation
    • PREFERRED PRESENTATION TOPICS:
      • Animating the Intangible: The Animated Soul
      • DIY – Distribution/Streaming Animation on the web-YouTube, Vimeo, Blogs and Websites (Viral Animation)
      • Artifacts of Mobility – Residue of Mobile Technology
      • Environmental Wearable Animation
      • Large-scale Architectural Animation (Projection Mapping, LED Technologies etc.)
      • Animation Infiltration of other Art Forms (In Galleries and on Stages, Music, Dance, and Theater)
      • Virtual Reality, Real-Time, Immersive, Interactive, Experiential
      • Visualizing Science and Animation
      • Documentary Animation
      • Animation within Social Movements
      • Stereoscopy and Perception
      • Facial Gesture, Emotional Resonance through Animation and Cinema
      • Consciousness and Sound
      • Death, Time and Animation
      • Robotics and Artificial Intelligence
      • Animated Holography
      • Historical Devices in Contemporary Animation: (Stage Projections and other Optical Illusions)
      • Creating Worlds: Augmented Reality
      • Redefining Character Animation
      • Animation for Games and Embodied Performance
      • 3D Printing from Animation and Sound – Virtual to Physical
      • Scale: Animating the Microscopic to the Gigantic
      • Generative Animation
      • Experimental Motion Capture
      • The Animated Brain
      • Animation: Redefining Drawing
        • Australian Animation
        • Animation and the Asia-Pacific Region
        • Animation Histories
        • Future Forms of Animation
        • Industrial Methods and Changes
        • Materiality of Animation
        • Algorithmic Animation (including Games)
        • Philosophy and Animation
        • Motion Graphics
        • Scientific Visualisation
        • Contemporary Art and Animation
        • Architecture and Animation
        • Drawing and Animation
        • Web Animation
        • Narrative and Non-Narrative Animation
        • Obsolescence and Questions of Materiality
        • Augmented Reality and Vision
        • Automata (including Robotics)
        • Animation and Pedagogy
        • Documentary and Animation
        • Animation Fringes and Counter-Cultures
        • Sound and Animation
      • Possible topics may include:

        • Animation histories or national movements/identities
        • Animation and advertising
        • Gaming and animation
        • Animation applications in other industries (i.e. medical/science)
        • Animation and music/sound
        • New technologies in animation – the future of 3D?
        • TV animation – alternative broadcasting methods; specific shows; audiences etc.
        • Animation and popular culture – graphic novels, comics, film
        • Theories and methodologies in animation studies
        • Animation pedagogy – online learning applications; balance of theory and practice in curricula

    • Teaching animation/animation pedagogy
    • TV animation – specific shows, TV as an institution, advertising, franchises etc
    • Philosophies and methodologies in animation research
    • The role of new technology in animation production
    • Relationships between animation and live action
    • Case studies of specific animators or national movements
    • Animation and representation
    • Animation and audiences/spectatorship
    • Animation and sound/image relations
    • Animation and other media (comics, literature, film, videogames)

Programme

Plenary Talk

Mark Langer, “Birth of the Boop: Thoughts on Animation and Live-Action Stardom”

Plenary Session

Netherlands Animation, introduction by Ton Crone

Anime

Vicki Callahan, “Be still like a mountain and flow like a great river: Anime Aesthetics in the Digital Domain”
Jonathan Frome, “Wicked Cities”
Qi Wang, “Fantasy about the Past and the Future in Anime”

International Animation

Fatemeh Hosseini-Shakib, “Iranian Animation Today: New Horizons”
Dongil Oh, “The Aesthetical Characteristic of Recent Korean Feature Animation: Focus on Character Movement”
Seungmin Song, “Korean Independent Animation: Its History and Meaning”

International Animation

Roger Palmer, “How Soon Will People Be Asking ‘Harvie Who?'”
Lynne Perra, “A Patchwork of Differing Voices: Canadian Animation”
Lienors Torre & Dan Torre, “Australian Experimental Animation”

International Animation

Hee Holmen, “‘Life in Norway,’ an Interactive Animated Documentary”
Gunnar Strom, “Nordic Feature-Length Animated Film”

Animated Animal Issues

Shana Heinricy, “Absorbent and Yellow and Porous Is He: The Use of Animal Representations in SpongeBob Squarepants”
Nina K. Martin, “So Cute It Hurts: Violence and Affect with the ‘Happy Tree Friends'”
Paul Wells, “What Do Animated Animals Mean?: Bestial Ambivalences and the Cultural Turn”

Digital Humans

Mark Menga, “Philosophical Views of Reality: Digital Humans in Film”
Bob Rehak, “Double Duty: Stunt Bodies in Movies, Videogames, and TV”
Ozge Samanci, “The Blurry Borders in Spielberg’s Minority Report: Computers and Human Body, Digital and Analog Media, Live Action and Animation”

Animation, Computers, and Reality

Susan Buchan & Jane G. Korvink, “From Macro to Nano: Visualising ‘Worlds’ in Animation and Science”
Alan Cholodenko, “The Nutty World of Animation, Part 2”
David Surman, “From Realism to Reality Effect and Affect: Epistemological Issues in Realist Theories of Animation”

Animation and Politics

Joanna Bouldin, “War Games: Virtual Maps, video Games, and the Animation of Enemy Space”
Martin McNamara, “‘The East Is Red; the Barnyard Is Ready’: Communist Ideology in the CIA’s Animal Farm”
Byungho Park, “Cultivating the Youth: Propaganda Against the Nazis at the Subliminal Level Using Animated Features”

U.S. Animation

Ethan de Seife, “Re-evaluating Frank Tashlin’s Animation”
Richard Leskosky, “Solitary Invaders: A Sub-Genre of Studio Cartoons”
Kirsty Stevenson, “A Star Is Drawn: The Animorphic Identities of Betty Boop”

Avant-garde and Experimental Animation

Jeanpaul Goergen, “Walter Ruttmann: From Painting to Film”
(Gigi) Hu Tze Yue, “Japanese Independent Animation — Fuyu no hi: An Exclusive Club Animation Film? Some Interpretations and Readings”
Timothy Decker, “The State of 2D Animation: The Flash Revolution”

Programme

Thursday July 10th


Vivian Sobchack:
 ‘Final Fantasies or The (Dis-) illusion of Life’

Session 1: Vivian Sobchack (chair)
Aylish Wood: ‘Metamorphosis and Dynamic Space’
Paul Wells: ‘Ambiguity, Stream of Consciousness and the
Objective Correlative: Defining Narrative Spaces in Brit-lit
Animation’
Livia Monnet: ‘Invasion of the Movie Snatchers: Mimesis and
Melancholia in Final Fantasy: The Spirits Within

Session 2: Andrew Darley (chair)
Paul Ward: ‘Animated Interactions: Animation Aesthetics and
the ‘Interactive’ Documentary’
Karin Wehn: ‘An Unrecognised Treasure Chest: The Internet as
an Animation Archive’

Richard Weihe: ‘The Strings of the Marionette’

Session 3: Richard Weihe (chair)
Mark Langer: ‘The Rotoscope: The Double and the Uncanny’
Pedro Sarrazina: ‘The Use of Space as a Narrative Tool Within
Animation Short Film’
Heather Crow: ‘Hysteric Gesture and Puppet Doubles’

Friday July 11th


Laura Mulvey:
 ‘Stillness and Movement, Life and Death.
The Animate and the Inanimate in Celluloid Cinema.’

Session 4: Laura Mulvey (chair)
Thomas Lamarre: ‘From Cinematic Movement to ‘Animeic’
Worlds’
Suzanne Williams-Rautiola: ‘Animated Fathers:
Representations of Masculinity in ‘The Simpsons’ and ‘King
of the Hill’
Miriam Harris: ‘Literary Len: Trade Tattoo and Len Lye’s
Link with the Literary Avant-garde’

Kristin Thompson: ‘The Computer Meets Tolkiens ‘Feigned
History’: Special Effects in The Lord of the Rings

Session 5: Kristin Thompson (chair)
Rachel Kearney: ‘The Joyous Reception: Digital Animation
and the Romantic Imagination’
Carol-Ann Poole and Alex Jukes: ‘Uniqueness, Detail and
Perception in Computer Generated Films’

  • List of Annual SAS Conference Papers (1989-2000)

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    19 May 12

    Written by shadab

    List of Annual SAS Conference Papers (1989-2000)

     

    The following list contains information on papers presented at the annual conferences of the Society for Animation Studies, since 1989. Different sources have been consulted to compile this list. We owe a special thanks to Jane Pilling, who published information on the first eight SAS conferences in her book A Reader in Animation Studies (John Libbey 1997). The information on the most recent conferences was compiled from different sources, and is more inconsistent and incomplete. We would therefore welcome all additions and corrections so that we can update this list in the future.

    FIRST ANNUAL SAS CONFERENCE, 26-29 October 1989
    University of California, Los Angeles, USA

    Aesthetic problems

    Leskosky, Richard J. (University of Illinois, Urbana), Repetition in Animated Films
    McNamara, Martin (San Francisco State University), Short Duration in Animation

    Disney

    Allen, Robin (InterTheatre, United Kingdom), European Influences on Disney: The Formative Years Before Snow White
    Jarvik, Laurence (University of California, Los Angeles), The Photographic Ecstasy: The Three Caballeros – The Baia Sequence: A Close Analysis
    Mayerson, Mark (Toronto), Right and Wrong – Morality and the Story Structure of Pinocchio
    Furniss, Maureen Ruth (University of Southern California), An Analysis of live action / Animation in Disney’s The Three Caballeros and Mary Poppins
    Kaufman, J.B. (Wichita), Norm Ferguson and the Latin American Films of Walt Disney
    Merritt, Karen (University of California), Falling and Flying: Dopey Meets Horatio Alger in Dumbo
    Merritt, Russell (Oakland, California), Analysis of Pinocchio

    Towards a theory of animation

    Cholodenko, Alan (University of Sydney), Framing the Framing of Animation
    Mays, Peter (Second Wave Software, California), Towards a Theory of Animation: Real-time Computer Animation as a New Art Form
    Yoresh, Y. (Bezalel Academy of Arts & Design), Animation-Ethics and Esthetics

    Early television

    DelGaudio, Sybil (Hofstra University, New York), The Cel Meets the Sell: Early Television Commercial Animation
    Frierson, Michael (University of North Carolina, Greensboro), Art Clokey and the Rebirth of Clay Animation

    European independents

    Gizicki, Marcin (Rhode Island School Of Design / Polish Filmmakers Union), Metaphorical Meanings of Piotr Kamler’s Chronopolis and Jan Lenica’s Labyrinth
    Silberman, Robert (University of Minnesota, Minneapolis), The Brothers Quay, Bruno Schulz and the Middle Europe of the Mind
    Weiner, Steve (Davis, California), Jan Lenica’s Landscape.

    The world upside down: The poetics of the animated cartoons

    Jones, Chuck (Chuck Jones Productions, California), The Joy of Animation
    Kenner Hugh (Johns Hopkins University), Modernism in Animation
    Aspects of independent and institutional filmmaking
    Dobson, Terence (University of Canterbury, New Zealand), Confluence and Conflict in Norman McLaren’s Synchromy
    Moritz, William (California Institute of the Arts), Walter Ruttmann, Viking Eggeling – Restoring the Esthetics of Early Experimental Animation
    Walz, Gene (University of Manitoba), Animation at the National Film Board of Canada on the Eve of its Fiftieth Birthday

    Labour-management problems

    Deneroff, Harvey (Los Angeles), The Terrytoons Strike
    Langer, Mark (Carleton University, Ottawa), Standarisation of Production Practices in the 1930s
    Smoodin, Eric (American University), Whistling while they Work: Labour, Cartoons and Popular Journalism During the 1940s

    Aspects of independent animation

    McLaughlin, Dan (University of California Los Angeles), Independent Animation in the Magic Kingdom: Between a Rock and Hollywood
    Pitt, Suzan (Harvard University), Animation and the Creative Process
    Priestley, Joanna (Oregon Art Institute), Themes in Contemporary Women’s Animation

    Narrative structure and animation: Influences

    Curtis, Scott (University of Iowa), Defining the Frame of the Figural: Comic Strips and American Silent Animation
    Hoxter, Julian (University of East Anglia, United Kingdom), Garbage Bags for the American Dream? Post-Modern Narratives at the End of Cinema and Animation
    Lyons, Jonothan (Los Angeles), Comedy, Clowns and Cartoons
    Schenkel, Talia (Baruch College), Yiddish Folklore in Animation

    SECOND ANNUAL SAS CONFERENCE, 5-7 October 1990
    Carleton University, Ottawa, Canada    

    Modes of production

    Attallah, Paul (Carleton University, Ottawa), Animation and Canadian Television
    Furness, Maureen (University of Southern California), Life in Post-Modernism: It’s Prime Time for the Simpsons
    Lorenzo, William (Brooklyn), Foreign-Toons: An Examination of Foreign Theatrical Animation on Early US Television

    Canon formation

    Joubert-Laurencin, Herve (Université Lumière Lyon II), La canonisation du film d’animation
    Wassenaar, Michael (Madison, Wisconsin), A Canon without a Discipline?
    Ehrlich, David (Vermont & New Hampshire Arts Councils), Experimental Animation as Formal Narrative and Its Proper Role Within the Traditional American Festival

    Studies of filmmakers

    Gizycki, Marcin (Rhode Island School of Design), Stefan and Franciszka Themerson: Unknown masters of Experimental Animation
    Mayerson, Mark (Toronto), Jim Tyer: The Animator Who Broke the Rules
    Walz, Gene (University of Manitoba), The Animated Richard Condie
    Moritz, William (California Institute of the Arts), Norman McLaren in Context

    Modes of production: Flipbook, multiplane and puppet

    Leskosky, Richard (University of Illinois, Urbana), Flip-books: History and Use
    Hayes, Ruth (California Institute of Arts), Flip-books: Animation in the Free Zone
    McNamara, Martin (San Francisco State University), The Quest for Depth: Classic and Contemporary Multiplane Animation
    Azerad, Michael (National Film Board of Canada), The Brain – a Multi-Axis, Location / Studio Camera / Subject, Robotic Motion Control System

    Ethnicity and gender

    Page, Judy (University of Wisconsin, Madison), Feminine Gender as Animated Reality in an Irrational World: Why Inspector Clouseau’s Panther is Pink
    Lawling, John (Regent University), Hollywood Shuffle: Images of African-Americans in the Animated Film
    Wallace, Donald (Carleton University, Ottawa), Fleischer Animation and Representations of Black Music

    Fleischer Studio’s Inc.

    Deneroff, Harvey (Los Angeles), The Fleisher Studio’s go to Miami
    Frierson, Michael (University of North Carolina, Greensboro), Analysis of Modeling
    Langer, Mark (Carleton University, Ottawa), From Fleischer to Famous: A Study in Institutional Failure and Reorganisation

    Modes of production: The computer

    McLaughlin, Dan (University of California, Los Angeles), The Retooling of Animation: Is the Tool Now the Message?
    Dutrisac, Julie (National Film Board of Canada), Animaster
    Tafler, David (Philidelphia College of Art & Design), Moving Backward into the Future: The Legacy of Computer Animation
    Manovich, Lev (University of Rochester), Grids, Stars and Glows: Toward an Analysis of Style of Computer Animation in Television

    Theories and aesthetic questions

    Prochorov, Anatoly (Pilot Animation Studio, Moscow), On Animation Technologies Metaphysics
    Macmillan, Robert (Ottowa), Eisenstein, Levy-Bruhl and Disney: Totemism in the Disney Cartoon
    Sifianos, George (Paris), Le Représentation due Mouvement aux Peintures des Grottes Prehistoriques et les Origines du Cinéma d’Animation
    Herbert, Pierre (National Film Board of Canada), Présence et Représentation du Corps en Cinéma d’Animation

    National cinemas

    Carriére, Louis (CEGEP Vieux Montréal), L’animation à l’Office national du film du Canada et.al. Protestation (1941-89)
    Gercheva, Krassimira, (Bulgarian Institute of Cinema, Theatre and Television), Bulgarian Animation Before and After Glasnost
    Mackássy, Kati (Pannonia Film), Animation and Politics in Hungary
    Marinchevska, Nadezha (Institute of Art Studies, Bulgarian Academy of Sciences), The Bulgarian Way of Animation and the Alternative Destination of Henri Koulev’s Tale of the Road

    Narrative strategies and mechanisms

    Bouse, Derek (University of Pensylvania), True-Life Fantasies: Animated Features and the Development of Live Action Wildlife Films
    Lindvall, Terry (Regent University), Lively and Animated Discours: Self-Reflexivity and the Mere Cartoon
    Straw, William (Carleton University, Ottawa), Decorative Entrances: The Animated Credit Sequence in American live action Comedies of the Early 1960s
    George, Russell (University of Kent), Narrative Repetition in the Classical Cartoon: Poe, Lacan and Rabbit Seasoning

    Modes of production: Advertising films

    Strøm, Gunnar (Møre og Romsdal College, Norway), Norwegian Animated Cinema Commercials From the 1920s and 1930s.
    Cohen, Karl (San Francisco), Development of the Animated TV Commercial, 1944-49
    DelGaudio, Sybil (Hofstra University, New York), Marketing Marky: The Maypo Campaign and Other Storyboard Stories

    THIRD ANNUAL SAS CONFERENCE, 4-6 October 1991
    Rochester Institute of Technology, New York, USA 

    Allen, Robin (InterTheatre, Stockport, United Kingdom), Fantasia revisited
    Bishko, Leslie (Ohio State University), The Use of Labian Analysis for the Discussion of Computer Animation
    Carr, Steve (University of Texas at Austin), Coon or Cohen? Animation and the Transmutable Ethnic Stereotype
    Cartwright, Lisa (University of Rochester / Brown University), ‘The Ultimate Force Multiplier’: Army Aviation Training Flight Simulation Missions and the Decline of the Referential in Mass Media
    Chisholm, Brad (University of Nevada, Las Vegas), Stooping The Simpsons (and Looking at them Again)
    Cholodenko, Alan (University of Sydney), Speculations on the Animatic Automation
    Clancy, Keith W. (University of Sydney), In the Blink of an Eye: Animation and the Division of the Present
    Cohen, Karl (San Francisco), The Investigation of Alleged Communists in the Animation Industry
    Couzin, Sharon (School of the Art Institute of Chicago), The Woman’s Voice in Contemporary American Animation
    De Cordova, Richard (DePaul University), The Mickey in Macy’s Window: Childhood, Consumerism and Disney Animation
    DelGaudio, Sybil (Hofstra University, New York), Acts of Faith: The Works of Faith Hubley
    Deneroff, Harvey (Los Angeles), Are We Mice or Men? The 1941 Disney Strike
    Frierson, Michael (University of North Carolina, Greensboro), Will Vinton and Clay Animation
    Furniss, Maureen (University of Southern California), American Independent Animation, 1945-1965
    Gentile, Phillip (University of Southern Mississippi), Line, Metamorphosis and the Modernist Impulse in the Films of Eggeling, McLaren and Breer
    George, Russell (University of Kent at Canterbury), Primitivity in the Cartoon Text: The Language of Puns
    Heil, R. Douglas (University of Winsconsin, Oshkosh), Visualising Subversion: Shaping Form to Content at the Walter Lantz Studio
    Kennedy, Gary (Carleton University, Ottawa), Cartoon All Stars To The Rescue: The New Recruits in the Drug War and the Animated World of Consumerism
    Langer, Mark (Carleton University, Ottawa), Innovation and Industrial Competition: The Stereotypikcal and Multiplane Processes
    Leskosky, Richard J. (University of Illinois, Urbana), Two-State Animation: The Thaumatrope and its Spin-Offs
    McLaughlin, Dan (University of California, Los Angeles), The Visual in Disney’s Peter Pan
    McLaughlin, Mary Serbia (California State University, Los Angeles), Two Worlds Reviewed: A Phenomenological Reading of Pat O’Neil’s Water and Power
    McMillan, Robert (Ottowa), Transformations and Totemism: BugsBunny, Levi Strauss and Bateson.
    Manovich, Lev (University of Rochester), Effects of the Real in Computer Animation
    Ohmer, Susan (New York University), Plenty of Action and Just Enough Romance’: Debates around Disney’s Adaptation of Peter Pan
    Prokhorov, Anatoly (Pilot Animation Studio, Moscow), Structure of Emile Cohl’s Films: Variational Forms on Screens
    Roger, Andrew (National Archives of Canada, Ottowa), John Grierson Meets Donald Duck: The National Film Board of Canada and the Disney Studios
    Rubin, Martin (Dallas), Rise and Fall of the Spot-Gag Cartoon
    Smoodin, Eric (American University), A Night at the Movies: Ideology, The Film Bill and Audience Construction
    Staven, Karl (Ithaca College), Collaborative Animated Films: Less Than the Sum of Their Parts?
    Vartanian, Carolyn Reed (University of Southern California), Animated Characters and Commercials
    Wallace, Anne D. (University of Southern California), Legibility, Literacy and Authority: Bakshi’s Reality Codes in The Lord of the Rings
    Walz, Gene (University of Manitoba), Character Design in Animation: The Case of Charlie Thorson
    Williams, J.P. (Georgia Southern University), Lois Lane and the War Effort: Narrative and Gender Construction in Superman

    FOURTH ANNUAL SAS CONFERENCE, 23-25 October 1992
    California Institute of the Arts, Valencia, USA    

    Teach animation

    Grush, Byron, Digital Technology and Teaching Animation
    Mones-Hattal, Barbara, Figure to Field – Computer Animation
    Schwartz, Gary, Teaching Animation to Prisoners

    Animation Theory

    Denslow, Phil (Atlanta, Georgia), What is Animation and Who Needs to Know?
    Wright, Prescott, The ASIFA Definition of Animation
    Van Baerle, Susan, An Expanded Definition for Animation for the Virtual Reality Era.
    Williams, Suzanne, Towards Establishing Assumptions and Theoretical Framework for Value Analysis of Animated Texts
    Klein, Norman, Animation in Real Space

    Applied methodology

    Ohmer, Susan, Towards an Industrial History of American Animation: 1940s Economic and Structural Changes
    McNamara, Marty (USA), Script Evolution and Story Adaptation
    Kennedy, Gary, Young Sherlock Holmes: Popular Hero and the Technological Imagination
    Langer, Mark (Carleton University, Ottawa), Ren & Stimpy, Animatophilia and the Trash Aesthetic
    Deneroff, Harvey (Los Angeles), John Matthews’ Children’s Animation
    Gurevich, Michael, Animopolis or Urbanimation?

    Historical Perspectives

    McLaughlin, Dan, Animation before Film
    Leskosky, Richard, Phenakistoscopes
    Frierson, Michael (University of North Carolina), Early Pioneers in Clay Animation
    Ferriter, Christine, Joie de Vivre, Art Historical Context
    Dill, Jane, Jules Engel: Film Artist
    Furniss, Maureen, Abstraction in Film: Techniques and Relationships
    Gene Walz (University of Manitoba), Frédéric Back
    DelGaudio, Sybil (Hofstra University, New York), Blues, Breaks, Lines and Shapes: Jazz and Animation at the Hubley Studio

    Animation propaganda

    Carr, Steve, Stereotypes in 1930s Cartoons
    Mastronardi, Michael, Bugs Bunny and FDR Go To War
    Penkoff, Diane, Slipping ’em a Mickey? The Enchantment of Alcohol in Disney Animated Films
    Knapp, Trischa, Popular Political Culture: Rocky & Bullwinkle and the Cold War
    Cohen, Karl, Methods of Censorship for Animated Features and TV

    Women and animation

    Beams, Mary, Subverting Time: A Woman’s Perspective
    Moritz, William (California Institute of the Arts), The Genius of Lotte Reiniger
    Allen, Robin (InterTheatre, Stockport, United Kingdom), Sylvia Holland, Disney Artist
    Vartanian, Carolyn, We’re Not Bad, We’re Just Drawn That Way – Animated Women: Cool World and Roger Rabbit
    Priestley, Joanna, Faith Hubley: Creating a Healing Mythology

    FIFTH ANNUAL SAS CONFERENCE, 26-28 November 1993
    Surrey Institute of Art and Design, Surrey, United Kingdom    

    History and culture

    Bendazzi, Giannalberto (Italy), La Rosa Di Bagdad: The first full length Italian animated feature film

    Orientalism

    Sharman, Leslie (United Kingdom), The Thief of Buena Vista: Disney’s Aladdin and the Orientalism Debate
    White, Timothy, & Winn, Emmett (Singapore), Allah versus Disney in the South China Sea

    The body

    McLaughlin, Dan (USA), Beauty and Beastiality Pummell, Simon (United Kingdom), Francis Bacon and Walt Disney Revisited Wells, Paul (De Montfort Uiversity), Body Conciousness in the Films of Jan Svankmajer

    Technology

    Carels, Edwin (Belgium), Old Techniques in New Technologies
    Guldin, Jere (USA), Processed by Cinecolor: The Use of the Color Process in Animation
    Leskosky, Richard, (USA), Zoetrope: History and Uses

    History

    Williams, Susanne H. (USA), The Many Incarnations of Two American Superheroes
    O’Brien, Kevin (USA), Chuck Jones / MGM
    Russ, Paul (USA), Felix the Cat as Chaplin’s Cartoon Persona
    Wagner, Hart (USA), Tom Death and Jerry Saviour: Chuck Jones Haunted Mouse and the Harrowing of Hell.
    Williams, David (United Kingdom), Sniffles – The Mouse that Chuck Built

    Technology and computers

    Darley, Andy (Surrey Institute of Art & Design), Computer Animation: Second Order Realism & Post-Modern Aesthetics
    Wright, Richard (United Kingdom), Visual Technology and the Poetics of Knowlegde

    Aesthetics

    Kirkham, Pat (United Kingdom), Science, Technology, History and Philosophy Made Easy and Accessible
    Noake, Roger (United Kingdom),The End in Sight: Historical Narrative in Animation and Posthistoire
    O’Connell, Kenneth (USA), The Missing UPA Films: Cartoons and Modern Art
    O’Pray, Mike (University East London), Eisenstein, Stokes and Disney: Animation and the Omnipotence of Thought

    Culture and identity

    Allan, Robin, (InterTheatre, United Kingdom), Gustav Tenggren and European influences on Early Disney Feature Animation
    Egbert Barten & Mette Peters (The Netherlands), Animating for the Enemy: Animation Films in Holland 1940-45
    Knapp, Trischa (USA), The New Spirit Income Taxes: Donald Duck, Persuasion and World War II
    Moritz, William (California Institute of the Arts), The Idea: Bartosch & Masereel

    SIXTH ANNUAL SAS CONFERENCE, 6-9 October 1994
    San Francisco State University, USA

    International abstracts

    Noake, Roger (Surrey Institute of Art & Design), The Witchetty Grub – Len Lye’s Model of Communication
    Darley, Andrew (Surrey Institute of Art & Design), The British Documentary Tradition and New-Animated Non-Fiction
    Bendazzi, Giannalberto (Italy), Osvaldo Cavandoli: A Life on the Line
    Langer, Mark (Carleton University, Ottawa), Why the Atom is Our Friend: Disney and State Interests
    Hu, Gigi (Singapore), Adaption of Traditional Ethnic Narratives into Half-English
    Williams, David (United Kingdom), The Fantasia That Wasn’t Quite
    Law, Sandra (University of Calgary), Putting Themselves in the Picture – Female Images in the Work of Selected Women Animators in the UK
    Walz, Gene (University of Manitoba), Charlie Thorson and the Fleischer Brothers Studio at Twilight
    Knight, Laura (Jackdaw Media, Liverpool, United Kingdom), New British Documentary: Zoetrope Artists
    Pilling, Jayne (British Film Institute), Genre Redefinition: Redocumenting the Real
    Palmer, Roger (LaTrobe University, Australia), Cultural Difference in Reading American Animation Down Under
    Gurevich, Mikhail (Russia / USA), Literary Poetics and Animation Stylistics

    American abstracts

    Engel, Jules (California Institute of the Arts), Experimental Animation: Art in Motion
    Mikulak, William (University of Pensylvania), Bugs and Oscar: A History of Animation Exhibition Practices at the Museum of Modern Art, NY
    DelGaudio, Sybil (Hofstra University, New York), Journey to the Mystery Place: Indigenous Forms in Faith Hubley’s Cloudland and Tall-Times Tales
    Cohen, Karl (San Francisco), Importance of FBI’s Walt Disney File to Animation Scholars
    Rubin, Jon (Brooklyn), Preview of ‘Cartoon Chronicles’ CD-ROM
    McLaughlin, Dan (University of California, Los Angeles), Animating Interactive Multimedia
    Gorringe, Carrie (Seattle), Blues in the Night(club): The Characterisation of Female Sexuality and Wartime Tensions in Coal Black an de Seven Dwarfs and Red Hot Riding Hood
    Griffin, Sean (Los Angeles), I’ll Give You Such a Pinch: The ‘Queerness’ of Animation
    Sandler, Kevin (New York University), Gendered Envasion: Bugs Bunny in Drag
    Blonder, Roger (University of California, Los Angeles), Mosquitoes, Dinosaurs and the Image-ination
    Frierson, Michael (University of North Carolina, Greensboro), A Close Reading of A Nightmare Before Christmas
    Leskosky, Richard (University of Illinois, Urbana), Animation by the Side of the Road: Fixed Art / Moving Spectators
    Williams, Suzanne (Trinity University), Business, Regulatory and Social Structures Leading to Narrative Forms in Contemporary American Animation
    Moritz, William (California Institute of the Arts), Narrative Strategies in Borowczyk, Lenica’s Home, Priit Pärn’s Le Déjeuner sur l’Herbe and Yori Norstein’s Tale of Tales
    Staven, Karl (New York), Anijamming: Thematic Devices of a Burgeoning Sub-genre
    Morse, Deanne (Grand Valley State University), Evolution in Computer Animation Art and Design in Siggraph 1994
    McNamara, Martin (San Francisco), Animated John Henry: Race and Gender Subtexts in Heroic Legend
    Deneroff, Harvey (Los Angeles), Structural Changes in American Animation Relating to Employment Patterns, 1937-1994
    Ohmer, Susan (CUNY / College of Staten Island), Myth and Marketing: Disney Production Documentaries

    SEVENTH ANNUAL SAS CONFERENCE, 29 September to 1 October 1995
    University of North Carolina, Greensboro, USA

    Disney

    Sweeney, Gael (Syracuse University), ‘What Do You Want Me to Do, Dress in Drag and Do the Hula?’: Pumbea and Timon’s Alternative Life Style Dilemma in Disney’s The Lion King
    Griffin, Sean (University of California, Los Angeles), I’ll Give You Such a Pinch: ‘Queering’ Animation
    Muwzea, Adwoa X. (Wayne State), Discourse on Disney and the Legend of Sundiata
    O’Brien, Pamela C. (Indiana University), Everybody’s Busy Bringing You a Disney Afternoon: The Creation of a Consumption Community
    Ohmer, Suzan (CUNY), On the Edge: Economic and Industrial Restraints on Animation in the 1940s
    Williams, David (United Kingdom), The Dope on Dopey: The Development of Character Personality in Disney’s Snow White and the Seven Dwarfs

    International Movements

    Darley, Andrew (Surrey Institute of Art & Design), Recent Experimental, Nonfiction Animation in the UK
    Lent, John A. The Status of Animation in Asia Based on Interviews with Animators in China, Taiwan, Hong Kong, Thailand and India
    Herron, Alastair (University of Ulster), Practical Animation Yield in a Time of Restraint: An Irish Experience
    McNamara, Martin, Manipulation of Line in East European Animation: Jankovics and Drajic

    Authorship

    Springfield, Susan (SMU), Animation and German Expressionist Film: The Silhouette Films of Lotte Reiniger
    Frierson, Michael, (University of North Carolina), Tim Burton’s Early Works: Vincent and Frankenweenie
    Noake, Roger (Surrey Institute of Art and Design), A World Enough and Time: George Dunning

    Technology and animation

    Crafton, Donald (UWM), Mickey Mouse on Broadway
    Furniss, Maureen (Chapman University), The Effects of New Technologies on Made-for-Television Animation
    Langer, Mark (Carleton University, Ottawa), Ko-Ko in Context: A Study in Early Technology and Organisation
    Leskosky, Richard (University of Illinois, Urbana), The Animation Inventions of Willis O’Brien
    Bosworth, Leah M. (RIT), An Analysis of Four Direct-On-Film Animators
    Lindvall, terry (Regent University), Darker Shades of Animation History: Cartoon Images of African Americans
    Cohen, Karl (San Francisco), How Criticism Helped Bring About the End of Black Stereotypes in Animation

    Animation and culture

    DelGaudio, Sybil, (Hofstra University, New York), If ‘Truth’ Be Told, Can ‘Toons’ Tell It?: Animation and Documentary
    Sandler, Kevin (New York University), Gender-Mania: Anthropomorphization in Animaniacs
    Raffaelli, Luca (Italy), Conflicts Between Generations in the Animated Series

    Animation and sponsorship

    Saks, Ron (Columbus College), The Making of Ted D. Bear: The Pitfalls of Client / Student / Classroom Relationship
    Rapf, Maurice (Dartmouth College), Animation in the Sponsored Film

    EIGHT ANNUAL SAS CONFERENCE, 25-29 September 1996
    University of Wisconsin, Madison, USA  

    Animation technology

    Leskosky, Richard (University of Illinois, Urbana), The History and Technical Development of the Mutoscope
    Shaffer, Carolyn (University of Wisconsin, Madison), The Technology of Stop-Motion Animation
    McLaughlin, Dan (University of California, Los Angeles), The Role of Animation in the New Digital Media
    Rubin, Jon (Cooper Union), Animation and New Technology

    Animation and other forms

    Gurevich, Mikhail (University of Wisconsin, Madison), Literary Animation: Problem/Image of the Text
    Bishko, Leslie (Simon Fraser University), Laban Analysis of Squash and Stretch
    Furniss, Maureen & Beal, Anthony (Chapman University, Orange), The Adaptation of Japanese Animation Series for Use on American Television

    Japanese animation

    Desser, David (University of Illinois, Urbana), Why Anime?
    Bordwell, David (University of Wisconsin, Madison), Stylistic Transformations Between Live-Action and Animation in Japanese Cinema

    Animation and ‘live’ cinema

    Becker, Christine (University of Wisconsin, Madison), Cross-Over Aesthetics: Frank Tashlin’s Cartoons and Live Action Films
    Sartin, Hank (NotreDame University), Anything For My Public: Bugs Bunny and the Problems of Cartoon Stardom

    Representing the ‘Other’

    Mittell, Jason (University of Wisconsin, Madison), I’m Not Black, I’m Just Drawn That Way
    Frierson, Michael (University of North Carolina, Greensboro), The Image of the Hillbilly in Warner Bros. Cartoons of the 1930s
    Sieving, Christopher (University of Wisconsin, Madison), Mouse Trouble: A Social Analysis of MGM’s Tom and Jerry Cartoons

    Animation in World War II

    Okamoto, Rei (Temple University, USA), Ideological Representations and Cultural Myths in a Japanese Wartime Animated Film, Momotaro – Divine Troops of the Ocean
    DelGaudio, Sybil (Hofstra University, New York), What Did You Do in the War, Daddy? Animation and WWII Training Films

    Social constructions of cartoon stardom

    Desilets, Michael, International Migration of Cartoon Stars
    Sartin, Hank, Anything For My Public: Bugs Bunny and the Problem of cartoon Stardom

    International Media

    Lent, John A. (Temple University, USA), Korean Animation: The Boom Years
    Camp, Brian (NUY/CUNY-TV), The Evolution of Street Fighter: From Video Game to Spiritual Quest

    Historical observations

    Moritz, William (California Institute of the Arts), Abstract Dreams
    Williams, David (United Kingdom), Animating the Inanimate

    Codes of realism

    Kreul, James (University of Wisconsin, Madison), Why Composite Roger Rabbit?
    Fay, Jennifer (University of Wisconsin, Madison), The Cameraman’s Revenge: The Reality Status of the Image

    Textual evolutions

    Langer, Mark (Carleton University, Ottawa), Northern Silhouettes: The Works of Bryant Fryer
    Allan, Robin (InterTheatre, United Kingdom), Alice in Disneyland: The Gestation and Creation of the Animated Feature Film

    NINTH ANNUAL SAS CONFERENCE, 8-12 October 1997
    University of Utrecht, Utrecht, The Netherlands    

    Thalmann, Nadia (Switzerland), Overview of the State of the Art in Human Figure Modeling Animation

    Animation and History: Europe & USA

    Peters, Mette (The Netherlands), De Moord van Raamsdonk: Dutch Shadow Show becomes Silhouette Film
    Pavlov, Boris (Filmmuseum, Russia), Animation in the ‘Russian Hollywood’ of the 1920-1930’s
    Strøm, Gunnar (Møre og Romsdal College, Norway), Desider Gross and Gasparcolor: European Producers, Norwegian Product: On Animated Cinema Commercials from the 1930’s
    DelGaudio, Sybil (Hofstra University, USA), Anonimity vs. Identity: The Uncredited Work of John and Faith Hubley
    Allan, Robin (InterTheatre, United Kingdom), Europe through American Eyes at the Disney Coal Face: The Contribution of Bob Jones, Engineer and Puppeteer, to Pinocchio and Fantasia
    Furniss, Maureen (Chapman University, USA), Stars and Stripes: Animation in American Advertising
    Langer, Mark (Carleton University, Canada), Disney, Nixon and Cold War Animation
    Sandler, Kevin (USA), Looney Tunes and Merry Metonyms: Disneyfication, Identity Politics, and the Corporatizing of Bugs Bunny
    Goergen, Jean Paul (Germany), Discovering Paul Peroff
    Moritz, William (California Institute of the Arts), Absolute Film: The Next Generation
    Floquet, Pierre (Bordeaux University, France), Tex Avery’s Comic Language: 10 Years of Creation at MGM, 1942-1951
    McNamara, Martin (USA), Patterns of Social Metaphor in New German Animation

    Animation and Technology

    Leskosky, Richard (USA), The Quest of Depth: Mechanics and Aesthetics of the American Animated Cartoon
    Izvolov, Nicolai (Russia), The History of Drawn Sound in Soviet Russia
    McLaughlin, Dan (University of California, USA), It’s About Time

    Animation and Other Media

    Moins, Philippe (Belgium), Animation in Belgium: The Longstanding Relationship between the World of Publishing and the Cinema in Belgium
    Williams, David (United Kingdom), Sons of the Drawing Board: Laurel and Hardy as Cartoon Characters
    Rijken, Arnoud & Bas Brinkman (The Netherlands), Strangers in a Strange Land: on the Dramaturgy of Animation
    Carels, Edwin (Belgium), 1895: Animation, History and the Metafilm
    Buchan, Suzanne (University of Zurich, Switzerland), Vision Animated to the Bursting Point: Stylistics of Metamorphosis in Text and Film
    Muhr, Gunilla (Stockholm University, Sweden), High, Low or In-between: Disney’s 1930’s Cartoon Symphonies
    Kester, Bernadette (Erasmus University, The Netherlands), Emancipating from Realism?: Historical Representations in Animation Films

    Animation and Perception

    Mukerji, Chandra & Tarleton Gillespie (University of California, USA), Recognizable Ambiguity: Cartoon Imagery and American Childhood in Animaniacs
    Yokota, Masao (Nihon University, Japan), Face Preference of Animation Characters by Japanese University Students
    Prokhorov, Anatoly (Pilot Animation Studio, Moscow), Space as a Screen, Perception as an Illusion, Culture as Sorcery

    Animation in Different Cultures

    Lent, John & Asli Tunc (Temple University, USA), Animation in Turkey: Historical and Contemporary Problem Analyses
    Gamarra, Edward (Emory University, USA), Animus, Anima, Anime: A Jungian Approach to Japanese Animation
    Trymbach, Sergij (Ukraine), Ukrainian Animated Movie in the Space of the National Cinema Culture

    TENTH ANNUAL SAS CONFERENCE, 6-16 August 1998
    Chapman University, Anaheim, USA

    Guldin, Jere, Puppetoons Screening and Panel on the Future of Stop-Motion Animation
    Bryman, Alan, Theorizing the Early Technologies of Animation
    Leskosky, Richard J. (USA), Animation on the Outer Curve
    Fleischer Zucker, Barabara, Anna Curtis Chandler: A Storyteller Who Could Keep Them from the Movies
    Padilla, Chris, The Development of American Animation Festivals
    Gillespie, Tarleton, Toy Story and Consumer Culture
    Muhr, Gunilla, Aesthetic Strategies of the Disney Studio in the 1930’s
    Walz, Gene, Charlie Thorson and the Twilight of Fleischer Studios
    Floquet, Pierre (France), From Tex Avery’s Debut to the Beginning of His End: Recurring Theme and Evolving Style
    Yokota, Masao and Koji Nomura (Japan), The Impact of Miyazaki Hyao’s Feature Animations on Japanese Audiences
    Frierson, Michael, Clay Animation in Interactive Games
    Ohmer, Susan, Competitive Strategies at the Blue Sky Studios and Curious Pictures
    Kaufman, J.B., Variations on a Mouse
    Klein, Tom, Tex Avery on Trial!
    Langer, Mark (Canada), The Freak Show Cultural Tradition in American Animation
    Callahan, Vicki, Animating the Body in the Virtual Landscape
    Raffaelli, Luca (Italy), Death and Animation
    Cholodenko, Alan (Australia), The Illusion of the Beginning, or, In the Beginning Will Have Been the End
    DelGaudio, Sybil, The Hubleys and Human Growth
    Bond, Rose and Ruth Hayes, Northwest Animation: The Roots of Creative Variance
    Tomlinson, Lynn, Launching (From) The Quays
    Ehrlich, David (USA), The Beginning of the ‘ASIFA Presents’ Collaboration Films: Aesthetic and Political Problem Solving
    Kreutz, Rune, Absolute films and the Consequences of Abstraction
    Haller, Robert A., Jim Davis: The First Eight Years
    Crone, Ton (The Netherlands), The beginning of the Netherlands Institute for Animation Film
    Goethals, Johann (Belgium), The Academy of Ghent: The First Animation Department in Europe?
    Goergen, Jean Paul (Germany), Puppet Animation Film in Germany from 1915-1945
    Jackson, Wendy, Czechoslovakian Animation under Soviet Occupation
    Lent, John A. and Asli Tunc, Women and Animation in Turkey
    Bradbury, Keith (Australia), Australian Animation before Disney in Australia-Harry Julius
    Phillips, Nick, SIIARA and Bob Godfrey
    Williams, David (United Kingdom), From Cat to Mouse: Sheila Graber, UK Animator
    Allan, Robin (InterTheatre, United Kingdom), Disney’s Make Mine Music: An End and a Beginning

    ELEVENTH ANNUAL SAS CONFERENCE, 3-6 August 1999
    Griffith University, Brisbane, Australia

    Bouldin, Joanna (USA), Wabbit Twouble: Bugs Bunny, Drag and the Gender-Bendable Body
    Knight, Laura (United Kingdom), Mixing it: Image manipulation trends in UK contemporary short form animation
    Burgess, Colin, The Shell Film Unit: Beginnings
    Strøm, Gunnar (Norway), Desider Gross and Gasparcolor – two years after
    Goergen, Jean Paul (Germany), The History of Hand Drawn Sound in Germany (1932)
    Crogan, Patrick (Australia), Perspectives in 3D animation in Australia
    Leskosky, Richard (USA), Animating between the Lines: Grid Animation
    Vasseleu, Cathryn, The Moving Image and Spectacular Animation
    Langer, Mark (Canada), Cyborgs before Computers: The Rotoscope as Prosthesis
    Farley, Rebecca, Play and Transformation: The Animated Aesthetic
    Oancea, Sorin, Jan Svankmajer: Alchemist or Social Critic?
    Dawson, Jonathan (Australia), A Regional Life – Images of Queensland and the animation of Max Bannah
    Begg, Jane (Australia), Silicon Pulp
    Palmer, Roger (Australia), The National Style: a case of ‘Footrot Flats’
    Cholodenko, Alan (Australia), Apocalyptic Anime: In the Wake of Hiroshima, Nagasaki and Godzilla
    Schaeffer, William, Struggling with an Invisible Hand: Exploring the Specificity of Animation, From Cohl to Kricfalusi
    Furniss, Maureen (USA), Real Time Aesthetics

    Asia-Pacific Focus

    Dobson, Terence (New Zealand), The Filmmaker as Overseas Aid: Norman McLaren in Asia
    Yokota, Masao (Japan), Isao Takahata; The Animation Director who worries about the Mental Health of the Young Generation
    Routt, William (Australia), Stillness and (e) motion in Neon Genesis Evangelion
    Floquet, Pierre (France), Avery’s World in Asterix Land
    Williams-Rautiola, Suzanne (USA), The Aesthetics of 3D Computer Animation in Television Programming
    Wulf, Junia (Australia), Voice Actors: Are they being heard in the Animation Industry
    McLaughlin, Dan (USA), Z Axis Animation and the Free Lancing of Bill Littlejohn

    TWELFTH ANNUAL SAS CONFERENCE, 5-9 August 2000
    University of Trondheim, Norway

    Digital topics

    Knight, Laura (Staffordshire University, United Kingdom), From Flip to Zip: Patterns of Delivering Animation Education to Pre Degree Students as Part of a School Curriculum
    Palmer, Roger (Australia), The Animated Image: Tradition versus Technology Down-Under
    Childs, Lucy (University of Luton, United Kingdom), The Ghost of Happy Accident
    Southall, John (United Kingdom), Expanding Boundaries – Setting Boundaries: The Role of Theory and Paradigms in Understanding Developments in Animation
    Bradbury, Keith (Griffith University, Australia), Towards a Spiritualist Aesthetic: Boundaries in Cyberspace?
    Estela Graca, Marina (Universidade do Algarve, Portugal), Physiology: towards Animation Poetics
    Watson, Paul (United Kingdom), The World Well Lost

    Other topics

    Strøm, Gunnar (Volda University Highschool, Norway), The Animated Documentary: a Performative Tradition
    Floquet, Pierre (Ecole Nationale Supèrieure d’Electronique et de Radioèlectricitè de Bordeaux, France), Animated Characters: Actioned, or Actors?
    Leskosky, Richard J. (University of Illinois, USA), J. R. Bray’s 1916 Animation Patent
    Allan, Robin (InterTheatre, United Kingdom), Fantasia Now and Then: an Exploration of the New Fantasia 2000 compared with its 1940 Forerunner
    Williams, David (United Kingdom), A Line in Your Lap
    Goergen, Jean Paul (Germany), Animated Propaganda in Germany
    Peters, Mette & Egbert Barten (The Netherlands), Mostly Hidden Away: Animation Film in the Netherlands 1940-1945

    Asia Panel

    Lent, John, A., Animation in South and Southeast Asia
    Ying, Xu, Animation in Bejing
    Holmen, K. Hee OH (California Institute of the Arts, USA), Cross Cultural References in Japanese Animation: A Survey on Kiki’s Delivery Service with Scandinavian Audience
    Yokota, Masao, Masashi Koide, and Koji Nomura (Nihon University, Japan), Psychological Dependence in Japanese Animation films: A Case of Rin Taro

انیمیشن صنعتی و هوا فضا

https://www.aiaa.org/Secondary.aspx?id=21991

  • Visualization for feature detection, knowledge capture and engineering animation

The Sixth International Conference on Creative
Content Technologies

GRAPHICS: 3D Graphics

Interactive 3D graphics
High-performance 3D graphics
Mixed and augmented reality
Interactive on-line gaming
Animated humanoids and complex reactive characters
3D documents and web/multimedia
User-interface for real-time 3D graphics and virtual environments
Innovative 3D web applications /industry, science, medicine, technology, culture/
3D content creation technologies and tools
Interactive 3D graphics for mobile devices

ANIMA: Animation/cinematography

Computer animation
Computational cinematography
Virtual videography
Autonomous interactive characters
Traditional animation and 3D computer animation
Re-cinematography
Casual video
Cinematography
Image stabilization
Virtual Cinematography
Relighting through computation

MEDIMA: Medical image producing

Millie Young – Has Thai Animation finally found it’s ‘jai’ [heart]?

Bio: I animate therefore I am a teacher I teach therefore I am an illustrator I illustrate therefore I reflect my environment In reflecting my environment I am animated. Millie has taught Animation for over 20 years initially in the UK, she now lectures at Mahidol University International College, Thailand. In 1994 she set up Millimation’s Animation Workshop in Brighton UK producing and creating films by, with and for the community winning the UK Arts Council ‘Taped Up award for ‘Tally Bloody ho!’ in 1999. Her research includes elephant portraits recently exhibited at Ayutthaya National Museum and in Bangkok. Her work deals with oral narratives, traditional stories cultural and environmental issues. Millie lives in Ayutthaya, Thailand where she continues to animate, study and develop creative works about Thailand’s culture, elephants and mahouts. http://ajarncartoon.blogspot.com/ www.millimations.com

Affiliation: Mahidol University International College

Website: http://www.muic.mahidol.ac.th/eng/?page_id=851

Email: millicent.you@mahidol.ac.th

Topic: Critical and theoretical approaches to animation histories or national movements/identities

Abstract Title: Has Thai Animation finally found it’s ‘jai’ [heart]?

Abstract: Has Thai Animation finally found it’s ‘jai’ [heart]? Kompin Kemgumnird’s animated feature ‘Echo Planet’ offers an ideological mix of the sakorn (global) and the ‘Thaithai’ (thai-ness), which challenges to broaden the dominant US ideological narratives with ‘jai theung’ bravery. Thai animation history emerged in 1945, but with only sporadic investment the results have been limited. In the last 20 years the domestic demand has grown, favoring both the Japanese Anime and the US Disney/Pixar styles – so too the industry has grown with many small businesses producing TV series, commercials and even features. Now with support from higher education, Thailand is establishing a skilled workforce. In 2012 ‘Echo Planet ‘was released with clear influence from the US style. Director Kompin Kemgumnird worked hard to instill an essential contemporary Thai-ness to the characters and story, but did his gamble win? This paper explores identity and culture in Thai Animation through analysis of archival research of the history; Interviews with present practitioners, focusing on ‘Echo Planet’ 2012; and surveys of Thai animation students to identify possible trends or a commonality in narrative, characters and style, subject that shapes the very Thai-ness of animation and thus to establish a background to Thai Animation which offers greater future theoretical consideration.

Peng Zhijun – Toward the Holism: McLaren’s Artistic Concepts of Animation Echoing the Chinese Holistic View

Bio: Peng Zhijun is an instructor in Visual Art Department at Tianjin University, who have got Ph.D major in animation art from Communication University of China in June 2012. Having achieved some goals in her career of animation theory and history, she is interested in the area of animation and media theory/practice relationships and its extended animation, visual art and culture. her career in animation theory and history is an extensively interdisciplinary study related to film and media studies, philosophy of art, Chinese art and other disciplines. she is now working on the internal relationship between animation and Chinese art and its general theory in philosophy of art and is also the principal of the project “The Essence of Animation” which is supported by Tianjin Art Research Institute. She is also the only invited speaker from mainland of China for the 25th International Conference on The Society for Animation Studies in Melbourne.

Affiliation: Tianjin University

ادامه در اینجا

http://www.theanimator2014.com/presenters/Presenters.php

VIEW Conference 2014 is the premiere international event in Italy on Computer Graphics, Interactive Techniques, Digital Cinema, 2D/3D Animation, Gaming and VFX.

 

It will take place from 14 to 17 October 2014 in Turin, Italy.

 

The current conference launches call for papers and workshops.

 

More specifically, it will be focusing on the following topics:

  • Food and the environment in movies and games;
  • Sports in games and movies;
  • Animation for education;
  • Religion in animation;
  • Games;
  • 2D/3D cinema and VFX;
  • 2D/3D television productions;
  • Media production for children and young adults;
  • Augmented reality;
  • Digital media;
  • Interactive techniques;
  • Medical imaging;
  • Automotive and architecture design;
  • Industry discussion: creating content for children and young people;
  • Simulating reality;
  • Synthesizing reality;
  • Robots and robotics;
  • Reality capture;
  • Creative storytelling and
  • Mobile CG.

نفرانس

http://www.zippyframes.com/index.php?option=com_content&view=article&id=2038%3Acall-for-papers-asia-animation-forum-aaf-2014&catid=23&Itemid=100052

  • C A K E http://www.edgehill.ac.uk/cake/conference/
  • Creative Processes
  • Defining Creativity in Animation
  • Influences of Technology on Animation Practice
  • Collaboration and Creativity in Factual and Scientific Animation
  • Education, Policy and Partnerships
  • Constraints and creativity
  • Animation Practice as Research
  • Cross-cultural Approaches to Animation Practice and Theory
  • Innovative Animation and Processes
  • Animation Industries
  • Critical Production studies of Animation
  • Interdisciplinary Approaches to Animation and Animation Studies
  • Pervasive Animation

We would also like to receive proposals from creative practitioners working within animation, or related areas, who are interested in any of the following topics:

  • Action Research
  • Creative Research
  • Interdisciplinary Research
  • Performance-led Research
  • Performative Research
  • Practice-based Research
  • Practice-led Research
  • Praxis
  • Qualitative Research
  • Reflexive Practice

_________________________________

لیست استاد و دانشگاه

http://homes.cs.washington.edu/~mones/

http://www.cs.washington.edu/research/ap/contact.html

http://grail.cs.washington.edu/alumni.html

https://www.graphics.rwth-aachen.de/research/

Research of the computer graphics group at RWTH Aachen focuses on geometry acquisition and processing, on interactive visualization, and on related areas such as computer vision, photo-realistic image synthesis, and ultra high speed multimedia data transmission.

National Centre for Computer Animation

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