Conferences

 

Society of Animation Studies (SAS), Canterbury (2015)
Conference Paper
Presented a paper concerning the notion of voids and infinite space within the mode of 3-D CGI.

BFX, Bournemouth University (2015)
Conference Paper
Organised and chaired a panel to discuss ideas around digital space. Other panel member discussion included VR and dome projection

Flux, RCA (2015)
Symposium
Jointly organised and presented a paper as part of the Flux exhibition at RCA.

‘Adobe Creative Summit,’ Ravensbourne (2014)
Conference Paper
Invited by Adobe to talk at an event for Higher and Further education heads of department, professors and lecturers within the creative and IT sector. The session focussed on how Animation within Edge Hill University has gained a Creative Edge to attract students in the competitive HE market.

‘BAF,’ Bradford Animation Festival (2014)
Conference Paper
Through examples of practical animation research, this paper explores the application of alternative spatial systems in relation to our understanding 3-D CGI space and proposes that true perceptual (visual) space derives from hybrid spatial codification systems, originating from and defined by binocular human vision and physical experience; opposing a culturally determined reliance on metric based single-point perspective.

‘BFX,’ Bournemouth University (2014)
Conference Paper
This paper seeks to address Heidegger’s description of space in terms of delimitation and the setting up of enclosing and excluding limits in which he claims that space subsists through establishing demarcation and resistant barriers that contain space. The work here examines 3-D CGI as a mechanism for introducing barriers to capture, sculpt and contain space.

‘AVANCA’, Portugal (2014)
Conference Paper
The paper represents an investigation into the study of ‘space’ as material within the production of 3-D CGI and outlines the practical work developed as a part of a broader research where the aim is to challenge and debate dominant spatial contingencies relating to the field of animation. The aspiration for the research is to develop alternative approaches to the creation and presentation of 3-D CG animation, with specific reference to space as fundamental to its remit. This research paper seeks to ask the following questions:

Can the conceptualization and presentation of space be deemed as fundamental to the language of three-dimensional computer generated animation, and defined as material? How might space be qualified as material, within the context of three-dimensional computer generated animation, through practical application and analysis?

‘Creative Animation Knowledge Exchange,’ Edge Hill University (2014)
Conference Paper
A paper that considers the potential of horizons to distort and manipulate our perception and realisation of space and how this might knowledge might impact and be employed within a 3-D CGI arena.

‘The Digital in Depth’, Warwick University (2014)
Conference Paper
A paper that explores the theme of ‘clearing away’ through its application to animation practice and presentation and seeks to interrogate, through practical animation practice, Heidegger’s notion of clearing away as a means to release places, and as a means to introduce space openness. The work introduced explored associated ideas of making room and locality and an interplay between place and space using 3-D CGI animation and asks the following questions:

How might the conceptualization and presentation of space be deemed as fundamental to the remit of three-dimensional computer generated animation? Through practical application and analysis, how might space be qualified as material within the context of three-dimensional computer generated animation?

BIGC and EHU joint research Project (2013)
Initiated a first step towards a sustainable, long-term joint research project between Edge Hill University (EHU) and the Beijing Institute of Graphic Communication (BIGC). The aim of the project is to generate a synthesis between two discrete areas of research, both located within the subject of animation, that deal with the language of the digital. Specifically the research lies within the field of computer-generated three-dimensional animation (3D CGI).

‘Practice, Process and Paradox’, Roehampton University (2013).
Conference Paper
A paper presentation for a conference on how practice-based research can be seen a kind of creative work that has been forced to define itself in relation to particular definitions and perceptions of traditional academic research.

Cornerhouse Gallery ‘Surface to Screen’ (February 2013), Manchester

Artist Talk
The evening provided an opportunity to discuss current artwork, ideas, research and practice concerning the concept of ‘space as material’ in relation to 3D CGI animation, as well as the ‘myth of virtual’.

FACT, ‘Moving Horizontals & Digital Distance’ (20thNovember 2012), Liverpool

Artist Talk
A presentation and discussion that proposed an exploration of the hypothesis that the physical qualities of 3D CGI lie in its identity with ‘space’. That it is the spatial concerns, conceptual and constructional, that can be interrogated and regarded as material, not the vestiges and degradation of process. The talk explored the potential physicality or materiality of ‘space’ made visible through an application of Structural/materialist film principles, and discussed as an amalgam between virtual and physical. fact.co.uk

A research collaboration with Beijing Institute of Graphic Communication, China (November, 6th to 9th November 2012).
Collaboration provided opportunities to progress a joint application for research funding through exploring creative practice in the field of 3D CGI. This included an application for an ‘International Partnership and Mobility Scheme’ grant (deadline in February), and the progression of joint event in July 2013, which acted as a foundation for Sino-UK animation festival scheduled held at Edge Hill in July 2014.

Animation Explosion Symposium (Birmingham 2011)
Conference Paper
20th Century artists, avant-garde/experimental filmmakers, animators and image-makers, across every decade, have sought to challenge the dominant aesthetic of contemporary cinema and confront the ideological and political associations embodied in representational film/video. This presentation seeks to continue this polemic within the context of the digital, specifically 3D computer generated animation, and builds upon the theoretical and practical discourse relating to medium, material, expression and technology developed by artists and filmmakers working in the 1970s and 1980s.

This research work aims to challenge and debate the dominant, largely commercial, aesthetic relating to the field of 3D computer generated (CG) animation and seeks to develop alternative approaches to the creation and presentation of 3D CG animation.

AVANCA: 2011 International Festival/conference for cinema, TV, video and multimedia.
Conference Paper
An academic paper that considers how work developed by Structural/Materialist filmmakers and artists in the 1970s might provide a framework for exploring new methods and processes for working with 3D computer generated animation.

Society of Animation Studies, ‘Presentation’, Bournemouth (18th – 20th July 2008)
Presentation considered VJing as a bold, contemporary, cultural phenomenon that often defies categorisation by both critics and creators. Although labelled as neither, film, art or animation this sensuous and spectacular form is intrinsically linked, historically, visually and culturally, to all three.  The presentation considered relationship between VJ and the field of animation where experimental works by VJ artists relate directly to abstract animations, past and present, using sound, music, timing and rhythm to provide central themes.

Helsinki, Lume Media Centre “Cross-overs in Audiovisual Arts and Interactive Media” (June 2004)
Conference Paper
The paper considers the role of perception as an integral component in visual production. How does perception contribute to or govern a response to digital graphical characters, how close can we get to replicating the human form before the information presented to us works against our acceptance of the character as being perceptually real.

Sheffield Hallam University “Pixelraiders 2 Conference” (March 2004)
Conference Paper
A paper that considers the relationship between photo-realistic CGI representation and our inability to engage with such models on a human level.  One of the central issues raised in the creation of digital images concerns the much-debated relationship between, simulation, representation and presentation.

Farnham Castle International Conference Centre “Animated ‘Worlds’ Conference (July 2003)
Conference Paper
Traditionally cinema has relied heavily upon realistic visual representation to convey the notion of the real. In adopting digital technology as part of a filmic language the tendency has been to develop and apply the digital in a way that reinforces both pictorial realism and cinematic illusion.

In studying the relationship between the visual realism of film-based CGI and our acceptance of the film as real we believe that a paradox exists, i.e. the closer we get to a CGI photo-realistic quality the more difficult it is to accept the scene, and in particular photo-realistic characters within the scene, as “real” in a cinematic sense.