作為一名藝術家和電影製作者，Mari Jaye Blanchard 運用從遙遠過去到仍在開發中的現代技術，創造出視覺體驗，以邀請觀眾改變視角並產生情感共鳴。

通過對高低技術流程的探索，她創作的動畫作品在全球多個影展放映，包括安錫影展、Animaze和SIGGRAPH Asia。

An artist and filmmaker, mari jaye blanchard employs technologies from the distant past and the still-in-development-present to create visual experiences inviting shifts of perspective andempathetic engagement.

Through this exploration of high and low-tech processes, she has created animated works that have screened in festivals worldwide including Annecy, Animaze and SIGGRAPH Asia.

在為尼克國際兒童頻道執導並製作第一部《海綿寶寶》360 度手繪動畫影片後，我為傳統2D 動畫師建立了一個工作流程，讓他們能夠在360度影片中工作。

由於傳統動畫師可以直接在等距方格佈局上工作，他們只需一個背景、動畫圖層和 VR 輸出，即可輕鬆創作出整部360度影片。

這種對高科技體驗的低技術方法，為那些不願偏離傳統動畫製作的藝術家和 2D 動畫師提供了進入點。

After directing and animating on the first Spongebob Squarepants 360 hand-animated film for Nickelodeon, I established a workflow for traditional 2D animators working in 360-film. Because traditional animators can work directly on an equirectangular layout, they can readily create an entire 360 film with nothing morethan a single background, animated layers, and a VR export.

This low-tech approach to a high-tech experience creates an access-point for those artists and 2D animators who would be offput by significant departures from a traditional animation production.

出生於中國長沙的Yijia Chen，14歲時移居紐約，這次遷徙重塑了她的人生。 紐約市充滿活力的文化豐富了她的視野，拓展了她的創作天地。

自幼對遊戲充滿熱情，這股熱情引領她進入壬色列理工學院攻讀本科學位，隨後在紐約大學完成研究生學位。在那裡，她的畢業製作《Moncage》誕生。

Born in Changsha, China, Yijia Chen found her life reshaped at 14 when she moved to New York City.The city's dynamic and vibrant culture began to enrich her perspectives and expand her creative horizon.

Fascinated by games from a young age, her passion steered her to Rensselaer Polytechnic Institute for her undergraduate degree.

心流的概念出自Mihaly Csikszentmihaly的著作 Flow： The Psychology of Optimal Experience，書中將「心流」描述為全身心，未經打斷地關注於一件任務上。 這個概念經常被應用在遊戲設計理念裡。

完全理想的狀態下，心流自然是越流暢越好，但是在現實設計中，幾乎不可避免的會出現一段相對疲軟與緩和的區間，我把這段時間稱為Idle Time。

The concept of "Flow" originates from Mihaly Csikszentmihalyi's book Flow: The Psychology of Optimal Experience, in which "flow" is described as a state of being fully immersed and uninterruptedly focused on a task. This concept is often applied in game design principles.

Ideally, flow should be as seamless as possible. However, in practical design, it is almost inevitable to encounter a relatively sluggish or relaxed phase, which I refer to as "Idle Time."