Mari Jaye Blanchard Mari Jaye Blanchard
美國羅徹斯特理工學院 電影與動畫系 副教授 School of Film and Animation, Rochester Institute of Technology - Associate Professor
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.
2D 進入360度:利用等距方格技術製作《海綿寶寶》360 度動畫 2D in 360: Using an Equirectangular Grid for SpongeBob 360
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.

Yijia Chen(陳依佳) Yijia Chen
美國Optillusion Games 共同創辦人
Optillusion Games - Co-Founder
出生於中國長沙的陳依佳,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.
遊戲設計中的閒置時間探討 The Idle Time in Games
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."
2025 臺北數位圖像國際學術研討會「區塊鏈與生成藝術創作」圓桌論壇 The 2025 Taipei International Conference on Animation and New Media "Blockchain and Generative Art Creation" Roundtable Forum | |
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當代數位藝術正不斷演進,區塊鏈技術在創作與文化方面的影響越來越重大,其中又以生成藝術為主要表現形式。
本論壇由眾聲道(Volume DAO)舉辦,邀請四位區塊鏈藝術的實踐者分享各自經驗,彼此交流,並且跟與會者一同討論。 黃新和陳芷渝分別從個人創作出發,探討數位資料如何成為生成藝術的一部份,其中包括美術館藏品的運用,以及機器學習對審美的重新定義。 楊凡力從不可篡改性、時間稀缺性及藝術價值探討鏈上生成藝術中「完成」的概念,徐元彥則介紹數位收藏品在現今藝術文化生態系中各項活動的實際應用價值。四位實踐者從各自的關懷出發,緊扣生成藝術和區塊鏈的交集處,為我們帶來多樣的詮釋。 Contemporary digital art is continuously evolving, and blockchain technology is playing an increasingly significant role in both creative practices and cultural contexts—most notably through the medium of generative art. This forum, organized by Volume DAO, invites four practitioners of blockchain art to share their experiences, engage in dialogue with one another, and participate in discussions with the audience. Newyellow and Chih-Yu Chen each begin from their personal creative practices to explore how digital data becomes an integral part of generative art. Their presentations include the use of museum collections and the redefinition of aesthetics through machine learning. Fan-Li Yang examines the concept of "completion" in on-chain generative art through the lens of immutability, temporal scarcity, and artistic value. Meanwhile, Yuan-Yen Hsu introduces the practical applications of digital collectibles within today's art and cultural ecosystem. Rooted in their unique perspectives, these four practitioners delve into the intersection of generative art and blockchain, offering diverse interpretations and insights. |
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日期:2025年04月25日(星期五) Date: Apr 25, 2025 | |
地點:國立臺灣藝術大學 教學研究大樓9樓 901教室 Venue: 9th Floor, Teaching and Research Building, National Taiwan University of Arts, Room 901. | |
14:00 ~ 14:05 | 開場介紹 Introduction |
14:05 ~ 14:25 |
講題:美術館數位典藏之延伸創作與應用:芬蘭國家美術館「Combine24」國際生成式藝術競賽案例探討 主講人:黃新(互動新媒體工程師 / 生成藝術創作者) Topic: Extended Creation and Application of Digital Collections in Art Museums: A Case Study of the "Combine24" International Generative Art Competition at the Finnish National Gallery Speaker: Newyellow (Interactive New Media Engineer / Generative Art Creator) |
14:25 ~ 14:45 |
講題:機器學習介入生成藝術作品的設計流程介紹 主講人:陳芷渝(國立陽明交通大學應用藝術研究所碩士 / 生成藝術創作者) Topic: Introduction to the Design Process of Generative Artworks with Machine Learning Speaker: Chih-Yu Chen (M.A., Institute of Applied Arts, NYCU / Generative Art Creator) |
14:45 ~ 15:05 |
講題:流動的永恆:生成藝術與區塊鏈中的「完成」再定義 主講人:楊凡力(國立臺北藝術大學新媒體藝術學系三年級) Topic: The Flowing Eternity: Redefining "Completion" in Generative Art and Blockchain Speaker: Fan-Li Yang (Third-Year Student, Department of New Media Art, TNUA) |
15:05 ~ 15:25 |
講題:數位在場證明如何重塑現場體驗與文化價值 主講人:徐元彥(c2x3 區塊鏈藝術媒體主編) Topic: How Digital Proof of Presence Reshapes Live Experience and Cultural Value Speaker: Yuan-Yen Hsu (Editor-in-Chief, c2x3 Crypto Art Press) |
15:25 ~ 16:00 | 交流討論( Q&A ) Panel Discussion ( Q&A ) |
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