Gabriel Lester - Guest Lecture

9th Guest Lecture in Creative Media Colloquium this semester with Gabriel Lester
Date: 12th December, 2014  (Friday)

Time: 6:00 pm – 7:00pm

Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)

guest talk 8 Gabriel Lester SM2703

Title: Nonverbal

Speaker: Gabriel Lester

visual artist, film director


Gabriel Lester’s lecture “Nonverbal” addresses the notion of language articulated through performance, video, sculpture and architecture. Departing from the proposition ”if a work of art has a body, it consequently must have a language, too”, the lecture address the notion of nonverbal communication in terms of artistic body-language.

In his lecture, Lester will focus on his body of work by representation the broad spectrum of his artworks, actions and inventions, while provoking ideas about how to read, how to act and how to relate.

Biography of speaker

Gabriel Lester was born in Amsterdam (1972). He currently lives and works in Amsterdam. His artworks consist of installations, performances and film/video. Other activities include commissioned artworks for the public space, film directing, teaching, writing and sound and video editing.

Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once.

Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverrein – among many others.


David Blundell – Guest Lecture

8th Guest Lecture in Creative Media Colloquium this semester with David Blundell
Date: 10th December, 2014  (Wednesday)

Time: 7:00 pm – 8:00pm

Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)

sm2703 talk 8 David Blundell

Title: Making Life History Buddhist Film

Speaker: Professor David Blundell

Professor of Asia-Pacific Studies, National Chengchi University, Taipei

**This Lecture is in conjunction with the 20th International Conference on Virtual Systems and Multimedia (VSMM 2014)


Anthropologists study to understand cultural systems. This field of study contributes to a holistic view of culture as an educational process. Clifford Geertz introduced ‘art as a cultural system’ as a way to illustrate a guiding factor in defining ethnicity and collective human identity.

Yet, aesthetics works on a theoretical plane that is multi-dimensional for the understanding of cultural expressions in society evincing its self-worth, worldview, and human organization. Therefore, the study of aesthetics as applied to anthropology (the study of humans in terms of language, biology, prehistory/history, and culture) is a look at a system that permeates life in depth.

This is a revisit to my film productions (1.) in Sri Lanka for the visual documentation of the autobiography of a Sinhalese Buddhist headmonk; (2.) a joint project with Canadian filmmaker, Ms Anika Tokarchuk, for her final edit production of a Life as Cinema about the making of Phörpa (The Cup): an independent feature film by Dzongsar Khyentse Norbu Rinpoche and other Tibetan monks who are rekindling their Buddhist faith in India and in some cases returning to Tibet to film documentaries on their heritage; and (3.) in India with the “untouchable” people (dalit) to work on a biographical film on Dr B R Ambedkar who rekindled Buddhism to kick start a social transformation movement for human rights.

The objective of this presentation is to give orientation to the understanding of making life history Buddhist film in past and present contexts. I will look at filmmaking in the process of ethics and local support in visual anthropology as a production by, for, and with the people it’s intended to represent. My intention is to show how I have dealt with questions in making visual biographical accounts in specific research contexts using shared techniques for comprehending the individual in the matrix of society. The ethnographic films I have done to share are made in South Asia, related to Buddhism, philosophy, aesthetic systems, and life’s experience utilizing the cultural tools at hand for achieving social goals. The results are life imprints in new media.

Biography of speaker

David Blundell received a doctorate in anthropology from the University of California, Los Angeles. His education was also derived from other institutions of leaning in the USA, Thailand, Sri Lanka, and Taiwan. Professor Blundell is currently employed at National Chengchi University, Taipei. His courses feature the anthropology of religions, ethnographic film and visual anthropology, life history accounts, language and culture, symbolic anthropology, Taiwan and Asia-Pacific as cultural areas, and aesthetic anthropology. Studies focus on social transformations in Southern Asia, folk traditions and development, indigenous and historical studies in Taiwan and across Monsoon Asia.

Dr Blundell is serving as Anthropology and Language Editor for the Electronic Cultural Atlas Initiative (ECAI) Austronesia Team, UC Berkeley, to supervise interdisciplinary GIS projects working with diverse groups on spatial temporal digital mapping. This is as an international consortium developing an educational database of Pacific languages and cultures from prehistory to the present serving as a bulletin board for scholarly exchange.

His films are projects in the arena of observing ethics from beginning to end in the research process for the people involved. It’s an intended product by, for, and with the people it represents. Filming procedures have followed in this way to take into account local aesthetic values to make a visual heritage document intelligible to the viewers of a specific culture. Some examples of films:

The Life History of Ven Hanchapola Gnanavansa Thero: A Buddhist Headmonk in Sri Lanka (1902-1979). Film. Color. 52 min. This project depicts the life and routine of a Buddhist monk who was ordained in 1919 and became a guiding force in his nikaya. Prior to the project, he no experience in film making, yet he organized the script, planned the scenes, and directed the story. Published by Dharma Heritage Foundation.

Jolene Mok – Guest Lecture

7th Guest Lecture in Creative Media Colloquium this semester with Jolene Mok
Date: 25th November, 2014  (Tuesday)
Time: 5:00 pm – 6:30pm
Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)

Poster Talk 6_3 Jolene A4

Talk Abstract:

 What is it like to live a life as an artist?

Alumni sharing :

Jolene will tell her own stories about her works,  art practice and residency experiences around the world.

About Jolene Mok:
Jolene Mok earned her M.F.A. in Experimental & Documentary Arts at Duke University in 2013. She has been exposed to an interdisciplinary learning and working environment since her undergraduate education in the School of Creative Media through her major in the Critical Inter-Media Laboratory (2003-2007). Since 2006, Jolene’s video art pieces have been shown worldwide. Her other research creations have traveled to academic conferences in Japan, Finland, Indonesia, Vietnam, China, Brazil, & U.S.

Jolene is currently on itinerant taking part in artist-in-residency programs and she is happy to go to wherever the world welcomes her to go. She was a guest residency artist in U.S., Finland, Korea, Iceland, Norway, and she also joined a major scientific research expedition aboard a world-class Research Vessel to explore deep-sea seeps across Caribbean Sea and Atlantic Ocean. In 2013, she took part in The Arctic Circle expedition sailing the waters of the intl. territory of Svalbard, an Arctic archipelago just 10 degrees latitude from the north pole.

Robert Piotrowicz – Guest Lecture

6th Guest Lecture in Creative Media Colloquium this semester with sound artist Robert Piotrowicz.
Date: 21st October, 2014  (Tuesday)
Time: 5:00 pm – 6:30pm
Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)

sm2703 guest lecture Robert PiotrowiczTalk Abstract:

Why instrument is everything?

A primary focus of the lecture will be the role of electronic instrument in
live performance alongside its application in composition. Since the birth
of first electronic instruments, we continue to witness their ongoing
development and definition. Key to this process has been the personal
engagement of a musician, who through mastering one’s own techniques and
intimate knowledge of the instrument shapes his individual voice and
achieves a skillset required both in studio composition and live
While in the context of electronic music such instrumentalism may strike as
traditional, if not old-fashioned, it becomes arguably far more crucial to
the global development of the genre than in the case of traditional music,
which had a possibility to flourish and ripen through generations.
From the perspective of instrumentalism, Robert Piotrowicz will address some
aspects related to his live performance and composing practice, explaining
why instrument, in this case analogue modular synthesizer, is everything.

Robert Piotrowicz: sound artist, composer, improviser.

He has authored radio dramas, sound installations, and music for theatre productions, and collaborates regularly with other artists on audio-visual performances. As an instrumentalist, Piotrowicz works mainly with his own live performance setup, developed around the electric guitar and analogue modular synthesiser. His music has as much in common with contemporary electro-acoustic compositions as it does with sound art. His concerts feature saturated, detailed musical forms created with analogue synthesizers and computers. He has developed his trademark sound of intense dynamics seized in dramatic and balanced structures.
PIotrowicz has released several solo albums as well as collaborations with artists such as Burkhard Stangl, Anna Zaradny, Jérôme Noetinger, C. Spencer Yeh and Kevin Drumm. Other collaborators in recent years included Valerio Tricoli, Oren Ambarchi, Martin Klapper, Zbigniew Karkowski, Łukasz Szałankiewicz, Lasse Marhaug, John Hegre, Kasper Toepltz, Xavier Charles,Tony Buck and others.
Co-founder of the Musica Genera Festival and the Musica Genera label.
Piotrowicz has given live performances throughout Europe, North & Central America, South Asia, Japan and Australia.

Richard Allen – Guest Lecture

5th Guest Lecture in Creative Media Colloquium this semester with Richard Allen.
Date: 10th October, 2014  (Friday)

Time: 5:00 pm – 6:30pm

Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)
SM2703 guest lecture RichardAllen
Talk Abstract:

Voyeurism Revisited

Hitchcock’s preoccupation with voyeurism and what it might tell us about cinema has been much discussed. Yet there remain several fundamental questions about voyeurism in the cinema that are unresolved. One set of questions has to do with what exactly is voyeurism? Is there one kind of voyeurism or several kinds? Is cinema really a voyeuristic medium or is it simply used to represent fictions that stage voyeurism? Are Hitchcock’s concerns those of cinema as a whole? The second set of questions has to do with the moral status of voyeurism. Is voyeurism morally reprehensible and if so why? If cinema is a voyeuristic medium, is cinematic voyeurism morally reprehensible? Is there a gender bias in cinematic voyeurism? This talk will reconsider these questions by reflecting on Hitchcock’s Rear Window as an allegory of film spectatorship.

Guest speaker’s Biography :
My research interests as a scholar began in the areas of film theory and the philosophy of film. My first book, Projecting Illusion (Cambridge University Press, 1997), articulated a sophisticated version of the illusion theory of representation as a basis for defending a psychoanalytic conception of spectatorship. In addition, I edited one of the first anthologies of analytic film theory, in the philosophical sense of “analytic,” entitled Film Theory and Philosophy (Oxford University Press, 1999). Without relinquishing a belief in the value of conceptual clarity within humanistic inquiry, my work has increasingly moved towards a revised notion of theory manifest in my anthology Wittgenstein, Theory and the Arts (Routledge, 2001), co-edited with Malcolm Turvey. In the meantime my research has focused upon film poetics and aesthetics, in particular, the films of Alfred Hitchcock. This research includes three Hitchcock anthologies and editorship of The Hitchcock Annual, the journal of Hitchcock studies, as well as my book Hitchcock’s Romantic Irony (Columbia University Press, 2007). Latterly, I have become interested in the poetics and aesthetics of Hindi cinema, whose most recent avatar is known as Bollywood, and I collaborated with Professor Ira Bhaskar of Jawarharlal Nehru University on curating a film festival in Abu Dhabi and New York — Muslim Cultures of Bombay Cinema, and publishing a book entitled Islamicate Cultures of Bombay Cinema (Tulika, 2009).

Author, Projecting Illusion: Film Spectatorship and the Impression of Reality (New York: Cambridge University Press, 1995); Hitchcock’s Romantic Irony (New York: Columbia University Press, 2007; Islamicate Cultures of Bombay Cinema (New Delhi: Tulika Press, 2009), with Ira Bhaskar. Editor, Film Theory and Philosophy (Oxford University Press, 1997) with Murray Smith. Editor, Hitchcock Centenary Essays (British Film Institute, 1999) and Hitchcock: Past and Future (London: Routledge, 2004) with Sam Ishii-Gonzales. Editor, Wittgenstein, Humanistic Understanding, and the Arts (Routledge, 2001) and Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson (Amsterdam: Amsterdam University Press, 2003) with Malcolm Turvey. Editor, The Hitchcock Annual Anthology (London: Wallflower Press, 2009), with Sid Gottlieb. Editor, Hitchcock Annual since 2001.

David Toop– Guest Lecture

4th Guest Lecture in Creative Media Colloquium this semester with David Toop.
Date: 8th October, 2014  (Wednesday)

Time: 7:00 pm – 8:30pm

Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)
Poster Talk 4 A4

Talk Abstract:

This year marks the 30th anniversary of David Toop’s first authored book The Rap Attack: African Jive to New York Hip Hop, which is widely considered to be the first critical analysis of Hip Hop music and its African heritage. Since then he has distinguished himself as one of the most significant authors and critic of sound art and music. Parallel to his writing, he has continued to compose music, perform internationally, and lead weekly workshop on improvisation with students. In this lecture SCM faculty Takuro Mizuta will engage in a conversation with Toop and facilitate an open discussion with the audience.


David Toop is Chair of Audio Culture and Improvisation at University of the Arts London. A composer/musician, author and curator based in London, he has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance. He has recorded Yanomami shamanism in Amazonas, appeared on Top of the Pops with the Flying Lizards, exhibited sound installations in Tokyo, Beijing and London’s National Gallery, and performed with artists ranging from John Zorn, Evan Parker, Bob Cobbing and Ivor Cutler to Akio Suzuki, Elaine Mitchener, Lore Lixenberg, Scanner and Max Eastley. He has published five books, including Rap Attack, Ocean of Sound, Haunted Weather, and Sinister Resonance: The Mediumship of the Listener, released eight solo albums, including Screen Ceremonies, Black Chamber and Sound Body, and as a critic has written for many publications, including The Wire, The Face, Leonardo Music Journal and Bookforum. Exhibitions he has curated include Sonic Boom at the Hayward Gallery, London, Playing John Cage at Arnolfini, Bristol, and Blow Up at Flat-Time House, London. His opera – Star-shaped Biscuit – was performed as an Aldeburgh Faster Than Sound project in September 2012 and his collaborative work – Who will go mad with me – was developed and performed with Alasdair Roberts, Sylvia Hallett and Luke Fowler at Huddersfield Contemporary Music Festival in November 2013. Currently writing Into the Maelstrom: Improvisation, Music and the Dream of Freedom, he is also the co-creator of Sculpture events with artist Rie Nakajima.

Elizabeth LeCompte @The Wooster Group – Guest Lecture

3rd Guest Lecture in Creative Media Colloquium this semester.  Elizabeth LeCompte, the director of The Wooster Group , will be having the screening of HOUSE/LIGHTS with us, as the kick off event of the busy guest lecture week.
Date: 6th October, 2014  (Monday)
Time: 6:00 pm – 8:00pm
Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)

Poster Talk 3 A4


HOUSE/LIGHTS, directed by Elizabeth LeCompte, is The Wooster Group’s 1999 OBIE-winning collision of Gertrude Stein’s Doctor Faustus Lights the Lights with Joseph Mawra’s B-movie classic, Olga’s House of Shame. This remastered edition allows you to flip easily between three synchronous views of the complete performance—multi-angle edited footage, a wide shot, and the live and prerecorded video mix from the onstage monitors—all while you watch.



The Wooster Group ( is a company of experimental theater artists under the direction of Elizabeth LeCompte. Founded in 1975, the Group has made more than 30 works for theater, dance, film, and video. The company creates these works through a distinctive collaborative process with a focus on experimentation and the synthesis of many art forms.

The Wooster Group is an ongoing ensemble of 16 performers, artists, technicians, and administrators on full-time salary. The company and other contributing artists work together from the inception of a project as it is researched, rehearsed, presented in work-in-progress showings, and further developed throughout the life of the production.

The Group uses technology and the idioms of modern culture to re-imagine classic texts and to compose new ones. Historical and contemporary arts exert a strong influence on the Group’s work, and dance, video, music, and architecture are all important organizing principles. With a passion for language and myth, the company explores the collision and integration of cultures in order to tell stories in new ways.

Based at The Performing Garage at 33 Wooster Street in lower Manhattan, The Wooster Group performs regularly in New York City and also tours worldwide—to North and South America, Europe, Asia, and Australia. The Performing Garage is part of the Grand Street Artists Co-op, a 1960s project of the Fluxus art movement.

Elizabeth LeCompte (Director) is the founder and director of The Wooster Group. Since 1975 LeCompte has constructed— choreographed, designed, and directed—all of the Group’s productions, including twenty multimedia theater pieces, five dance pieces, and ten works for film and video. Theater productions include CRY, TROJANS! (Troilus & Cressida); Tennessee Williams’ VIEUX CARRÉ; Cavalli and Busenello’s opera LA DIDONE; Shakespeare’s HAMLET; WHO’S YOUR DADA?!; POOR THEATER; TO YOU, THE BIRDIE! (Phèdre); HOUSE/LIGHTS; Eugene O’Neill’s THE HAIRY APE; FISH STORY; O’Neill’s THE EMPEROR JONES; BRACE UP!; James Strahs’ NORTH ATLANTIC; The Road To Immortality trilogy of ROUTE 1 & 9, L.S.D. (…JUST THE HIGH POINTS…), and FRANK DELL’S THE TEMPTATION OF ST. ANTONY; and the Three Places In Rhode Island trilogy of SAKONNET POINT, RUMSTICK ROAD, NAYATT SCHOOL, and POINT JUDITH (an epilog). Dance pieces include I AM JEROME BEL; ERASE-E(X); DANCES WITH T.V. AND MIC; FOR THE GOOD TIMES; and HULA. Film and media works include RUMSTICK ROAD; TO YOU, THE BIRDIE! (Phèdre); BRACE UP!; THERE IS STILL TIME..BROTHER; HOUSE/LIGHTS; THE EMPEROR JONES; WRONG GUYS; RHYME ‘EM TO DEATH; WHITE HOMELAND COMMANDO; and FLAUBERT DREAMS OF TRAVEL, BUT THE ILLNESS OF HIS MOTHER PREVENTS IT. She performed in the Group’s recent production, EARLY SHAKER SPIRITUALS, a record album interpretation directed by company member Kate Valk.

LeCompte’s numerous honors and awards include an National Endowment for the Arts Distinguished Artists Fellowship for Lifetime Achievement in American Theater, the MacArthur Fellowship, the Skowhegan Medal for Performance, the Chevalier des Artes et Lettres from the French Cultural Ministry, the Theater Practitioner Award from Theater Communications Group, a Guggenheim Fellowship, a Rockefeller Foundation Fellowship, a United States Artists Fellowship, an Anonymous Was A Woman Award, a Doris Duke Artist Award, and honorary doctorates from the New School and California Institute of the Arts. The Wooster Group, under LeCompte’s direction, has received numerous national and international awards.

Articles on LeCompte’s work have appeared in The New York Times, The New Yorker, New York Magazine, Artforum, Parkett, American Theatre Magazine, Ballet News, The Drama Review, Performing Arts Journal, Theatre Crafts, The Village Voice, and numerous European and Asian journals. David Savran’s book Breaking the Rules: The Wooster Group documents the creation of LeCompte’s work through the making of L.S.D. Andrew Quick’s The Wooster Group Work Book does the same from ST. ANTONY through TO YOU, THE BIRDIE!. Writings on her work are included in Performing Drama/Dramatizing Performance: Alternative Theatre and the Dramatic Text by Michael Van den Heuvel, Directors in Rehearsal by Susan Letzler Cole, Arresting Images by Steven C. Dublin, Actors and Onlookers by Natalie Crohn Schmitt, and Directors/Directing by Christopher Innes and Maria Shevtsova. In 1993 an article by LeCompte on her video work appeared in Felix: A Journal of Media Arts and Communication.

LeCompte has lectured and taught at American University, Chicago Art Institute, Columbia University, Connecticut College, Lincoln Center Directors Lab, Massachusetts Institute of Technology, New York University, Northeastern University, the O’Neill Center, Skidmore College, Smith College, the University of London, and Yale School of Drama. From 1970-1975, LeCompte was a member of the experimental theater company, The Performance Group. She was born in Summit, New Jersey in 1944, and received a B.S. in Fine Arts from Skidmore College in 1967.

Diedrich Diederichsen – Guest Lecture

Here’s the detail of the 2nd Guest Lecture in Creative Media Colloquium this semester  by Diedrich Diederichsen .

Date: 23rd September, 2014  (Tuesday)
Time: 5:00 pm – 6:30pm
Venue : M6094 Future Cinema Studio   (6/F, Run Run Shaw Creative Media Centre)

guest talk 2 Diedrich Diederichsen

Talk Abstract:
There have been plenty of debates around the question whether there is a difference—and what is the difference—between Modern Art and Contemporary Art, and when Contemporary Art begins. This debate has often focused on historical/political events or technological shifts, and has often developed a perspective that contemporary art is also over and will be replaced by new formats or a new perspective on historical shifts and successions. In this talk I will propose that we consider the year 1960 (+/- 5 years) as the beginning not so much of new times but of new forms. To see these new forms one would first have to step back from the usual paradigm according to which formats and their contents are closely connected to social processes and societal developments and look at them rather from a formalistic point of view. But then secondly one would have to realize that these forms were only possible due to a major social and cultural shift: the reconfiguration of the social hierarchies of art and a reformulation of what was once the popular. New experimental “high art” formats and youth-cultural “popular” formats follow the same aesthetic rules and decisions and will establish in the 50+ years since then a new vocabulary in almost all art forms (music, moving images, performative arts etc.). What does this mean for critical concepts like “the cultural industry”?

Bio: Diedrich Diederichsen (born 1957) is one of Germany’s most renowned intellectual writers at the crossroads of the arts, politics, and pop culture. He is a prolific writer and contributes frequently to journals like Texte zur Kunst, Artforum, and Frieze. A main topic of his writing is the tension between subjectivity, identity politics, and culture industry in Post-Fordist society. He is Professor for Theory, Practice, and Communication of Contemporary Art at the Institute for Art History & Cultural Studies at the Academy of Fine Art, Vienna.

Guest Lecture – Jeffrey Koh & Roshan Peiris

1st Guest Lecture with  Jeffrey Koh & Roshan Peiris

Date:Friday, 5th SEPTEMBER, 2014
Time: 5:00PM – 6:00PM
Venue: 6/F M6094 FUTURE CINEMA STUDIOJeffrey Koh & Roshan Peiris Talk_2

Jeffrey’s talk abstract:
The roles that robots play in human society are becoming increasingly more complex. From industrial robots that do our manufacturing, to service robots like Roomba cleaning people’s homes, robots have permeated into the social and even therapeutic spaces, as evident with the success of the Paro robot during the Fukushima Daiichi nuclear disaster in 2011. Commercially available robots such as Paro have commoditised social and therapeutic robots, much like service robots have been assimilitated and commoditised in the past. Multidisciplinary robotics research has also led to novel, although not commercially available robotic applications, among them examples such as Cooky, a robot that actively participates in the preparation of food in collaboration with a human partner. As robots slowly permeate human society, an increasing number of examples where robots are taking active roles in the development of material culture have emerged. Many of these robots are being programmed with rudimentary affordances that consider human-robot interaction at the cultural level. Such affordances have allowed for novel applications of robotics that consider affective robot-human interaction. These applications include robots that help human partners collaborate with AI to generate poetry, robot-crafted typography, and even robot-human music co-creation. As such our interactions with robots are becoming increasingly complex. This paper questions current definitions of interaction and asks how will our future collaborations with robots manifest. It takes an exploratory approach to a potential shift in application within social robotics towards cultural collaboration, and outlines the potential conditions and considerations for the development of robots intended for cultural mediation, participation, and creation.
Roshan’s talk Abstract:
In this talk I will talk mainly about my core work on PaperPixels. PaperPixels is a toolkit for animating drawings on a regular paper in a subtle and ambient manner. This toolkit consists of two main components: (1) a modularized plug and play type modules (PaperPixels elements) that can be attached on the back of a regular paper; (2) a GUI (graphical user interface) that allows users to stage the animation in a time line format. A user would simply draw on a regular paper, attach PaperPixels elements behind the regions that need to be animated, and specify the sequence of animation by arranging icons on a simple GUI. The advantage of this work is that, with its provisionally patented technology, PaperPixels creates a new application space where any regular paper could potentially become a display. In this talk, I will be discussing some of the initial feedback from the users of the maker community where we tested PaperPixels.