Kara Lynn Andersen, Brooklyn College, CUNY (USA)

An Animated Future for 3-D, MT4

Anitha Balachandran, Srishti School of Art, Design and Technology (India)

Divine redesign: animated ‘child gods’ and the Indian imagination, 4B

Jaime Baron, University of Alberta (Canada)

Animating the Historical Trace: Contemporary Experimental Animation, Found Materials, and Spatiotemporal Effects, 2B

Geoffry Beatty, Philadelphia University (USA)

Will There Be Blood?: Exploring Pain as Humor in 2D and 3D Animation, 5A

Lisa Bode, University of Queensland (Australia)

Close encounters of the animated kind: alien character design and facial performance in hybrid science fiction cinema, 1B

Rose Bond, Pacific Northwest College of Art (USA)

Poetics & Public Projection: Layered History – Redrawn Memory, 3A

Amber Bowyer, University of Southern California (USA)

The Things Cartoons Can Do: Toward A History of Instrumental Animation, 2C

Cheryl Cabrera, (USA)

The Animation Hall of Fame, MT1

Laura Cechanowicz, University of Southern California (USA)

Projection Mapping as Defining a New Location for Animation, MT4

Lucy Childs, Bournemouth University (UK)

Poetry in Motion, MT2

Clifford Cohen, (USA)

Around the World in 3’s, MT1

Donald Crafton, University of Notre Dame (USA)

Inside and Outside the Toon Body: Somatic Integrity Throughout Animation History, 5A

Charles daCosta, Swinburne University of Technology (Australia)

Cracking the frame: Oral Tradition as a reflection of non-cinematic animation in sub-Saharan West-Africa, 5C

Susan Danta, University of New South Wales (Australia)

Animation on the Move: Animated Journalism and Global Reporting, 2A

Harvey Deneroff, Savannah College of Art and Design (USA)

Rethinking the Metanarrative of Character Animation, 5A

Victoria Deneroff, Georgia College & State University (USA)

Rethinking the Metanarrative of Character Animation, 5A

Nichola Dobson, University of Edinburgh (Scotland)

Dancing to rhythm of the music: Norman McLaren and the Performing Body, 6A

Nea Ehrlich, University of Edinburgh (Scotland)

Real-Time Animation and Data Visualization: Re-Defining both Animation and the Animated Documentary, 3B

Neslihan Emre Erten, University of Southern California (USA)

A Dance With Technology, MT2

Steve Fore, City University of Hong Kong (Hong Kong)

The Adventures of Tom Tomiczky in the Realm of Machinic Vision and Bodily Engagement, 4C

Michael Frierson, University of North Carolina at Greensboro (USA)

Tim Hittle/Jay Clay: One Person Making Artwork as Authentically as Possible, 2C

Maureen Furniss, California Institute of the Arts (USA)

Direct Film Paradigms, MT2

Alla Gadassik, Northwestern University (USA)

Acting Forwards and Backwards: Action Analysis and the Performance of Movement in Character Animation, 6A

Juan Camilo Gonzalez, Nanyang Technological University (Singapore)

From Celluloid to Databases: Towards an Understanding of Internet Cinema and its Application to Digital Animation, 4C

Eric Hanson, University of Southern California, (USA)

Post-Digital: Innovation in Imaging and Visualization, 3B, Dome Screening

Dustin Grella, (USA)

Animation Hotline: Crowd-Sourced Micro Animations, MT2

Ruth Hayes, Evergreen State College (USA)

Quantifying and Visualizing Animators’ Styles of Motion: an analytical and pedagogical tool, 3B

Bella Honess Roe, University of Surrey (UK)

Animation, Documentary and Architecture: Re-conceptualising space and time in American Homes, 6B

Sarra Hornby, Loughborough University (UK)

Helix: An illustration of an Animators animated brain recalling practice-based experiments, 5D

Tze-yue G. Hu, (USA)

Animating the Body and Anima Essence: Yang Liping, 6C

Brian R. Jacobson, University of St Andrews (Scotland)

Animating Oil’s Aquatic Architecture: To Animate, To Regulate, 6B

Adriana Jaroszewicz, Loyola Marymount University (USA)

Character Animation Redefined by Laban Movement Analysis, MT3

Timothy Jones, University of East Anglia (UK)

Building Consensus: Architectural visualization and the integration of industrial design in Indian animation community, 6B

Kristy Kang, University of Southern California (USA)

Animation and the Art of Interface Design, MT3

M. Javad Khajavi, Nanyang Technological University (Singapore)

The Reflection of Loneliness: An exploration of the aesthetic possibilities of Augmented Reality for visual poetry, 1A

John-Michael Kirkconnell, Savannah College of Art and Design (USA)

Stylistic dissonance as a narrative tool in mixed media animation, 3A

Ewan Kirkland, University of Brighton (UK)

Silent Hill and Gothic Transnationality, 5B

Tom Klein, Loyola Marymount University (USA)

Animating the Future: Collaboration and Storytelling, 3C

Virginia Kuhn, University of Southern California (USA)

Accuracy and Affect: Animation in Documentary Film, MT3

Timo Linsenmaier, (Belgium)

The Dissident's Kitchen 2.0, MT1

Alison Reiko Loader, Concordia University (Canada)

Re-Animating Moths, 2B

Anna Madeleine, University of New South Wales (Australia)

An Animated Space: Personal Expression in Mobile Communication, 1C

Tanya Marriott , Massey University (New Zealand)

TweetMe interactive forest, 3B

Mihaela Mihailova, Yale University (USA)

Click for Cartoons: The Video Game as Exhibition Space for Animation, 1B

Sophie Mobbs, Middlesex University (UK)

The Evocation and Expression of Emotion through Documentary Animation, 1B

Aimee Mollaghan, Huston School of Film and Digital Media (Ireland)

Documenting the Soul: Jordan Belson’s Samadhi, 6C

Maureen Monaghan, Savannah College of Art and Design (USA)

Memories and Perceptions:Creating Emotional Resonance Using the Child’s Gaze, 6C

Russell Murray, Nottingham Trent University (UK)

Sound and Meaning in Animation: New Digital Worlds, 5C

Susan Ohmer, University of Notre Dame (USA)

Mass-Production and High Art: Disney and the Courvoisier Gallery c. 1940, 3C

Miguel Olid, University of Seville (Spain)

The Animation In The Spanish Documentary: 30 Years Of Darkness, 4B

Ann Owen, Falmouth University (UK)

Opening the Magic Box: A Neurocinematic perspective on the form and content of stereoscopic film, 4A

Chris Pallant, Canterbury Christ Church University (UK)

Redefining the Animated Landscape, 1A

Dallim Park, Chung-ang University (Korea)

Optical Illusions in Animation, MT4

Mike Patterson, University of Southern California (USA)

New Frontiers In Visual Music, 3A

Steisha Pintado, University of North Carolina at Greensboro (USA)

Remediated Optical Toys and the Animated GIF, 1C

Hannes Rall, Nanyang Technological University (Singapore)

Adaptation of Literature for Animation in a Transcultural Context, 3C

Amy Ratelle, Ryerson University (Canada)

From Lydia Deetz to Ruby Gloom: Gothic Animated Bodies, 5B

Caress Reeves, University of Southern California (USA)

Animation as Political Radicalism: Black Animators in the Field, 2A

Diana Reichenbach, (USA)

Immersive Space as a Channel for Communication, DT, Dome Screening

Kahra Scott-James, University of Melbourne (Australia)

DIY Viral Animation, MT4

Jane Shadbolt, University of Newcastle (Australia)

The Visual Qualities of Impossible Spaces - Metalepsis in animation installation, 1A

Erin Shea, University of Southern California (USA)

Animating time, consciousness, and death: comparing Jordan Belson’s films and Michèle Lemieux's Here and the Great Elsewhere, 2B

Richard Stamp, Bath Spa University (UK)

The philosophy of a ‘gadgeteer’:John Whitney’s early computer animation as media archaeology, 1C

Trixy Sweetvittles, University of Southern California (USA)

Bicycles, Video and Mobility in Modern Optical Toys, 1C

Tony Tarantini, Sheridan Institute of Technology and Advanced Learning (Canada)

"The Animator": A Web-based Initiative, MT4

Amanda Tasse, University of Southern California (USA)

Data Landscapes:Animated worlds as data-visualization, emotional cartography, and self-reflection, 5D

Kirsten Thompson, Victoria University (New Zealand)

Colorful Cartography and the Empire State Thermometer, MT2

Lynn Tomlinson, Delaware College of Art and Design (USA)

Performance Animation: Rose, Mateyek, and Hall, 6A

Dan Torre, RMIT (Australia)

The Metamorphosis of Place:Some Theoretical Considerations of Projection Mapped Animation, 3A

Tunde Vollenbroek, Utrecht School of the Arts (Netherlands)

Pushing the Background to the Front: Exploring different roles of mise-en-scene in animation, 1A

Clea T. Waite, University of Southern California (USA)

The Cine-Poetics of Fulldome Cinema, DT, Dome Screening

Paul Ward, Arts University Bournemouth (UK)

Paratexts and participation: the off-screen world of dirtgirlworld, 1B

Steve Weymouth , University of New South Wales (Australia)

Principles of Animation and the Neuroscience of Motion Perception: Introducing students to Character Animation, 5D

William Whittington, University of Southern California, (USA)

The Sonic Playpen: Sound Design and Technology in Pixar’s Animated Shorts, 5C

Holly Willis, University of Southern California (USA)

Speculative Spaces: The Animated Worlds of Marco Brambilla, 4A

Dan Wilson, University of Southern California (USA)

Simple and Effective: Breaking the Mold for CG Characters, 2C

Elizabeth Yaros, Waldorf College (USA)

YouTube Search: “Gay Marriage Animation”, MT1