As a Dean’s Lister in NTU, part of my training is to write academic papers under the URECA programme, which is funded by the NTU President.
Excerpt from “Animation Characterization” (2010):
“Animation has always been used as a medium to evoke human emotions: its root stems from the Latin anima, or breath. This suggests the mystical gift of life, bestowed upon an inanimate object – be it made from clay, graphite marks, or, more so in today’s context – a series of coloured photons. Animation has evolved tremendously from pencil to pixel, adding sophistication and difficulty to the art of characterizing an animated character. This is the greatest challenge of the medium today.
Unlike older disciplines of studies such as Art History, which often has the institutional backing of renowned academics, Animation History has been too young a field to be institutionalized into mainstream academia, though now that is changing.
 Such as Professor E. H. Gombrich, renowned author of The Story of Art.
 Various universities today offer prominent Bachelor’s, Master’s and Doctorate programmes, such as the University of California, Los Angeles (UCLA) and California Institute of the Arts (CalArts) in USA; Royal College of Art and University of West England (UWE) in the UK, New York University (NYU) Tisch Asia and Nanyang Technological University (NTU)’s School of Art, Design and Media in Singapore.”
Excerpt from “A Visual Feast” (2009):
“Limitations of our research project included the non-quantifying nature of artistic research, and the difficulty in producing a definite set of results within the foreseeable future. Because art in itself is, philosophically, a sensual experience that is based not in objectivity but subjectivity, the definition of “methodology” and “result” are very different from our commonly-established notion of what they are, in a scientific context. For instance, in figure 1, “Century Egg”, depicts, on a two-dimensional surface via a strategic arrangement of colours, the impression of an object known to the acquainted as, a century egg. The physicality of the century egg is of negligible value; in economical terms, it is worth no more than twenty cents; biologically, it is nothing more than a common duck’s egg left to processes of fermentation that has denatured it to the extent that its physical colours have become indistinguishable from the original state; if left in the open, it would begin to decompose and cease to exist within a short period of time. The process and subsequent product of painting it, however, has value-adding propensities; the century egg becomes the subject of a piece of artwork. With its physicality being pronounced on a deliberate platform, the has-been century egg now becomes a symbol, and, with the implications that come with such an elevated status, makes the century egg a reason for people to formulate discussions and share their experiences involving a historical line of century eggs that they may have experienced in their lifetimes, but definitely not directly involving the exact one that I have chosen to eternalize on canvas – the subjectification of a commonplace object allows the glorification of the everyday, and imbues the original object with more power than it initially existed with. As such, my project need not deal with the quantification of the everyday (for example, documenting how many century eggs are eaten within a day at a particular canteen) but rather, the qualification of the everyday (riding on the waves of the previous analogy; the psychological and emotional situations that were going inside the mind of a friend when he ate a century egg, and the abstract associations that come with such experiences).
 Kathrin Busch (2009). Artistic Research and the Poetics of Knowledge. Vol.2 No. 2, Art and research: A Journal of Ideas, Contexts, and Methods, pp. 1-4.”
Excerpt from Asian Art History Written Report (2009):
“Adorned Buddha images occur in Srivijaya, Lodburi, Lan Na and Bangkok schools. Thai Buddhism is a hybridization of Brahmanism, Hinduism, Buddhism, and animism (the worship of animal spirits, such as the duck found on kendis). While the physical ornaments depicted in adorned Buddha images are derived from earlier images of pre-Buddhist divinities, the phenomenon of the adorned Buddha image of Thailand has its closest resemblance in the crowned Buddha image of Cambodia, such as statues depicting the Buddha protected by Naga. Unlike the Khmers, however, the Thais do not consider their kings divine. The adorned Buddha image, therefore, occurs not for the cult of god-king, but an adherence to the Pala traditions in 9th-12th century AD, where important images of the Buddha such as the Phra Singh type Buddha of the Sakyas, were adorned for festivals with removable ornamentations. This is analogous to The Emerald Buddha image in Bangkok, whose attire and ornamentation the Thai King is honoured to change, twice per year. This strict adherence to the Pala traditions comes from the Thai interaction with Sri Lanka, and its attempt to purge the Mahayana cults and assert Theravada Buddhism as state religion. Likewise, the legend of Jambupati, where the Buddha presents himself in the form of chakravartin (universal emperor), rich with jewels, to convert a skeptic king Jampbupati, is believed by scholars to be fiction generated for similar reasons.
Boisselier, Jean. (1975). “Permanent Characteristics”, “The Srivijaya School”, “The Sukhothai School”, “The School of Lan Na or Chieng Sen”, “The School of Thonburi and Bangkok”, “Appendices – the Buddha Image”, The Heritage of Thai Sculpture, John Weatherhill, Inc., 28-30, 36-42, 96, 127-142, 158, 181-190, 195-198
Higham, Charles. (2002), “The Development of States”, Early Cultures of Mainland Southeast Asia, River Books, 254-267
Stratton, Carol. (2004). “Apparel of the Buddha”, Buddhist Sculpture of Northern Thailand, Silkworm Books, 57-60″