 |
Dan Collins is a Professor of Intermedia within the School of Art at Arizona State University and Co-Director of the PRISM lab--an interdisciplinary 3D modeling and rapid prototyping facility. Collins also coordinates the foundation program in basic art instruction and co-directs an alternative art program called Deep Creek Arts in Telluride, Colorado.
Collins obtained his BA in Studio Art/Art History from the University of California,
Davis in 1975, his MA in Art Education/Painting and California State
Teaching Credential from Stanford University in 1976, and a MFA in Sculpture and New Forms from the University of California, Los Angeles in 1984. In 2009 he received a PhD in Interdisciplinary Humanities from Arizona State University in Tempe, Arizona.
Collins has taught for nearly 30 years. As a Fulbright scholar, he was a professor at the Pusat Seni (Art Center), Universiti Sains Malaysia in Penang, Malaysia. Since 1989, he has taught in the School of Art at Arizona State University where he became a full professor in 2005.
Collins is currently working with researchers from across the university on an interdisciplinary 3D visualization project called PRISM (Partnership for Research
in Spatial Modeling). PRISM links research in disciplines as diverse as Industrial Technology, Archaeology, Anthropology, Biomechanical Engineering, Bioscience,
Computer Science, Architecture, Industrial Design, and Sculpture. It is a strategic research focus project funded in part by the Office of the Vice President for Research.
For several years Collins has been involved with SIGGRAPH (Special Interest Group Graphics), an arm of ACM (Association for Computing Machinery). As co-creator of The STUDIO, he has created a hands-on creative environment that encourages SIGGRAPH attendees to work with the latest technologies for 2D and 3D production, animation, and VR “Virtual Reality”. For the 2004 SIGGRAPH at the convention center in Los Angeles, he led a team that built a 25 foot x 15 foot “sand painting” machine that created huge bitmapped images with ½” pixels comprised of silica sand. This past summer he helped design a complete scanning and rapid prototyping lab that allowed attendees to create their own 3D prototypes.
Most recently he has been involved in creating interactive terrain models for museums, such as the Exploratorium in San Francisco, that allow participants to control the parameters of animations projected onto three-dimensional reliefs.
|
|
ARTIST STATEMENT:
I draw upon a range of interdisciplinary approaches to art theory and production, including site specific sculpture, performance, interactive computer graphics, 3D visualization and rapid prototyping, and data capture and modeling technologies including laser scanning, satellite imaging, terrain modeling, and Geographic Information Systems (GIS). I situate my work in the gap between the body and technology -- between the hand-made and the high-tech. Lately, I have been looking at interactive educational media, ethnographic research methods, game-theory, and participatory “mapping” as vehicles for celebrating subjective responses to “placemaking” -- a welcome echo of my early interest in site-specific sculpture.
丹•柯林斯教授 (Dan Collins) 就职于亚利桑那州立大学, 执教于艺术学院的国际传媒专业, 他同时也是3D造型和快速 制模应用“PRISM实验室”的主任之一。此外, 他还在科罗拉多州的特鲁莱德市 (Telluride) 与其他学者共同开展了一 个非主流艺术项目--“深度希腊艺术”, 普及基础艺术教育。
1975年, 柯林斯毕业于加州大学戴维斯分校 (University of California,Davis) 并获得工作室环境艺术和艺术史专业的学士 学位； 1976年, 他取得了斯坦福大学 (Stanford University) 艺术教育和绘画硕士学位, 并考取加州教师执照；1984年获 得加州大学洛杉矶分校 (University of California, Los Angeles) 艺术硕士学位,主攻雕塑与新形式艺术。2009年, 柯林斯获 得亚利桑那州州立大学(Arizona State University)跨学科人文学博士学位。
柯林斯从事教育工作近30年, 起初他作为“富布莱特基金”的项目学者在马来西亚理科大学 (Universiti Sains Malaysia)艺 术中心教授雕塑和3D设计方面的课程。1989年, 柯林斯开始在美国亚利桑那州州立大学艺术学院任职, 并在2005年被聘 为该学院的全职教授。
最近,柯林斯教授正在与本校的其他学者们合作, 研发一项跨学科的3D视觉化项目“PRISM (空间建模研究之多领域合 作"”。“PRISM项目”涉及学科种类庞杂：包括工业技术、考古学、人类学、生物机械工程学、生命科学、计算机科 学、建筑学、工业设计以及雕塑等。
该项目的战略意义重大, 部分项目资是由本校的副校长办公室筹措而来。在过去的几年里, 柯林斯还一直活跃于国际计算机协会 (ACM) 的分支机构“SIGGRAPH (计算机图形图像特别兴 趣小组) ”, 参与相关活动。作为“工作室” (The STUDIO) 创始人之一, 柯林斯不仅成功的把这个工作室打造成 了一个倡导动手、启迪思维的实验室，而且还向所有参加“计算机图形图像特别兴趣小组”的成员大量的介绍包括 2D、3D、动画技术以及“虚拟现实 (VR) ”的最前沿科技, 并鼓励大家在创作和实验当中多尝试运用。在2004年的洛 杉矶SIGGRAPH集会上, 他所带着自己的团队完成了一个长7.5米、宽4.572米的“沙画”机，这个机器能够以硅砂为原 料绘制出“半像素点”的大尺寸位图。2010年夏天，柯林斯协助设计和创立了扫描和快速建模实验室, 以便兴趣小组的 参与者进行3D建模。
2010年, 柯林斯参加美国旧金山的科学探索博物馆 (Exploratorium Museum) 的交互地形建模, 让建模操作者能够在电脑上 通过3D建模的方式控制模型的比例大小。
艺术家的话：
我时常利用一系列的跨学科手段用于艺术的理论和创作当中:场景特定艺术雕塑 (site- specific art), 表现艺术, 电脑 交互绘图, 空间信息三维可视化 (3D Visualization), 快速制模, 数据采集, 还有包括镭射扫描, 卫星图, 地形建模等在 内的模型技术, 以及地理信息系统 (Geographic Information Systems)。我的作品介于人体和科技之间, 手工和机械之 间。近期的主要工作和关注对象有交互教育媒体, 人类学研究方法论, 博弈学以及多人参与的地形建模“制图”— 来 自于我最近比较感兴趣的“特定场景艺术雕塑”的启发。
|
|
