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INTERVIEWS
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Anna Ursyn
interviewed 31 July 2004 by Veronica
Lucas
Anna is organizing a history of computer graphics and arts for SIGGRAPH. She is currently a Visual Arts Professor at University of Northern Colorado.
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| What first drew you to computer graphics? |
I have been attracted to techniques offered
by printmaking techniques and I found the precision in computer
graphics and the level of control over an image an inspiring
continuation of these distinctive characteristics. Since the
eighties, I was fascinated with the computers' capacities to
make very precise markings controlled by a program, to be later
juxtaposed with a free-hand line. I started to learn Fortran
language using VAX mainframe to create the basics for my compositions,
and then I combined them with traditional media and software.
In fact, I used to transfer the products of my program or software
generated images to photosilkscreen or photolithograph, to include
them both into my two and three-dimensional works.
In the seventies I witnessed discussions about the future of
digital and analog computing and the analog modeling of the
propagation of acoustic waves that was carried on by my father. |
| Do you have any favorite computer graphics mentors? |
My favorite graphic artists, Carl Niederer and Gene Hofmann,
were both able to find a merger for graphic design with fine
art. This type of thinking expands the meaning in visual arts.
I can also say that participation in art shows and collaboration
in computer graphics related conferences such as SIGGRAPH, running
the Symposium and Gallery D-Art at the Information Visualization
Conferences in London, England and recentl
y in Penang, Malaysia
provided me with experiences that aided my interests and potential.
Thus I can learn from the contributors about the newest trends. |
| What was the first time you contributed to SIGGRAPH? |
I had my work "Two Skies" exhibited at the SIGGRAPH
'89 Art Gallery in Boston Computer Museum. I could not attend
the Conference that year. I always wanted to visit the Computer
Museum in Boston. When I finally got there I was told that the
Museum was in a process of transferring their collection. |
| What year/city was your first SIGGRAPH? Which was most intense? Why? |
I went to SIGGRAPH '90 in Dallas first. I
was awarded a SIGGRAPH Grant for Educators. It was a very intensive
time for me because I tried to attend as many courses and panels
as possible. Some material taught at these courses was out of
my scope but later on, after a latent period, I experienced
understanding of these materials.
For me, the most intensive Conference time was in San Antonio
SIGGRAPH '02. I started the "History of Computer Graphics
and Art" project
or s.org.
This project is aimed at creating the data bank from the field
of computer graphics, art, and the thought about art. It is
a collection of images and essays created by artists, scientists,
art historians, people shaping the museum and gallery display
and those who influenced these disciplines. It reflects the
unfolding of computer art due to technical achievements (hardware,
software, languages, etc). Researchers, educators, students
and all interested parties might use the resources for teaching,
reference, general reading, etc.
I organized (with Anne Morgan Spalter) the "Birds of a
Feather" gathering at the ACM/ SIGGRAPH 2002, San Antonio,
Texas that generated a helpful feedback to this project. |
| What contributions to SIGGRAPH are you most proud of? |
Every now and then I contribute to SIGGRAPH
Conferences. My artwork have been a part of the SIGGRAPH Art
Shows over 10 times. I participated or chaired Educational panels
and chaired the Art Talk sessions. The "History of Computer
Graphics" project is a remarkable experience. I am very
proud every time my students' artworks are selected to the international
juried show SPACE, Student Poster and Animation Competitions
and Exhibitions, when they win competitive Student Volunteer
Awards at the ACM/SIGGRAPH Conferences, and my student works
are published in the SIGGRAPH Educational Committee Publications. |
| What's your favorite thing at this year or last year's SIGGRAPH? |
The Art Show and the Electronic Theater, learning
from courses, papers, and panels, and meeting people who often
carry their own sculptures, 3D models of chemical molecules
or skyscrape
rs in the memory sticks in their pockets. |
| What near/intermediate developments in CG do you look forward to? |
I am looking forward to further changes in
the ways images and objects can be displayed in terms of quality,
size, and portability, the ways of printing, as well as the
developments in distant communication. This means more than
going from paper to plastic, the VR and the 3 dimensional and
time based interactive web. I am also looking forward to the
products of the integration of art, technology, sciences and
cognitive science that is so intensifying these years. |
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