PUBLICATION
TITLE: Virtual Sculpture: New Artforms for an
Emerging Medium
PUBLICATION: Proceeding of Interface to Real
and Virtual Worlds
DATE: February 1994 (France)
ABSTRACT
Theoretical, technical and aesthetic aspects of the author's work in Virtual Sculpture are discussed. Evolved from his earlier work in Algorithmic Art, these works are intended as a demonstration of the possible uses of Virtual Reality as an artistic medium. Currently embodied as stereoscopic, binocular, computer animated videotapes, these works will become fully interactive once computing power increases and VR display quality reaches levels comparable to that currently obtainable with computer animation.
EXCERPTS
This paper describes some theoretical, technical and aesthetic
issues regarding my work in Virtual Sculpture.
This effort has had a dual motivation. First, and foremost, it is
an evolution of creative work that I have been involved in for more
than 30 years, since early childhood. Second, the particular
direction I have taken this work has been a conscious attempt to
develop new art forms that take advantage of elements unique to
emerging computer and media technologies - Virtual Reality in
particular.
At about the age of ten, I became fascinated with Kenner's Spirograph(tm). This simple toy consists of a set of plastic gears, any one of which can be rotated within or around a geared ring. (See
Figure 1) One of a set of colored pens, fitted into any of a number
of holes in any gear, would trace simple (Figure 2) or convoluted
(Figure 3) looping patterns on the page. By the process of changing
gears, gear positions, holes or pens, in a planned progression (an
algorithm), more complex, composite images could be built up. (See
Figures 4 and 5)
Several years later, in High School, I had my first exposure to
computers, and adapting these processes or algorithms, which I had
been exploring, into FORTRAN programs seemed natural. Although the
graphics, printed on a refrigerator-sized line-printer as patterns
of spaces and asterisks, were crude (Figure 6 shows the same
pattern produced by the toy and the computer) the computer was a
quantum advance with regard to the process of producing graphics
algorithmicly. The computer made it possible to: quickly program
many complex algorithms and explore related classes and variations;
execute drawings too complicated to make by hand; and, program
variations that went beyond the physical bounds of the original toy
system.
About a decade after that, I continued this work, first on a pen
plotter and later, while a Senior Scientist at the Computer
Graphics Laboratory of the New York Institute of Technology,
producing full-color, raster graphic images, based on these same
and other algorithms. Although three-dimensional (3D) rendering
software was available, and was used routinely for research and
commercial production, such software was computationally
expensive, and resources were limited. Therefore, for my own
personal artwork I primarily produced two-dimensional (2D) images,
built up from 2D image processing (Figure 7) and 2D line-drawing
(Figure 8) routines written in the 'C' computer language under
UNIX. However, by careful choice of line color and ordered
layering, the impression of three-dimensional shapes was often
achieved. (See Figure 9)
After about a decade of focussing primarily on the technical rather
than the artistic aspects of computer imaging, I have recently
returned to computer art. However, during the ensuing time,
hardware performance has increased many-fold, and sophisticated 3D
modeling and rendering software capabilities are now available as
off-the-shelf packages. Therefore, at this time I have been
concentrating on algorithmic design and creation of synthetic
three-dimensional objects - Virtual Sculpture. (See Figures 10, 11
& 12)
One desire for the Virtual Sculpture project was to create images of
sufficient quality, complexity and subtlety to convince viewers
that these synthetic objects were (or, at least, could be) real.
(See Figure 13) They have been designed for the kind of graphic
capabilities that will certainly be available in VR systems in a
matter of years - but which are not yet - as a demonstration of
what could be done with such systems when they become available.
Texture and other variations may, themselves, be 'animated'. That
is, they may be tied to a mathematical parameter which can be
varied over time. For example, in one work, Breaking The Second
Law, a regular, but complex, crystalline shape appears to be made
of highly reflective stainless steel. The surface texture is then
animated so that, over the period of a few seconds, the object ages
to a state of complete dullness and corrosion; and, later, the
process is reversed resulting, once again, in a pristine reflective
object. This behavior is counter to the Second Law of
Thermodynamics from which it can be inferred that such 'reverse
aging' or 'decrease in entropy' is physically impossible. (See
Figures 14, 15 and 16, showing the two extreme and middle frames of
the animation.)
This leads to an aspect of Virtual Sculpture, alluded to above, which
is intimately connected to the medium of Virtual Reality.
Breaking The Second Law is a work that, as depicted, is counter to
the physical laws of the real world. It is only through Virtual
Reality or computer animation (the so called 'magic of special
effects') that such objects, processes, or images can be created.
Most of these experiments, as well as most of the more basic Virtual Sculptures, would be 'virtually' impossible to produce as physical objects. For example, to produce a physical version of one work,
Manifold, paper-thin, flexible sheets of marble would have to be embedded in polished, carved crystal.
I am particularly interested in further exploring such potential for the medium. Current experiments are being conducted in the area of metamorphosis (shape changing); texture animation (for example, as described, above); animation or modification of the optical characteristics of the sculpted materials (figures 17 & 18 [with light refraction] depict the same object); modification of the mathematical laws of perspective, motion and gravity; and, other properties and processes that are not so easily articulated.
As explained, above, the current work constitutes a sketch or demonstration of the kind of art intended for delivery via Virtual Reality systems of a level of performance and display quality that
will become available in the near future.
The VR versions of such works will differ from the video animated versions not so much visually, but will be highly interactive. Not only will viewers be able to 'walk' around the sculptures at will,
viewing them from any perspective (or even 'fly' through or inside the objects), they will be able to interact with the works in other ways.
For example, for works with mutable shape, color, texture, etc., these aspects may be put under viewer control. One may also adjust lighting, and reposition or group works, creating a custom gallery space. Alternately, various aspects of the works and viewing space
may be fixed by the artist(s) or a virtual curator. The line between art and videogame or educational work may also blur; with some interactive works providing more of a 'blank slate' to be molded and developed by any one user or, collaboratively, by a succession or group of visitors.
As high-bandwidth information networks are developed, and individuals or groups of users seek out new virtual environments to visit and experience, sharable spaces, such as virtual galleries or museums may prove quite popular. Such virtual artworks, galleries and museums may also be embodied as graphic databases, display software and interactive scripts to be delivered via CD-ROM for use with desktop workstations.
Lastly, without the pre-conceptions and traditions associated with fields such as architecture, education, medicine, etc., virtual art is a tabula rosa upon which can be written new directions for other more 'practical' applications to utilize Virtual Reality and other
new interactive information/computer/media technologies.
Beyond any aesthetic or entertainment value which may be derived from visiting a virtual art museum, there will also be exposure to new modes of expression, communication and learning. The very act of exploring synthetic 'spaces' will make obvious the vast new possibilities opened by telecommuting over information networks, or submersing into a graphic database. The insights gained by altering mutable objects to one's complete satisfaction - or total surprise - will demonstrate the potential benefits of exploring design options without incurring the expense, time and effort required by physical prototyping. And, participating in such activities in the telepresence of others, in a shared - if simulated - environment, will constitute a seminal introduction to the new models for human/human communication.
Thus, just as the value of traditional artwork is often that it provides the viewer with a new perspective on how to experience or interpret the real world, virtual art may have significant worth as a way to help new users understand (or broaden horizons for experienced users as to) various aspects of virtual worlds.
Please visit our on-line Virtual Sculpture Gallery.
To request a reprint of the full article, click here.
Revision: August 1995 - All text, graphic and design elements TM & (c) 1995 David M. Geshwind
Virtual Sculpture and Virtual Sculpture GalleryTM David M. Geshwind
David M. Geshwind - DIGITAL MEDIA GROUP, LTD.
111 Fourth Avenue - New York, NY 10003
212/388-0122 (Voice)