The CyberSculptor is a wizard. By this, we mean that s/he has mastered a set of tools (gestures, spoken spells, etc.) which allows cyberspace to be directly manipulated. Manipulating cyberspace means being able to control perceived reality, which is as close to true magic as well will ever likely to see.
The sculptor of cyberspace calls virtual matter into existance. The gross form is shaped by movements of the hands, augmented by voice commands. Further refinement is done by zooming in close to various detail areas and changing very small areas.
Cyberspace is the ultimate environment for the sculptor. Consider: no limits on scale, no limits on the availability or quaility of material, no mess! The medium is infinitely malleable: it can be pulled like taffy, hammered like steel, caressed like clay on a wheel. Color changes the merest gesture. Texture changed in fine, or in whole. It can be massless or immovable. And, it can be interactive. The sculpture changes to reflect the viewer. It changes over time. It changes in response to external variables, or local phenomenon.
Describing the art produced by the CyberSculptor is useless. It does not have limits. What can be imagined can be realized! Image a large slab of crystalline material with micro-inclusions alligned such that when viewed from various angles it reveals ghostly images of birth and war. Imagine 65536 very small, but intensely bright pinpoints of light, animated to swirl in clouds which coalesce subliminally to show erotic glimpses of two bodies intertwined.
The utlimate challenge of the CyberSculptor is interative art. By giving the ability to respond to simuli, the art becomes a reflection of the viewer. It adds dynamic qualities to something otherwise static. This is not easy to accomplish. Limited amounts of response can be anticipated, shaped into the form of a spell (program) and bound to the piece in creation.
To go beyond limited response will require the presence of the artist. In person, the artist can be interpreted in realtime the results of an action of the view. Shifts in some measured quality can be dyamically realized into the scupture. But in order to separate the artist from art-in-creation, invisibility is required. This is where the artist’s beret comes into play.
The CyberSculptor’s beret is a diadem net which covers the head. Worn and invoked, it removes the artist from view in public cyberspace, allowing the anonymity need to intelligently animate the sculpture. Since visible manifestation in public cyberspace will be a requirement, devices such as the diadem net will be carefully controlled to avoid misuse by reality hackers. Each net is carefully attuned to the artist and is activated by a secret spell. Overrides allow angels (net police) to view and the performing artist’s location.
This work and central concepts suchs the CyberScupltor are Copyright (c) April 1994 by Mark J. Norton. All rights reserved.