In sculptor, who has spent time practicing and perfecting

the experiment 16 people were paired up and separated via two different
geographical locations and were introduced to the software. Once able to use
the software each pair were then given a virtual ball of clay and over a
10-minute period were asked to sculpt. It was found that 12 of the participants
found that they had a creative response triggered by their partners virtual sculpting
actions. A comment was made that collaborative work resulted in a somatic
response instead of an intellectual response which could suggest the emotional
engagement is still there. The experiment concluded that the software could
improve the creative output of the two sculptors. So, if this was a conclusion
12 years ago it’s easy to suggest that this would be the conclusion now with
the advancement of technology and the people using it. ­­­­­­

someone who isn’t a sculptor or a creative, this experience looks fun and seems
like it can be picked up very quickly which could be worrying for a sculptor,
who has spent time practicing and perfecting their skillset. But, from a
collaborative point of view it allows people to work together, communicate more
and perhaps produce something profitable using Additive Manufacturing. But it
could then be argued that this actually strips away the creativeness as
pre-made models can be taken into the virtual world along with tools that never
break or get worn out. Right at the very beginning of Chris Gunn’s text he
describes that sculpture is “thoughts,
ideas, emotions and experiences of humanity seen through the eyes of the
artist” and whilst this is still true and perhaps even more so with collaborative
work, does VR diminish the emotional engagement with the matter? Can haptics
really give you a true sense of clay? How is the design process evidenced?
Perhaps something that can only be answered through time but interestingly an
experiment, carried out at the end of the text (Chris G. 2006), asked whether
the creativity could be increased when sculpting collaboratively.

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2: Medium (Oculus, 2018)

example has been describing something that was published 12 years ago where the
technology in this instance wasn’t that well developed and the internet at the
time would cause lots of lag, so it wasn’t a very smooth process. Today the
technology has been developed for consumer use and we have collaborative
software’s such as medium (Oculus, 2018).
Medium is almost an evolution of Chris Gun’s software described before although
no actual link between the two can be found. The images below will aid this
description. The video demonstrates the beginning of a design process with a
sketch of an animal, but within seconds the sculptor has put their virtual
headset (Oculus Rift) on and began to work directly into a 3D environment. We
then see a 3D dog in a virtual 3D environment which the sculptor had previously
sketched on paper and this can of course be altered and changed very quickly. Furthermore,
just like Chris Gun’s software it appears to have a studio share which would
suggest collaborative working whilst acknowledging the presence of another

idea is that you are able to work, talk and present from anywhere in the world
and still have the same amount of input and conversation as you would in a
physical environment. To many this is already sounding almost prehistoric as
this happens most of the time in today’s more open-minded world and it is easy
to assume that this will be the absolute normal in the near future. Back in
2006 this could have been a real fascinating topic, which is hard to say for
someone who remembers that year for SATs and leaving primary education however,
it’s still an interesting piece of text to read. In the text Chris Gun begins
to talk about how sculpture is one of the earliest forms of art and how we can
use art as a record of human existence. Yet up until the development of this
virtual sculpting environment sculpture, was perceived to be primarily a
product of the individual artists inspiration, creativeness and to an extent,
skill. Collaborative sculptural work may have taken place but mainly in supporting
roles such as part finishing or input into the look of the object. The
practicalities of sculptural work also limit people from working together as
hands and other body parts may collide if working on the same piece. However,
as soon as a virtual sculptural world has been introduced these limitations
disappear and the work can be carried out simultaneously from two (perhaps more
now with technological advancements) different locations on a virtual piece of
matter. Incorporating haptic feedback into this allows the user to relate to
the matter and understand where the other sculptor is working, creating a whole
new experience.

1: Remote team working concept vector (SkyPics Studio, 2018)

the text Collaborative Virtual Sculpting with Haptic feedback (Chris G. 2006) there
is a discussion about working collaboratively, in a virtual environment from
different physical locations. This can be explained further in the image below,
for those who do not understand.