Abstract
ABSTRACTThis paper discusses ontologies of the digital model. The adoption of 3D imaging techniques into fine art practice redefines conventional typological distinctions, including image and object categories, and proposes new methods of composition and aggregation. How do the instrumental tools of technologised sensing inflect knowledge production? Archaeological imaging practices, in this case photogrammetry, have been brought into the apparatus of art practice producing technical objects with a distinct and contingent temporality that operates between the mnemonic and the affective. Such objects may be described as skeuomorphs, or container-forms. What might be produced and deduced from accidental outcomes of the 3D process and through provocative misapplications?
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.