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?
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