Sovona And Sean
The project speculates on the morphology of the 3D scanned objects with a transcendental quality generated by reconstruction, texture mapping, and pixelation. Moreover, the final composition further promotes the evacuation of the original meanings of each object as it gathers various types of objects, levels of sizes, degrees of pixelations, and the dept of colliding. Our unique texture mapping in both the digital and physical models reveals the thinness of their innate nature: the radical disruption between surface and form. The meaning of pixelation is threefold. First, it bleaches from the objects the quotidian(fire hydrant), the decorative(stone figure), and the monumental(Gate of Whimsy.) Second, it neutralizes the collision between individual objects in the composition, homogenizing and paralyzing the effect of crashes. Third, it signifies the way of computation of photogrammetry as opposed to how we perceive things. The consequence of pixelation is, in other words, total removal of the signification system from the object(the scanned object) and from the subject(us.) The texture mapping implies our definition of digital artifact. The chequerboard pattern mapped in the digital model as an alpha channel shows its thinness in an extreme way. The scale of its UVW map corresponds to the degree of pixelation constructing its internal logic. Similarly, the physical model made by a thin PETG sheet engraved with a grid pattern strictly translates the creative process of the digital model. In other words, the physical model is an incarnation of the digital.