Corinna Berndt / Visual Arts
the same time the error introduces new narratives, and taxonomies for the scanned objects. The scanning exercise revealed that when creating a database of glitched information, Manovich’s concept of
parts, tissues, knee-caps, rings, tubes, levers, and bellows. It’s also full of itself: that’s all it is. 4.
A body’s immaterial. It’s a drawing, a contour, an idea.
Nancy’s contemplation of the body could also be applied to non-human bodies, such as the bodies of objects that surround us, as well as their absences. As Nancy suggests above, the void itself is a ‘subtle kind of body’. When working with digital 3D scanning, a glitch in the data also suggests a void. It is an indication of that which is missing. The glitch belongs to the unspoken, the misheard, it belongs to the gap and slippage in information. The void accumulates at the bottom of the scans, where the scanner does not reach or cannot read, thus opening up a space for the speculative.
Samples of 3D scanned objects, such as grapes, a hairbrush, a blossom, a cobble stone, a bread roll, a bag of broad beans, a peach, a bag of coins, a powder brush, a scarf, a container with soap.
hybrid forms of meaning-making is further complicated through the machine created error, producing a collection of liminal bodies.
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The act of assembling a database of erroneous information and glitched scans of my belongings, poses questions relating to the value of the collected information.
Absence of information: object-bodies and the glitch Jean Luc Nany (2008) states that:
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1.
A body’s material. It’s dense. It’s impenetrable. Penetrate it, and you break it, puncture it, tear it.
2.
A body’s material. It’s off to one side. Distinct from other bodies. A body begins and ends against another body. The void itself is a subtle kind of body.
3.
Unlike a linguistic assembling and disassembling of information, the visual scanning of my objects produced partly illegible information. Errors in the 3D models and the slippages in the scanned data made it difficult to name and to determine the material origins of the 3D models. This emphasises that even though the 3D scanning technology has no direct sense of agency, it still has the potential to create accidental mis-readings and errors that are beyond the control of the human user. The human-technology interaction taking place during the act of 3D scanning, thus also creates new narratives and meaning for the objects as
A body isn’t empty. It’s full of other bodies, pieces, organs,
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they become part of my database of partly illegible, digitalised belongings. Punched card code as a means to materialise digital information In addition to experimenting with 3D punched card code, I further explored ideas of translation and mistranslation, by translating text-based data into a physical form. As a means to materialise digital information, I used a piece of text which I translated into an IBM punched card code pattern. Historically, in early computing, punched card code—or Hollerith