This article focuses on how 3D technology can support visitors’ engagement with and interpretation of museum objects by offering a movement between physical and digital experiences – a so-called “flip- flopping” process. The article is based on an observation study conducted by the author at an eight day 3D workshop organized by the Danish art museum KUNSTEN Museum of Modern Art Aalborg. The museum invited schools and private visitors, children and adults, to 3D scan two sculptures from the museum collection, remix the scans digitally, 3D print the results, and finally share their remixed sculptures online.This was the first workshop of its kind at a Danish museum. The study examines how the 3D workshop, pulling visitors into the digital-physical flip-flop process of observing and remixing, supports deep and engaging acts of interpretation.
During the last couple of years, 3D printing has been widely discussed as a technology with the potential to revolutionize production methods as we used to know them. However, hitherto not much has been written about the aesthetic| aspects of this new possibility of transferring bits to atoms. What kinds of (3D) images are awaiting us? This article focuses on how three contemporary artists are including 3D prints and the process of 3D printing in their work. The article offers a short introduction to the characteristics of 3D printing followed by indebt analysis of art works by Spanish installation artist Alicia Framis. Danish sculptor and professor at The Royal Danish Art Academy Martin Erik Andersen and German filmmaker and writer Hito Steyerl. The article points out how these, very different, works of art use 3D printing to offer the viewer a sense of inter-dimensionality. The central experience here lies somewhere between 2D and 3D.
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