Abstract

This thesis provides a comprehensive investigation into digital material and the 3D photoscanning process. It argues for an emotional investment in the treatment of the inanimate through a visual analysis of the material qualities of photoscanned objects. It highlights the photogrammetric process, leveraging it to explore an afterlife of these digitally reconstructed objects, which would otherwise occupy a space of abandon in the digital realm. Contrasting the pervasiveness of high-quality, clean assets, it elevates digital objects wrought with glitches, distortions, and imperfections, all bestowed on them as a product of the processes involved in their creation.
The research establishes a history of the relevant tools and technologies before examining theories on objects and materials of both physical and digital nature. It surveys these theories and concepts through the practice-led computer-generated artwork Digital Afterlife, utilizing both the artwork and its creation process, from asset collection to display, to explore a narrative of care towards neglected objects.