This section presents a detailed description of the mode of inquiry of the Research Creation project. The data collection method is explained throughout an exploratory, creative, and technological investigation into the influence of a 3D digital and technological context on the artist-researcher’s creative process. The ways in which a digital spatial-temporal dimension inspired the work direction and influenced its mode of production and aesthetics are described. The subject is addressed through a narrative writing approach focused on the artist-researcher’s experience.
The production of the Research Creation project started at the Hexagram Rapid Prototyping Lab at Concordia University. The research method was guided by an interest in exploring the ways in which 3D scanning could replace more traditional analogue methods, such as mould-making, to appropriate, transform, and duplicate forms. As such, 3D scanning and 3D modelling were investigated. The conceptual investigation of an ecological concept directed this research towards 3D scanning a live salmon. The fresh fish was brought in a cooler to the Hexagram Rapid Prototyping Lab. The journey of discovery started in 2006, when, as suggested by the lab technician, one side of the
salmon was scanned (Figure 4.1). The other side was then scanned and the two scan files were joined together using data post-processing software. During the post-processing phase, the software analyzed the scan sweeps or surface geometry and stitched the two halves together. In theory, the process seemed quite simple. In practice, it required numerous attempts and failures and much determination. It took a few months before a decent 3D scan file of the salmon form was obtained. Scanning technology was still a novel approach to artistic practice at the start of this research and was more often used to scan small, simple, still objects. The idea of using 3D scanning technology to appropriate a form and address a sculpture concept through the digitization of a living creature or elements from nature had not been previously explored apart from body digitizing.
The salmon project raised many technical issues that needed to be resolved prior to obtaining a satisfactory scan file. While the artist-researcher expected to address how to do it and why it’s not working to a lab technician, instead 3D scanning was experienced from an exploratory perspective. After three visits to the fish market to buy a new salmon, it was clear that the task was much more complex than anticipated. As a
Figure 4.1. The artist-
researcher at Concordia’s Hexagram Rapid Prototyping Lab scanning live salmon with hand-held FastSCAN Cobra scanner.
Figure 4.2. First scan result
2007, half salmon scan, wireframe view.
Figure 4.3. Traditional
mould-making of live salmon.
result, a mould of the live salmon form was made using more traditional mould-making methods (Figure 4.3), a polymer plaster positive was cast and a rack was built on which the cast salmon form was suspended (Figure 4.2). This work strategy allowed the artist- researcher to scan the salmon form from all sides. Moreover, it improved the digitizing process and provided one single data object (Figure 5.1), whereas the previous method required the stitching of two data files together to create one digital object.
The traditional moulding of the salmon also facilitated the necessary alterations of the cast polymer plaster form, such as thickening the thin parts or the fins and tail to improve the scan quality. The scanning of a plaster cast salmon also solved the problem first encountered with the reflective quality of the live salmon’s skin surface, which was partly responsible for the mediocre scan data file previously obtained. It was later observed that the metallic components of the lab table, on which the cast salmon and support were sitting, were causing problems during the scanning process. Whenever the scanner laser beam was unintentionally directed in line with a metallic part of the table while the fish was being scanned, a scan registration problem was experienced. This loss of data registration resulted in a loss of reference points and affected the digitizing process or data sweep construction (Figure 5.2). After discussion with the lab technician, the table was replaced and a wooden table was purchased and put in place. Today, the artist-researcher would know how to save the already registered data, remove the unwanted triangle, and post-process the repaired scan file and add it to the new scan section to build the digital object; back then, she had not yet developed those skills and the salmon scan had to be done again.
Many elements can affect the 3D scanning process: as one problem was fixed, another situation occurred. The research exploration continued and, one evening, while attempting to scan the salmon form and as the salmon digitizing process was almost successfully completed, the scanner laser beam caught the headlight of a passing car through the lab window. Once again, the scan registration was lost. In this way, it was learned that not only metallic objects or reflective surfaces can affect the scanning process, but that light is also an important factor of influence. Moreover, workroom conditions were important to ensure scan file quality. The following day, the issue was addressed and black cardboard was installed over the Hexagram RP Lab windows. At this point, most of the physical problems were solved. The parameters around proper work conditions that allowed for successful scanning and good scan file production had been addressed.
A research approach based on trial and error iterations was fundamental to this Research Creation exploration inquiring about the impacts of technological modes of production on artists’ creative process. Of course, working from ideal scanning conditions (where a form could simply be positioned in a box scanner to be scanned or body digitized) would have been faster and easier but this would not have resulted in the same depth of comprehension of scanning technology. Scanning technology addresses not only the use of a 3D scanner but also an understanding of how the data of an object is built or captured, or how the object is digitized (Figure 5.3). Digitizing strategies include the speed at which the operator moves, the laser beam angle position, and the travel direction. As a result of this exploratory research approach, the technology’s creative capacity, limitation, and exigency were addressed. Therefore, the artist-researcher
encourages an exploratory creative approach to digitizing and to the manipulation, transformation, and also the plurality of approaches a digital medium to be further explored.