Scanning: Choreographed Dialogue with Landscape
( I will be adding to more to this section soon)
In my practice, LiDAR and Gaussian splat scanning become more than mere technological tools - they are instruments of environmental meditation and spatial poetry. Each scan represents a carefully choreographed dance between artist, technology, and landscape, where the documentation you see is a curated performance of this three-way dialogue.
As I move through spaces with my scanning equipment, every step and gesture is intentional, creating what I call 'ghost maps' of environments. These digital imprints capture not just the physical topology, but the ephemeral qualities of place - the way technology both succeeds and fails to understand our natural world.
Drawing from traditional Chinese shanshui landscape philosophy and contemporary digital aesthetics, my scanning process becomes a form of embodied research. The resulting works exist in a liminal space between documentation and performance, where technical precision meets intuitive movement.
The video documentation you'll see isn't simply a record of the scanning process - it's a choreographed narrative that reveals the meditative and performative aspects of this practice. Through careful curation, I aim to show how each scan becomes a temporal sculpture, shaped by both technological capabilities and artistic intention.
Using tools like iPhone LiDAR and specialized scanning software, I create works that challenge our understanding of how digital technologies interpret and represent natural spaces. The process requires sustained physical engagement - a slow, deliberate navigation of terrain that contrasts sharply with our usually rapid digital interactions.
These scans ultimately serve as both technical documents and artistic expressions, revealing the poetry in the intersection between natural landscapes and digital interpretation.
The scanning process in Victoria's High Country represents more than just a technological documentation - it's a deeply personal ritual that begins long before the digital capture commences. Each scan is preceded by an intimate journey of discovery, where hiking becomes a form of moving meditation, allowing me to form a profound connection with the alpine landscape.
Drawing from my established Mountain Water (Shanshui) philosophy, these High Country scans emerge from a deliberate choice to spend extended time in carefully selected locations. The decision of where to scan isn't immediate - it comes after hours of hiking, observing, and allowing myself to be present in the environment. This preparatory phase is crucial, as it informs the eventual choreography of the scan itself.
The physical act of scanning becomes a dance with the landscape. Moving through the space with scanning equipment requires a deep awareness of both body and terrain. Each movement is intentional, each pause considered. The technology becomes an extension of my physical presence, creating what I call a 'digital meditation' - a marriage of traditional landscape connection and contemporary technological practice.
What you're witnessing in the video documentation isn't just a technical process - it's a choreographed performance that captures the culmination of this environmental dialogue. The scanning ritual becomes a way of honoring the space, acknowledging both its physical presence and its spiritual significance in Australia's natural heritage.
This approach aligns with my broader artistic practice of 'Method Making,' where the process of creation is as significant as the final artwork. In the Victorian High Country, this methodology takes on special significance as I navigate the unique challenges and opportunities presented by the alpine environment.
The resulting scans serve as both technical documents and emotional maps, capturing not just the topography of the High Country, but also the meditative journey that brought them into being. They represent a contemporary approach to landscape art that honours traditional connections to country while embracing new technological possibilities for environmental engagement.
choreographed video rather than raw 3D models stems from a deeper artistic philosophy about the nature of environmental connection and technological meditation. The video format becomes a curated performance piece that captures not just the technical process, but the intimate dialogue between artist, technology, and landscape.
Like my broader 'Method Making' approach, each video is carefully orchestrated to reveal the meditative aspects of the scanning process. The choreography isn't just about movement - it's about pacing, intention, and the subtle rhythms of environmental engagement. When you watch these videos, you're witnessing a performance where every step, pause, and gesture carries meaning.
The choice to choreograph rather than simply share 3D models aligns with my interest in what I call 'digital rituals.' Through careful editing and sequencing, the videos reveal the ceremonial nature of the scanning process - how technology becomes a tool for environmental connection rather than mere documentation. This approach draws parallel to traditional Chinese shanshui philosophy, where the artist's journey through landscape is as significant as the final artwork.
Moreover, the choreographed format allows me to highlight the temporal and performative aspects of the work that a static 3D model cannot convey. It shows how the scanning process becomes a form of embodied research, where my physical presence and movements through space are integral to the final artistic outcome.
This curated documentation serves multiple purposes:
It reveals the meditative aspect of the scanning process
It demonstrates the intentional nature of each movement and capture
It transforms technical documentation into a performance piece
It emphasises the importance of time and presence in digital art-making
The resulting videos become artworks in their own right - not just records of process, but carefully constructed narratives that bridge the gap between technological practice and artistic performance.