Intro to Critical Making
I attended a workshop called “Intro to Critical Making” led by Hanna-Mae Greenfield from the LCDSS, which introduced how everyday objects can be turned into digital artifacts through different 3D-scanning methods. One usage of 3D objects that stood out was UNESCO’s virtual museum of stolen artifacts, showing how scanning can address real needs around documentation and long-term preservation for objects no longer with us. The session walked us through a technique using a rotating platform with a handheld scanner, and we were taught about creating models through photogrammetry and stitching together scans for larger objects. We also learned why certain items, especially flat ones, don’t capture well and are sometimes easier to recreate directly in software like Blender. I was surprised by how some artists intentionally keep scanning “glitches” as part of their work, which highlighted how flexible the technology can be depending on the goal. What stuck with me most was how the choices behind each scan actually influence how the final model feels and functions. Little decisions end up shaping the digital object just as much as the technology does. It made the process feel less like “capturing” something and more like translating it, which gave me a clearer sense of how digital tools shape the way things are presented and understood.