Digital print on acrylic
80 x 120 cm
A (left) is the positive digital composition of the space.
B (right) is the extruded representation of the lost space in version A.
The technique of photogrammetry enables us to rebuild physical spaces into virtual environments. The data collected records the physical topography of a given space. Through the analyzation of this data we are able to shape the mute/noncontent that photogrammetry cannot recognize. Thus, we are left with a ’true’ representation of a physical space that is inclusive of ‘natural’ (artificial) voids.
What if Aristotle’s horror vacui theory was correct – a void does not exist in nature? It would be filled in by the material continuum surrounding it. A void is nothing, and nothing cannot exist. Through interconnected use of CGI, game engines and generative audio, how can both visualize and sonify a “void” that is grounded in physical material?
The possibility of activating the Void through art continues to be an important concern of contemporary artists. An exploration of the history of the iconography of the Void would go far beyond the scope of this introduction. In his horror vacui theory, Aristotle famously pronounced that nature abhors a vacuum. Though technically incorrect, this supposition has continued to resonate in the visual arts and the idea of the Void/Nothingness/