Sophie Kahn Uses 3D Scanners To Capture And Cast Fragmented Women

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Sculptor Sophie Kahn has merged new technology with old to haunting effect in her sculptures of incomplete women. Kahn initially worked as a photographer but became frustrated with working in two-dimensions. Modern 3d scanners initiate these sculptures, but the fragmentation of the figures is achieved by using the scanners in a way for which they were not designed. Kahn says:

“When confronted with a moving body, it receives conflicting spatial coordinates, generating fragmented results: a 3d ‘motion blur’. From these scans, I create videos or 3d printed molds for metal or clay sculptures. The resulting objects bear the artifacts of all the digital processes they have been though.”

The absences in these figures is what makes them so arresting. The elements that are represented are death-like in their pallor and stillness. There’s no sense of motion, instead the women look like they were captured post-mortem. Their peaceful body language and impassive faces contrast with their layers and patches. Like the juxtaposition of new and ancient techniques Kahn uses to create these works, the figures are both enduring and fragile.

“These scans, realized as life-size 3d printed statues and installed in darkened rooms as a damaged ancient artifact might be, serve as a incomplete memorials to the body as it moves through time and space.” (Source)

The imperfect sculptures reveal flaws, empty spaces, and altered textures. It speaks of the inability to ever really know a person, as if these pieces of the mapped and printed bodies are all that could be gathered.

“This concern with the instability of memory and representation is the common thread that weaves together the ancient and futuristic aspects of my work.”

Kahn’s fragmented women give form to the futility of capturing the essence of a life.

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Magical Science-Fiction Cast Promises To Heal Bones Super Fast

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When I first saw this inventive fusion of technology, art, and style, I thought it had to be something from a science fiction novel. This open cast, cleverly titled the Osteoid, is the invention of the designer Deniz Karasahin, who is known for previous creations of like a sleek, elegant vacuum cleaner and trendy yet comfortable lounge chairs.

Unlike traditional plaster casts, the Osteoid has ventilation holes and might easily be removed; while it is capable of holding the broken limb in place, it also conveniently avoids causing irritation, itch, and odor. Trail-blazing ultrasound treatments have proved effective in healing bone, but the technology is rarely used, as the plaster cast renders its benefits insufficient. With the Osteoid, it is possible to target specific sites with healing ultrasound systems, which can be inserted into the cast itself. If used for only 20 minutes per day, it could help bone to heal at a rate 40-80% faster than normal.

The invention is as fashionable as it is groundbreaking; with its eyelet holes and jet black hue, it situates itself firmly within the 21st century. If Futurist artists like Giacomo Balla or Umberto Boccioni, with their lust for speed and mechanical ingenuity, could see us now, 100 years later, they would surely be beaming with pride. I shattered my elbow a few months ago, and I can now say, from an honest and personal space, that a magical bone-healing machine would have suited quite nicely. Take a look. (via Demilked and Geekologie)

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