According to the Collins Dictionary, materiality refers to “the state or quality of being physical or material” (Definition of materiality, n.d.). This definition therefore very much focuses on the physical aspects and character of objects. Against the background of this or similar definitions of materiality, many scholars concluded that digital objects and computing technologies are immaterial, because they do not partake in this form of physicality. However, Matt Kirschenbaum has expanded on this notion by refocusing attention on the “material substrates” of computing technologies which for their operation rely on a number of physical devices, such as drives, disks and tracks. Kirchenbaum distinguishes forensic and formal materialities. Forensic materiality relates to the “carrier” of a particular content, while formal materiality is linked to the content itself. Both aspects of materiality focus on what things are and not on what they do. Drucker has therefore introduced the concept of performative materiality looking at which function computing technologies perform in order to understand what they are (Drucker, 2013).
In the case of our 3D model of Mickey Mouse, one can say that the interface of Voyager is its performative materiality due to the function to visualise and contextualise digital objects. At the same time the interface shapes the object and the way we perceive it and, by extension, reality. This is therefore yet another case where “the medium is the message”, as famously stated by Marshall McLuhan (Manoff, 2006).
The 3D model of Mickey offers multiple affordances. The toy can be accessed online by a larger audience, facilitating broader engagement and interaction (Treadaway & Younan, 2015). The 3D model also allows for interactive exploration, enabling the viewer to move and engage with the object in the virtual space (Treadaway & Younan, 2015). A more comprehensive understanding of the toy's features is also granted as it can be viewed up close and from multiple angles, conveying detailed information (Huvila, 2018). However, creating a 3D model also has certain limitations. While a detailed visual representation is created, aspects such as texture and colour may not accurately reflect the physical model, potentially compromising its authenticity in relation to the physical object (Huvila, 2018). This is present in our model when it is viewed in Voyager as well, as the toy appeared in more washed out colours than the real life toy and the full texture of Mickey did not translate to the viewing platform. Despite these limitations, the affordances of creating a 3D model provide new opportunities for viewers to interact with an artefact, in its accessible preservation state.