A mixed exhibition of work exploring a little analysed tool the scanner. Using the contradiction in the word scan which means both to look closely at something and to pass over it quickly, the exhibition used this starting point to look at the social and cultural implication of this disembodied gaze. Initiated and curated by Jo Stockham in response to an invitation by Bryan Biggs at the Bluecoat Gallery, the selection was made in consultation and collaboration with Sarah­jayne Parsons, Bluecoats' then curator. The show took a particular technology and scanning and made an exhibition which explored the embeddedness of such technologies in Fine Art Practise. Bridging the gap between shows which are seen as technology focused or computer arts and broader Fine Art Practise and thus informing debates about material/virtual relations.
A publication which was made after the show hang, and a series of events during the exhibition, expanded the reach and audience for the work. A 'scanning day' involved a discussion about the computer in the art school from a range of generational positions chaired by Professor Charlie Gere of Lancaster University. Demonstrations of 3D print by Lol Baker from John Moores University and a demonstration of a new doodling pen by Maplins gave public access to these tools.