3D scanning refers to the act of measuring a subject or environment and reconstructing it as three-dimensional digital information. In the provided context, the term is used less as a conventional object-capture technique and more as a way to describe the conversion of time into space, and space into time. In Ryu Furusawa’s Passing, the movement of a train is redefined as a large-scale scan: the camera samples the world sequentially as the train advances, and the captured data accumulates as a video volume, described as a “stratum of information.” Each frame is treated not merely as part of a moving image, but as an individual photograph stacked along a temporal axis to form a virtual three-dimensional volume.
From this volume, a normal playback would extract cross-sections in a linear way. In the work, however, the angle of those sections can be freely rotated, which disrupts the simultaneity that had existed within a single frame. As a result, the spatial order of perspective, normally organized around a vanishing point, gradually transforms into a parallel-projection-like space with no vanishing point. In this sense, 3D scanning functions as a media process that reorganizes perception, not only by recording form but by restructuring the relationship between time, movement, and spatial representation.