When applied to organic matter, infrared scans create an abstracted shell, one where the software manufactures artifacts of misinterpretation. These digital objects are overly saturated, bulbous, disintegrating, like conglomerate pieces of plastic detritus washed onto a riverbank after a storm. To FDM print these objects is to turn them into containers—exoskeletons that hold the metaphysical power to embody what remains. Long after the original subject wilts, dries, or decomposes, the FDM holds its form like a funerary mask, a memento, or a portal to a spirit world. The objects morph between microcosms, topographies, and fluid landscapes. They come into being, disappear from being, and represent a removed, artificial, and distorted relationship with the natural world.