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The reconstruction of the living room in blue foam, meanwhile, points to the technological impatience of the diorama format as it reconciles the conflict between authenticity, preservation, data collection, and re-enactment. Makkink & Bey have often used extruded polystyrene foam for the infinite possibilities suggested by its ‘unfinishedness’, its secondary status as a material more appropriate to models than to real furniture. In this case, however, it is not merely the provisional nature of the foam but its correspondence to virtual geometries and affinity for precise cutting and milling through computerised manufacture that makes it critical to the future of the diorama. Like the solitary tree falling in the forest without a sound, in today’s increasingly digitised world, the word, image or object that has not been scanned and stored in a searchable database does not exist. The diorama does not imitate the materiality of Makkink and Bey’s living room, but rather encodes and reproduces it as an indexed, networked and modelled environment, even as it revels in the glitches and blind spots of the scanned aesthetic. As scale and texture cede their meaning to the optics of the screen, the diorama is reinvented as the jungle in a peephole.