This article reflects on the emergence of volumetric capture as a means to render human experience in three dimensions and how its applications in medicine, performance, and digital archiving are reshaping our relationship to documentation and embodiment. From 360-degree imagery to the advanced rendering techniques of Gaussian Splatting, these tools raise questions about the ethics of visualisation and the power to represent. This article draws on the work of scholars such as Taylor, Schneider, Kenderdine, Holling, and DeNora to challenge the notion of archives as neutral or static repositories and asks: in an age where our movements can be stored and repurposed, how do we navigate the tension between visibility and consent, between preservation and autonomy?
