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It would be The 3D physical replica was used for the aim initially interesting to understand what the motivation for planned, allowing the Department of Antiquities to this choice was. As Maxwell et al. The 3D replica exhibited at the Smithsonian behind glass. The semiophore is in front of the observer created an expansion in innovation, communication, and acts as an intermediary between the visible and education, etc.

Differently from a topics of veracity, identity and ownership and the impact common object that has its meaning in the present of these fundamental ethical issues on human behaviour in and in its daily use, the semiophore reveals its meaning emerging digital technologies. In the concept of transparency and the other suggestions this way, the object that lost its utility, takes the role proposed to the scientific community by the London of representing something now invisible. The curator Charter less than 10 years ago.

Therefore, not an issue anymore. These circumstances put the alised, that use both visuals and text to jar viewers out of replicas at the same level of the originals, assuming simplistic interpretations of the subject matter, that weave the same value of their originals. Heidegger This labeling is the only way there is its character of authenticity and the first is the to maintain standards of truth, accuracy, and fairness.


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Terdiman The 3D replica represents a tool for storytelling and might have ethical implications con- Conclusions cerning its appropriate or inappropriate use When is it appropriate to provide a 3D object? How can the Differently from Benjamin Benjamin , according legitimacy of a 3D copy be authenticated? Through the As discussed above, great importance is given to the new identity of the object, a new biography is given: digital provenance and data transparency.

Indeed, we might now introduce the concept of augmented by preserving the integrity and the transparency of authenticity. Similarly to augmented reality whereby the chain of activities that lead to the creation of a 3D the virtual environment is something more than the digital or physical reproduction, its authenticity can reality itself — because the virtual world can be enriched be ensured. Rights and intellec- real object, on which new actions can be performed, tual properties, originality and reproducibility are just that are otherwise not possible on the real object.

Kenderdine eds. Theorizing digital cultural heritage: A critical discourse. Rothenberg, Authenticity in a Digital Environment. Iannone, Addison, G. Guidi, L. Notes Pescarin. I, —6. Di Giuseppantonio di Franco, P. Mat- lock, Framing the past: How virtual experience 1 Other software applications are available for photo- affects bodily description of artefacts.

Journal of Cultural grammetry today. At that moment it was decided to Heritage 17, — Duranti, L. Archivaria 39, 5— Foster, S. Curtis, European Journal to virtual exhibitions in museums Hazan Cyprus: Crossroads of Civilizations. Adam, S. Preserving Authenticity in the Digital Age. Library Hi Tech 28 4 , — Hazan, S. Accessed 23 gible cultural heritage Replicas. Der Ursprung des Kunstwerkes. Frank- Amico, N. Niccolucci, Quality management of 3D cultural heritage replicas Jeffrey, S. Open Archaeology, 1 1.

Step 2: Setting Up Workstation

Considerations on authenticity and integ- International Conference on Theory and Practice of Digital rity in world heritage context. Accessed 23 April selves. Journal of Material Culture 15 2 , — Aura, Self, and Aesthetic Experience. Con- terranean. Los Angeles, CA: J. Paul Getty Museum. Koller, D. Humphreys, Research Beacham, R. Journal on Computing and Cultural Heritage M. Ioannides, D.

Table of contents

Arnold, F. Budapest: Archaeolingua, —9. Lynch, C. Authenticity and Integrity in the Digital Benjamin, W. By Underwood, J. The work Environment: An Exploratory Analysis of the Central of art in the age of mechanical reproduction. May Washington, D. Integration of laser scanning and close- information resources, 32— Accessed 14 Septem- range photogrammetry — The last decade and beyond. Martino C. Ontologia degli Boehler, W. Marbs, Investigat- oggetti ed epistemologia del collezionismo in Walter ing Laser Scanner Accuracy.

Goldberg, The Interplay of Ronzino, P. Hermon, CAA, 35— Digital fabrication technologies for cultural Morgan, K. Morgan eds , Denard, Terdiman, D. Artusi, M. Joly, G. Lucet, D. Pitzalis news. Eurographics Association, —4. Nicolaou, Bonora, International Parry, R.

Recoding the museum: Digital heritage and the Archives of the Photogrammetry, Remote Sensing and Spatial technologies of change. Perry, S. Operational Guidelines for the Implementation of remains. Accessed 16 September Pomian, K. Collectionneurs, amateurs et curieux. Paris: Gallimard, United Nations educational, scientific and Pilides, D.

Digital Technologies for Evolutionary Construction. Combinatorial Architecture. Synthetic Images on Real Surfaces. Performance Based Interactive Analysis. Curved Bridge Design. Linear Folded Parallel Stripe s. Modelling the Invisible.

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