#DOMUS 3D VS MAXWELL SERIES#

It is clear that 10 years after the previous recommendation and in light of recent cases of heritage loss and inaccessibility, priorities have shifted to more technologically advanced and engaging digital solutions. It is worth noting that the 2011 Recommendation did not include a reference to 3D digitisation (only to audio-visual content) contrary to the 2020 consultation survey that addressed questions on the role of 3D technologies in cultural heritage, including the value of вЂњdigital twins,вЂќ for example, in the case of Notre Dame, the creation of high-quality 3D models of museum objects before they get lost due to theft or damage, online visualisation of heritage monuments, and immersive experiences. It is not a coincidence that the European Commission also launched in June 2020 a public consultation on digital access to European Cultural heritage to revise the 2011 Recommendation (EUR-LexвЂ‰вЂ“вЂ‰European Union Law, 2011) on the digitisation and online accessibility of cultural material and digital preservation. Also, the report on the вЂњImpact of the COVID-19 Situation on Museums in EuropeвЂќ by the Network of European Museum Organisations (NEMOвЂ‰вЂ“вЂ‰Network of European Museums Organisation, 2020) calls for more investment in digital heritage, including both digital services and engaging digital experiences, recognising that they вЂњbring people together, encourage creativityвЂ¦and offer a virtual space to build ideas collectivelyвЂќ (p. The report on вЂњMuseums, Museum Professionals and COVID-19вЂќ by the International Council of Museums (ICOMвЂ‰вЂ“вЂ‰International Council of Museums, 2020) confirms that museumsвЂ™ digital services increased after the lockdown, almost by 50% for social media and in the range between 10% and 19% for online collections and exhibitions, podcasts, quiz contests, newsletters, and live events (p. Many institutions, in most cases those with sufficient resources, also developed new atypical projects during the lockdown, including educational challenges and behind the scenes. UNESCOвЂ™s report on вЂњMuseums Around the World in the Face of COVID-19вЂќ (UNESCO, 2020), for example, emphasises that the pandemic allowed many institutions to utilise previous digitisation investments, including 360В° tours, virtual museums, and digital exhibitions, while increasing their outreach on social media platforms (pp. Recent reports have highlighted that providing digital content in different forms is considered one of the most effective means of keeping audiences engaged. The COVID-19 pandemic and the necessary physical and consequent social isolation made clear the increasing need for more (but also better) digital content. Keywords: aura authenticity 3D models cultural heritage remediation technological mediation survey qualitative interviews 1 Introduction

#DOMUS 3D VS MAXWELL SERIES#

This exploration allowed us to conclude that even though some aspects of aura and authenticity are intrinsically related to the physicality and materiality of the original, 3D models can still manifest aura and authenticity, as long as a series of parameters, including multimodal contextualisation, interactivity, and affective experiences are facilitated. Building on several studies that have problematised these two concepts, this article establishes an exploratory framework aimed at evaluating the experience of aura and authenticity in 3D digitisations. This article explores three-dimensional digitisations of museum artefacts, particularly problematising their aura and authenticity in comparison to their physical counterparts. Although 3D models and collections provide novel ways to interact, visualise, and comprehend the materiality and sensoriality of physical objects, their mediation in digital forms misses essential elements that contribute to (virtual) visitor/user experience. Virtual tours, revamped websites, and 3D models of cultural artefacts were only a few of the means that museums devised to create alternative ways of digital engagement and counteract the physical and social distancing measures. This became more pressing during the COVID-19 pandemic since heritage institutions had, on the one hand, to temporarily close their doors to visitors while, on the other, find ways to communicate their collections to the public. Museums have been increasingly investing in their digital presence.

Domus 3d vs maxwell