Cultural representation and digital reproduction : a critical analysis of post conflict reproductions of heritage

• Autor(a) principal: Davidson, Leonie Rose
• Data de Publicação: 2023
• Tipo de documento: Dissertação
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10400.14/43787
• topic: Heritage; Colonialism; 3D reproductions; Cultural representation; Authenticity; Património; Colonialismo; Reproduções 3D; Representação cultural; Autenticidade; Domínio/Área Científica::Humanidades::Outras Humanidades

With the advancement of technological methodologies we are reconsidering our past and how to preserve it. The intersection of technology and heritage demonstrates how the past continues to live in the present and the ability to reconstruct and preserve heritage, something pertinent within the contemporary context of worldwide conflicts. The ability to digitally reproduce heritage is novel and something which requires further inquiry in light of several considerations. These are mostly questions of authenticity and whether a copy can (or should) replace the original structure. This is because of several implications involving ownership and access (i.e. whether it is democratising art and heritage), effects of removing it from its geographical and cultural contexts and the complexities of cultural representation in the digital. To investigate this emerging topic, I am analysing both the theoretical and practical implications of digitally reproducing cultural heritage post conflict. The ramifications of recreating heritage post conflict, after the destruction (iconoclasm in specific) of the original artefact within the unstable context of war, are numerous. For instance, the erasure of history is thrown into question with the recreation of war-destroyed heritage, as well as the very decision of which artefact are chosen for reproduction. Consequently, my main research questions will be exploring what it means when the ‘original’ is destroyed and a ‘copy’ is created in its place, what happens when digital reproductions become viral and/or physically travel the globe; who ‘owns’ the reproduced digital heritage and what does it contribute to discussions on representation? Therefore, I am addressing both the importance of cultural heritage in contemporary society and its representational role. To do so I am drawing on theoretical concepts from the disciplines of Cultural Studies, Heritage Studies, Museology and Anthropology to analyse the complexities of political, cultural and historical representations. Using the empirical case studies of three post-conflict sites of The Triumphal Arch of Palmyra (Syria), the Bamiyan Buddhas (Afghanistan) and the Lion of Mosul (Iraq), I address their digital reproductions in consideration of cultural representation and the role of heritage respectively. Ultimately, I am using these three case studies to attempt to address the problems and benefits involved in recreating heritage after the original has been destroyed in conflict.