ABSTRACT
Making three-dimensional (3D) models for public-facing cultural heritage applications currently concentrates on creating digitised models that are as photo-realistic as possible. The virtual model should have, if possible, the same informational content as its subject, in order to act as a ‘digital surrogate’. Many cultural heritage objects have, to borrow an old term, aura: an affectual power to engender an emotional response in the viewer. The term ‘digital surrogate’ is commonly used when talking about 3D models in cultural heritage applications. Exploring the meaning of this term is highly valuable. The E-Curator project and subsequent work by Mona Hess has demonstrated the potential for 3D scanning technology for professional cultural heritage (CH) purposes and there are clear advantages to working in the digital realm. Visitors to CH institutions—members of the public with no privileged access to the exhibits—will have a very different experience to that of a CH professional.
