Digital heritage: introduction
Discussion Question 1:
What does “digital heritage” mean to you, and how do you think it di7ers from traditional
heritage practices?
Digital heritage is the use of technology to preserve and share cultural heritage. It di7ers
from traditional heritage because it is not limited to physical artifacts or places.
Traditional heritage is tied to location and authenticity, while digital heritage is globally
accessible and replicable but lacks the physical presence of originals. It also allows for
the preservation of intangible practices like music, language, or rituals that might
otherwise be lost. Overall, digital heritage complements traditional heritage by
expanding reach but cannot fully replace it.
Discussion Question 2:
Can you think of an example where digital tools have been used to preserve, showcase,
or study cultural heritage? How successful do you think this was?
The 3D scanning and VR reconstruction of Palmyra’s monuments after their destruction.
It preserved knowledge and allowed global audiences to access and study the site. It
was successful in awareness and education but could not replace the real physical
experience. This project showed the potential of digital tools to protect history from
being completely lost. It also demonstrated how technology can engage both experts
and the public in cultural preservation.
Discussion Question 3:
What challenges or opportunities do you foresee in the future of digital heritage,
especially in terms of accessibility, preservation, and cultural representation?
A major challenge for digital heritage is accessibility, since unequal access to
technology can exclude certain communities. This creates a risk that marginalized
voices and cultures may be underrepresented or overlooked. However, digital platforms
also o7er a powerful opportunity: they can give marginalized groups new ways to share
their stories and preserve their heritage. If accessibility improves, digital heritage can
become a more inclusive space where diverse voices are recognized and valued.
, Digital heritage: les 2
1. What Are “Memory Institutions”? GLAM
Memory institutions are organizations that preserve, curate, and make accessible
cultural, historical, and informational materials for current and future generations.
They include archives, libraries, and museums, sometimes called “the cultural
memory sector.”
Digitisation in these institutions means converting analogue content (like books,
photos, and artworks) into digital formats, and adopting digital workflows for
cataloguing, sharing, and long-term preservation.
2. What Are Digital Heritage Collections?
Digital heritage collections are digitally available collections of items that hold
cultural, historical, or scientific importance.
They can include:
• Texts and documents
• Photographs and audio recordings
• Videos and film
• 3D models and digital reconstructions
There are two types of digital heritage collections:
1. Born-digital collections
2. Digitised collections
a) Born-Digital Collections
Definition: Materials that were originally created in digital form, not converted from
physical originals.
Examples include:
• Emails, websites, social media posts
• E-books, e-journals, databases
• Digital photographs and GIS maps
• News broadcasts and online archives
• Digital artworks such as “data sculptures” or net art
Example:
The artist duo JODI (Joan Heemskerk and Dirk Paesmans) are pioneers of net art — a
,type of digital art that uses the internet itself as its medium. Instead of hanging in
galleries, their work exists as code, websites, and online interactions.
Another example is GIF art, created by artists such as Zach Dougherty and Lorna Mills,
which uses looping digital animations to convey artistic expression.
è Term – Net Art:
A form of contemporary art made for and experienced on the internet. It
challenges traditional museum display by existing purely in digital space.
b) Digitised Collections
Definition: Collections that were originally physical and later converted into digital
form. Digitisation is the process of turning physical materials into digital form, from
simple photos to automated scanning. Creating the digital copy is only the first step, as
the files also need to be annotated, tagged, and categorised, which makes the work
time-consuming.
Examples:
• Scanned photographs or artworks
• Transcribed historic manuscripts
• Digitally mapped historic locations
• 3D scans of objects and monuments
Case Study:
The Cynefin Project by the National Library of Wales digitises old tithe maps, conserves
them, and invites the public to help correct and annotate them online (crowdsourcing).
Digitisation is not just scanning — it involves adding metadata, tagging, categorising,
and describing each item. This makes the process time-consuming but crucial for
accessibility and research.
Example:
Turning the Pages (Royal Society & British Library) allows online users to “turn” the pages
of digitised historical books in high resolution.
3. International Sharing of Digital Collections
IIIF – International Image Interoperability Framework
Definition:
A global framework that standardises how cultural heritage institutions deliver and
share high-quality digital images.
It enables users to zoom, compare, annotate, and share digital items from di[erent
institutions in one interface — even across countries.
Institutions using IIIF ensure their materials can be viewed in shared viewers such as
Mirador.
Examples of institutions using IIIF:
• Library of Congress (USA) – millions of digitised items.
• Europeana – the EU’s main digital heritage platform.
, • Royal Library of Belgium (KBR) – digitising and publishing its collections and
participating in European initiatives like the European Cultural Heritage Cloud.
There is a continuous tension between preserving institutional control (copyright,
authenticity, conservation) and promoting open public access.
4. FAIR and CARE Principles
The FAIR Principles
The FAIR Data Principles stand for:
• Findable
• Accessible
• Interoperable
• Reusable
They focus on making data usable by both humans and machines.
To make data FAIR:
• Use rich metadata and clear documentation
• Record provenance (where the data comes from)
• Apply standard vocabularies and formats
• Include clear licensing information
(Wilkinson et al., 2016)
The CARE Principles
While FAIR focuses on data management, CARE adds a social and ethical layer,
especially for Indigenous and community data.
CARE stands for:
• Collective Benefit
• Authority to Control
• Responsibility
• Ethics
Together, they remind us to “Be FAIR, but also do CARE.”
That is, make data open and reusable, but also respect cultural rights, privacy, and
community ownership.
5. Guest Lecture – Smelly Heritage: The Odeuropa Project
Marieke van Erp (KNAW Humanities Cluster)
What Is the Odeuropa Project?
Odeuropa explores how smell functions as part of Europe’s tangible and intangible
cultural heritage.
The project combines artificial intelligence, history, heritage studies, and sensory
science to identify, document, and recreate historical smells.
Main Objectives:
Discussion Question 1:
What does “digital heritage” mean to you, and how do you think it di7ers from traditional
heritage practices?
Digital heritage is the use of technology to preserve and share cultural heritage. It di7ers
from traditional heritage because it is not limited to physical artifacts or places.
Traditional heritage is tied to location and authenticity, while digital heritage is globally
accessible and replicable but lacks the physical presence of originals. It also allows for
the preservation of intangible practices like music, language, or rituals that might
otherwise be lost. Overall, digital heritage complements traditional heritage by
expanding reach but cannot fully replace it.
Discussion Question 2:
Can you think of an example where digital tools have been used to preserve, showcase,
or study cultural heritage? How successful do you think this was?
The 3D scanning and VR reconstruction of Palmyra’s monuments after their destruction.
It preserved knowledge and allowed global audiences to access and study the site. It
was successful in awareness and education but could not replace the real physical
experience. This project showed the potential of digital tools to protect history from
being completely lost. It also demonstrated how technology can engage both experts
and the public in cultural preservation.
Discussion Question 3:
What challenges or opportunities do you foresee in the future of digital heritage,
especially in terms of accessibility, preservation, and cultural representation?
A major challenge for digital heritage is accessibility, since unequal access to
technology can exclude certain communities. This creates a risk that marginalized
voices and cultures may be underrepresented or overlooked. However, digital platforms
also o7er a powerful opportunity: they can give marginalized groups new ways to share
their stories and preserve their heritage. If accessibility improves, digital heritage can
become a more inclusive space where diverse voices are recognized and valued.
, Digital heritage: les 2
1. What Are “Memory Institutions”? GLAM
Memory institutions are organizations that preserve, curate, and make accessible
cultural, historical, and informational materials for current and future generations.
They include archives, libraries, and museums, sometimes called “the cultural
memory sector.”
Digitisation in these institutions means converting analogue content (like books,
photos, and artworks) into digital formats, and adopting digital workflows for
cataloguing, sharing, and long-term preservation.
2. What Are Digital Heritage Collections?
Digital heritage collections are digitally available collections of items that hold
cultural, historical, or scientific importance.
They can include:
• Texts and documents
• Photographs and audio recordings
• Videos and film
• 3D models and digital reconstructions
There are two types of digital heritage collections:
1. Born-digital collections
2. Digitised collections
a) Born-Digital Collections
Definition: Materials that were originally created in digital form, not converted from
physical originals.
Examples include:
• Emails, websites, social media posts
• E-books, e-journals, databases
• Digital photographs and GIS maps
• News broadcasts and online archives
• Digital artworks such as “data sculptures” or net art
Example:
The artist duo JODI (Joan Heemskerk and Dirk Paesmans) are pioneers of net art — a
,type of digital art that uses the internet itself as its medium. Instead of hanging in
galleries, their work exists as code, websites, and online interactions.
Another example is GIF art, created by artists such as Zach Dougherty and Lorna Mills,
which uses looping digital animations to convey artistic expression.
è Term – Net Art:
A form of contemporary art made for and experienced on the internet. It
challenges traditional museum display by existing purely in digital space.
b) Digitised Collections
Definition: Collections that were originally physical and later converted into digital
form. Digitisation is the process of turning physical materials into digital form, from
simple photos to automated scanning. Creating the digital copy is only the first step, as
the files also need to be annotated, tagged, and categorised, which makes the work
time-consuming.
Examples:
• Scanned photographs or artworks
• Transcribed historic manuscripts
• Digitally mapped historic locations
• 3D scans of objects and monuments
Case Study:
The Cynefin Project by the National Library of Wales digitises old tithe maps, conserves
them, and invites the public to help correct and annotate them online (crowdsourcing).
Digitisation is not just scanning — it involves adding metadata, tagging, categorising,
and describing each item. This makes the process time-consuming but crucial for
accessibility and research.
Example:
Turning the Pages (Royal Society & British Library) allows online users to “turn” the pages
of digitised historical books in high resolution.
3. International Sharing of Digital Collections
IIIF – International Image Interoperability Framework
Definition:
A global framework that standardises how cultural heritage institutions deliver and
share high-quality digital images.
It enables users to zoom, compare, annotate, and share digital items from di[erent
institutions in one interface — even across countries.
Institutions using IIIF ensure their materials can be viewed in shared viewers such as
Mirador.
Examples of institutions using IIIF:
• Library of Congress (USA) – millions of digitised items.
• Europeana – the EU’s main digital heritage platform.
, • Royal Library of Belgium (KBR) – digitising and publishing its collections and
participating in European initiatives like the European Cultural Heritage Cloud.
There is a continuous tension between preserving institutional control (copyright,
authenticity, conservation) and promoting open public access.
4. FAIR and CARE Principles
The FAIR Principles
The FAIR Data Principles stand for:
• Findable
• Accessible
• Interoperable
• Reusable
They focus on making data usable by both humans and machines.
To make data FAIR:
• Use rich metadata and clear documentation
• Record provenance (where the data comes from)
• Apply standard vocabularies and formats
• Include clear licensing information
(Wilkinson et al., 2016)
The CARE Principles
While FAIR focuses on data management, CARE adds a social and ethical layer,
especially for Indigenous and community data.
CARE stands for:
• Collective Benefit
• Authority to Control
• Responsibility
• Ethics
Together, they remind us to “Be FAIR, but also do CARE.”
That is, make data open and reusable, but also respect cultural rights, privacy, and
community ownership.
5. Guest Lecture – Smelly Heritage: The Odeuropa Project
Marieke van Erp (KNAW Humanities Cluster)
What Is the Odeuropa Project?
Odeuropa explores how smell functions as part of Europe’s tangible and intangible
cultural heritage.
The project combines artificial intelligence, history, heritage studies, and sensory
science to identify, document, and recreate historical smells.
Main Objectives:
