Abstract 3D scanners and printers offer a relatively inexpensive means of preserving threatened, destroyed, or lost cultural artifacts. At the same time, the digital reproduction of this heritage (which now increasingly results in physical replicas) resonates with a public that wants to experience historical monuments and objects first-hand. This article examines recent artistic projects that use this technology to produce 3D scans of highly charged artifacts and monuments that originate from the Middle East. Through the unauthorised and open dissemination of this data, these works critically intervene in cultural heritage discourses. As I will argue, these practices offer a productive space to explore questions of colonial dispossession, the commodification of heritage, and public access that go beyond a more narrowly legal argument about the restitution of cultural property.

中文翻译：

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谁的数字遗产？

摘要 3D 扫描仪和打印机提供了一种相对便宜的方法来保护受威胁、毁坏或丢失的文物。与此同时，这种遗产的数字复制（现在越来越多地产生物理复制品）与想要亲身体验历史古迹和物品的公众产生共鸣。本文考察了最近的艺术项目，这些项目使用该技术对源自中东的高度充电的文物和纪念碑进行 3D 扫描。通过未经授权和公开传播这些数据，这些作品批判性地干预了文化遗产的讨论。正如我将要论证的那样，这些实践为探索殖民剥夺、遗产商品化、