Digital Heritage Surrogates, Decolonization, and International Law: Restitution, Control, and the Creation of Value as Reparations and Emancipation

Q2 Arts and Humanities
Lucas Lixinski
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引用次数: 5

Abstract

This article argues that digital and post-colonial engagements with heritage can be reconciled only if they happen in the terms set by the once-colonized community, and for their benefit. Further, the law can play a significant role in embedding certain ethical commitments, provided it can steer away from legal categories such as authenticity and access; categories which, despite their neutral or even cosmopolitan aspirations, function as reinforcers of a status quo that privileges colonial possession of heritage. In order to pursue this thesis, the article focuses on the ways in which the digitization of heritage was suggested – in the context of the Sarr-Savoy Report about the return of objects from French museums to certain African countries – to constitute a precondition for the return of cultural objects taken during colonialism. Drawing on that report, as well as on the responses to it, the article queries whether and how digitization can work to redress (or unfortunately, in some cases reinforce) the harms of colonialism.
数字遗产的替代、非殖民化和国际法:归还、控制和价值创造作为补偿和解放
这篇文章认为,只有按照曾经被殖民的社区设定的条件,并为他们的利益,数字和后殖民时代与遗产的接触才能调和。此外,法律可以在嵌入某些道德承诺方面发挥重要作用,前提是它可以避开真实性和获取等法律类别;尽管这些类别具有中立甚至国际化的愿望,但它们的作用是强化殖民地拥有遗产的现状。为了继续这篇论文,本文重点讨论了遗产数字化的方式——在关于法国博物馆向某些非洲国家归还文物的萨尔-萨沃伊报告的背景下——作为归还殖民主义时期文物的先决条件。根据该报告以及对该报告的回应,文章质疑数字化是否以及如何纠正(或者不幸的是,在某些情况下强化)殖民主义的危害。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Santander Art and Culture Law Review
Santander Art and Culture Law Review Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.50
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0.00%
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