Page 35 - Studia Universitatis Hereditati, vol 10(2) (2022)
P. 35
ia universitatis What do you really want?
35 Kaj zares želite?
Boris Kavur
University of Primorska, Faculty of Humanities, Slovenia
boris.kavur@upr.si
Martina Blečić Kavur
University of Primorska, Faculty of Humanities, Slovenia
martina.blecic.kavur@upr.si
Abstract
In the period of last 50 years, the discussion of what authenticity really means changed from questions
about realism, representation and reality in aesthetics and media studies, to “authenticity as idea” relat-
ed to national identity and cultural heritage, as well as “authenticity as strategy” in marketing and place
branding. Consequently, we can today define heritage tourism more narrowly as a phenomenon based
on visitors’ motivations and perceptions rather than on specific site attributes. New perspectives of pres-
entations, including the use of ICT devices are broadening the perspective of heritage tourism shifting
it in to the world of virtual reality. Currently the presentation, this is the consumption of cultural her-
itage, is shifting from “authentic” material environments and experiences in to the hyper-realistic digi-
tal ones the differences between the capacities for consumption between different members of the so-
ciety become reduced.
Key words: authenticity, cultural tourism, cultural heritage, archaeology, ICT, disabilities
Izvleček
V obdobju zadnjih 50 let se je razprava o tem, kaj avtentičnost v resnici pomeni, premaknila od vprašanj
o realizmu, reprezentaciji in realnosti v estetiki in medijskih študijah do »avtentičnosti kot ideje«, pove-
zane z nacionalno identiteto in kulturno dediščino, pa tudi »avtentičnosti kot strategije« pri trženju in
blagovni znamki krajev. Posledično lahko danes dediščinski turizem opredelimo ožje kot pojav, ki te-
melji na motivaciji in percepciji obiskovalcev, ne pa na posebnih lastnostih območja. Nove perspektive
predstavitev, vključno z uporabo IKT naprav, širijo perspektivo dediščinskega turizma in ga selijo v svet
virtualne resničnosti. Trenutno se prezentacija, to je potrošnja kulturne dediščine, premakne iz »avten-
tičnih« materialnih okolij in izkušenj v hiperrealistična digitalna, se zmanjšajo razlike med zmožnost-
mi potrošnje med različnimi člani družbe.
Ključne besede: avtentičnost, kulturni turizem, kulturna dediščina, ICT, posebne potrebe
Introduction: Seeing THE past thentic landscapes, rebuilds the authentic archi-
tecture, exhibits the authentic items and at least
Archaeology, when not trying to be an ac- but not at last, presents the authentic archaeo-
ademic discipline and disseminate the logical interpretation. The main problem arising
results of research only within the aca- is the academic archaeological systematic fail-
demic community, it has an aspiration to pres- ure of any form of social responsibility towards
ent to the public as accurate as possible authentic the public hiding behind an unimpregnable
illustration of the past – it reconstructs the au- wall of arguments defining the imaginary no-
h t t p s : //d o i . o r g /10 . 2 6 49 3 /2 35 0 - 5 4 4 3 . 10 (2) 35 -4 2 © author/authors
35 Kaj zares želite?
Boris Kavur
University of Primorska, Faculty of Humanities, Slovenia
boris.kavur@upr.si
Martina Blečić Kavur
University of Primorska, Faculty of Humanities, Slovenia
martina.blecic.kavur@upr.si
Abstract
In the period of last 50 years, the discussion of what authenticity really means changed from questions
about realism, representation and reality in aesthetics and media studies, to “authenticity as idea” relat-
ed to national identity and cultural heritage, as well as “authenticity as strategy” in marketing and place
branding. Consequently, we can today define heritage tourism more narrowly as a phenomenon based
on visitors’ motivations and perceptions rather than on specific site attributes. New perspectives of pres-
entations, including the use of ICT devices are broadening the perspective of heritage tourism shifting
it in to the world of virtual reality. Currently the presentation, this is the consumption of cultural her-
itage, is shifting from “authentic” material environments and experiences in to the hyper-realistic digi-
tal ones the differences between the capacities for consumption between different members of the so-
ciety become reduced.
Key words: authenticity, cultural tourism, cultural heritage, archaeology, ICT, disabilities
Izvleček
V obdobju zadnjih 50 let se je razprava o tem, kaj avtentičnost v resnici pomeni, premaknila od vprašanj
o realizmu, reprezentaciji in realnosti v estetiki in medijskih študijah do »avtentičnosti kot ideje«, pove-
zane z nacionalno identiteto in kulturno dediščino, pa tudi »avtentičnosti kot strategije« pri trženju in
blagovni znamki krajev. Posledično lahko danes dediščinski turizem opredelimo ožje kot pojav, ki te-
melji na motivaciji in percepciji obiskovalcev, ne pa na posebnih lastnostih območja. Nove perspektive
predstavitev, vključno z uporabo IKT naprav, širijo perspektivo dediščinskega turizma in ga selijo v svet
virtualne resničnosti. Trenutno se prezentacija, to je potrošnja kulturne dediščine, premakne iz »avten-
tičnih« materialnih okolij in izkušenj v hiperrealistična digitalna, se zmanjšajo razlike med zmožnost-
mi potrošnje med različnimi člani družbe.
Ključne besede: avtentičnost, kulturni turizem, kulturna dediščina, ICT, posebne potrebe
Introduction: Seeing THE past thentic landscapes, rebuilds the authentic archi-
tecture, exhibits the authentic items and at least
Archaeology, when not trying to be an ac- but not at last, presents the authentic archaeo-
ademic discipline and disseminate the logical interpretation. The main problem arising
results of research only within the aca- is the academic archaeological systematic fail-
demic community, it has an aspiration to pres- ure of any form of social responsibility towards
ent to the public as accurate as possible authentic the public hiding behind an unimpregnable
illustration of the past – it reconstructs the au- wall of arguments defining the imaginary no-
h t t p s : //d o i . o r g /10 . 2 6 49 3 /2 35 0 - 5 4 4 3 . 10 (2) 35 -4 2 © author/authors
