1 J. Rothenberg, “Preserving Authentic Digital Information,” in Authenticity in a Digital Environment (Washington, D.C: Council on Library and Information Resources, 2000), p. 65.
2 D. Dutton, “Authenticity in Art,” Oxford Handbook of Aesthetics, 2003. doi: 10.1093/bjaesthetics/33.2.113.
3 N. Wang, “Rethinking authenticity in tourism experience,” Annals of Tourism Research, 26(2), (1999), pp. 349–70. doi: 10.1016/S0160-7383(98)00103-0.
4 K. Grayson, and R. Martinec, “Consumer Perceptions of Iconicity and Indexicality and Their Influence on Assessments of Authentic Market Offerings,” Journal of Consumer Research, 31(2), (2004), pp. 296–312. doi: 10.1086/422109.
5 Dutton, sec. 1.
6 Q. DuPont, Cryptocurrencies and Blockchains (Cambridge & Malden: Polity Press, 2019), p. 150.
7 Link: https://www.liverpoolmuseums.org.uk/collections/cryptoconnections. See also Liddell, “Building Shared Guardianship through Blockchain Technology and Digital Museum Objects,” Museum and Society 19 (2), (2021), pp. 220–36. doi: 10.29311/mas.v19i2.3495.
8 M. Kirschenbaum, Mechanisms (Cambridge, Massachusetts & London: MIT Press, 2008).
9 Kirschenbaum, p. 11.
Frances Liddell is a PhD researcher at the Institute for Cultural Practices, University of Manchester. Her research involves working with the National Museums Liverpool to explore the use of NFTs in museum practices with a specific focus on community and audience engagement.
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