Abstract
When it comes to the Holocaust, the “limits of representation” have been discussed widely since the 1990s. Recent digital technologies such as AR, VR, and various other approaches to evoke immediacy, immersion, and emotional intensity have once again excited strong reactions and controversy. This article will offer a typology of digital approaches that have been used to represent Nazi concentration camps since 2010. Drawing on Baudrillard’s distinction between “imitation”, “production”, and “simulation” of reality, different regimes of relations between historical reality and digital representations of history can be identified. Notwithstanding new perceptual dimensions, previous narratives, and perspectives to represent the Nazi crimes are “remediated”.
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