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Acknowledgements

Tara Copplestone would like to extend her thanks to the Centre for Digital Heritage who have enabled her to pursue this research through a PhD scholarship. Additionally she would like to acknowledge the collaborators on Buried and Clifford's Tower - L. Botham, J. Hall, N. Filippova, and M. Miller - without whom these projects would not have been possible nor as enjoyable to produce).

Daniel Dunne would like to extend his thanks to Julian Novitz and Daniel Golding for their suggestions to the article.

The authors would like to extend their combined gratitude to Moesgård Museum, whose innovative and evocative exhibits provided the initial inspiration for this article. Finally, this article has benefited significantly from the insightful comments of the reviewers, whose feedback has challenged our investigation - as well as hopefully future investigations - to critically engage with what it means to produce and consume heritage narratives.


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