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meeting the curators and receiving additional information about the pieces on display there.This experience designed for the exhibition was not the only example of cutting-edge technol- ogy, as digital models of each of the original pieces were made using photogrammetric techniques and displayed on tablets located beside the plaster casts, so that visitors could view the (virtual) originals alongside their copies. In addition, two 3D printers showed how the virtual models were printed, proving to be the twenty- rst-century equivalent of casting [online resource - video].239audience or people not fond of traditional audioguides.In 2106 the company tested the possibilities of virtual reality on mobile devices by incorporating into the Imaginary Tour app the possibility of en- joying 3D and 360-degree views compatible with Google Cardboard, the virtual reality platform also developed by Google based on a foldable cardboard base that allows mobile devices tobe used as virtual reality glasses. The company’s website displays a few examples242 of the virtual visualisations using Google Cardboard that make it possible to explore the room depicted in one of Van Gogh’s famous paintings, visit the temple of Hathor in Dendera (Egypt) or see the Colos- seum in Rome through a gladiator’s eyes.2.5 Materialising digital heritageThe major advantages digitally documenting heritage has to o er in the elds of conservation and dissemination have been recognised for some time, but in recent years they have been hugely broadened by the appearance of other techniques that allow three-dimensional models of cultural objects to be taken beyond the screen.This new dimension has brought highly inter- esting prospects in the eld of dissemination as it is based on digital technologies that are non-invasive and respectful of heritage.Some of these are projection mapping, which gives these virtual graphics material form using light projections, and 3D printers, which are hailed as the twenty- rst-century solution to casting.The prospects and lines of work o ered by these resources for materialising digital heritage have led their applicability to be explored, and their results are continuing to amaze – so much so that, although relatively new, these technologies already have a fruitful track record in a numberFigure 19 - 4K 360-degree panoramic view of the room of the Museo Archeologico Nazionale di Napoli. Screenshot. Source: YouTube channel of the Real Academia de Bellas Artes de San FernandoGoogle Glass and Google CardboardWhile on the subject of devices of this kind,we should stress the work of the French rm GuidiGO,240 a pioneer in designing an app for Google Glass targeted at cultural spaces. It o ers various options ranging from choosing one of the thematic routes to following the plan of the oor we are on or stopping to view a signi cant work while listening to a commentary and accessing multimedia content that illustrates and contextualises what we are viewing.In 2015, GuidiGO’s app for Google Glass was one of the resources used at the Velázquez exhibi- tion241 held at the Grand Palais in Paris (France). It was one of the options o ered to visitors and was designed especially to attract a youngerAC/E DIGITAL CULTURE ANNUAL REPORT 2017173The use of digital technologies in the conservation, analysis and dissemination of cultural heritage