Learning from mistakes has always been a crucial development strategy for humanity on an individual and community level. It is a seemingly straightforward concept that is, however, severely complex.

The spread of counterfeits of ancient numismatic items leads to historical, social, and identity deformations. Recording fakes instead of originals into scientific circulation leads to endless errors with unpredictable consequences. The most effective prevention against these processes is creating a stable and proactive academic network, allowing enhanced knowledge exchange and transfer. Another central aspect is developing an IT-based digital tool that would be an active asset against the spread of objects identified as counterfeits.

The digital humanities project "Mistakes as a source of knowledge: ACCSN 2.0", supported by DARIAH-ERIC, is oriented to identifying forgeries of ancient numismatic material. This concept requires practical work and precise analysis of the counterfeits themselves. Currently, there is no digitised collection of such objects to assist specialists in further developing their expertise in production techniques and forgery markers. Hence, the scientific community's ability to study mistakes and create proactive prevention strategies is severely limited.

Building upon the achievements of the first stage of the Ancient Coins Counterfeits Scientific Network (ACCSN 1.0) development funded by the Alexander von Humboldt Foundation, the new project has several aims. The central goal is to digitise the most significant collection of numismatic objects identified as counterfeits belonging to the Coin cabinet of the Royal Library of Belgium[1]. This will include on-site processing of the objects. They will be photographed and measured using a specialised QuickPX hard- and software system provided by the partner projects Corpus Nummorum (CN) and DigiThrace. After the initial processing, datasets will be created for each object and entered in Corpus Nummorum. The CN platform is currently the only digital tool actively developed, in cooperation and interoperability with ACCSN, to handle and process data for numismatic counterfeits in a scientific manner.

A further goal is to perform the second stage of the digitisation of the "Callataÿ' file of counterfeit Greek coins". It will transform the data in the info cards into DB datasets, adding them to the CN and actively connecting the stable URIs of the platform with the digital heritage objects published on the ACCSN platform.

The third goal is to develop a "standardised identification expertise card" for international application, as a severe issue is the absence of standardised expertise procedure for counterfeit identification.

This presentation proposal aims to disseminate the starting level of development, which would serve as the basis for the project. Beyond that, the presentation strives to draw more attention in the scientific community to this pressing issue and the strategies to address it.

Literature:

de Callataÿ 2009: Fr. de Callataÿ, "The Cabinet of Medals in Brussels and the Counterfeit Greek Coins," Schweizerische Numismatische Rundschau, 88, 2009, pp. 289-297

[1] See de Callataÿ 2009

In late 19th and early 20th century Portugal, art collectors and musicians sought valuable musical instruments for their antiquity, aesthetics, rarity, or provenance, reflecting a European trend for cultural heritage. However, the interest in ethnographic, historical, or "exotic" musical instruments was not limited to private art collectors but also extended to scientific expeditions and other journeys carried out in faraway territories, including European overseas colonies. This interest is also reflected through the incorporation of non-European instruments, namely, into university museums, such as the Archaeological and Ethnographic Collections at the Natural History and Science Museum of the University of Porto (MHNC-UP).

In this study, we focus on six unstudied Angolan musical instruments from the MHNC-UP with very little information available: four membranophones and two chordophones. These instruments are in good state of conservation, except for a bimembranophone (fig.1) and an ocihumba (fig.2), a chordophone of the pluriarchs family. The first has a torn drumskin (fig.1b), but that doesn’t hamper formal or organological analysis; the latter has some broken arches and strings (fig.2a,2b), preventing a complete understanding of its functional details. Fortunately, a private collector, ethnomusicologist and musician, recently (2024) brought from Angola a functional ocihumba (fig.3) and direct testimonies recordings, which enable new insights into its morphology, playing techniques and instrument sound [1].

Hence, after a macro analysis of the physical instruments, we proceed with close-range 3D imaging [2] (photogrammetry and 3D structured light scanning) and data post-processing; scientific illustrations are automatically generated from the high-resolution 3D models. A comparative analysis between imaging techniques is carried out, followed by specific computed measurements and a preliminary technological and functional use-wear analysis [3,4]. The woods used in the construction of these instruments are identified to understand the impact of their selection on their performance as well. Next step will consist of carrying out a spectral study of the sounds of the ocihumbas, also using the 3D digital data - i.e., to computer simulate the sounds of the ocihumba strings and body from the MHNC-UP, based on material properties and the spectral profile of the ocihumba recently brought. Following the FAIR [5] and CARE [6] principles, and in the spirit of Open Science [7], documentation is enriched with metadata, paradata, controlled vocabularies, and linked open data [8], into a Wikibase instance (run by CODA and hosted at FLUP) as a collaborative platform for musical instruments research.

In this presentation, we will showcase the applied workflow, while critically reflecting on the potential of interdisciplinary collaboration between various fields, namely, art history, ethnomusicology, archaeology, linguistics, botany, engineering, museology, information and documentation sciences, and the digital humanities.

Keywords: ocihumba, Digital Humanities, Ethnomusicology, Museology, MHNC-UP

Archaeological heritage preservation represents one of our most fundamental connections to "The Past," yet faces unprecedented threats from illicit trafficking networks that exploit technological gaps and insufficient understanding of social contexts. While numerous digital tools have emerged for heritage protection, their effectiveness remains limited due to fragmented approaches that fail to integrate social sciences with technological innovation.

The ANCHISE (Applying New solutions for Cultural Heritage protection by Innovative, Scientific, social and economic Engagement) project addresses this gap by establishing systematic collaborations between humanities researchers and technology developers, creating solutions that are both technically sophisticated and socially informed. This interdisciplinary approach recognizes that effective heritage protection requires advanced digital tools and deep understanding of human behaviors, social networks, and cultural contexts driving heritage destruction and preservation.

This paper presents two case studies demonstrating how interdisciplinary collaboration transforms understanding of heritage threats and technological responses. The first explores the intersection of sociological research and spatial monitoring technologies. Through comparative fieldwork on metal detecting practices in France and Greece, we reveal how detecting communities operate within complex social and legal frameworks varying across national contexts. These insights inform strategic deployment of appropriate monitoring technologies, with knowledge of detectorist behavior patterns helping determine whether LiDAR technology or multispectral/hyperspectral satellite imagery should be prioritized for specific sites.

The second case study explores collaboration between law enforcement agencies and artificial intelligence developers creating tools for identifying stolen cultural objects. European Law Enforcement Agencies and French Police College (ENSP) Research Laboratory members worked with ARTE-FACT image recognition system (PARCS) developers to address practical challenges of identifying potentially stolen artifacts. This collaboration revealed critical operational needs, leading to improvements in technology accuracy and law enforcement workflow integration.

Both case studies demonstrate how interdisciplinary dialogue reshapes technological design while enriching humanities research methodologies. Understanding that detectorist behavior varies across contexts demonstrates how social science research optimizes technological deployment rather than simply improving existing tools. Similarly, law enforcement perspectives revealed the importance of considering chain-of-custody requirements and legal evidence standards in AI system design.

The ANCHISE approach offers methodological innovations for digital humanities research on "The Past." It demonstrates how ethnographic and sociological methods inform archaeological site protection strategies, how law enforcement expertise enhances heritage identification technologies, and provides a framework for sustained interdisciplinary collaboration benefiting all participating fields.

This paper contributes to ongoing discussions about the role of digital technologies in preserving and studying the past by offering concrete examples of successful interdisciplinary collaboration. It addresses key topics of interest for the DARIAH community, including digital archiving and preservation, historical data analysis using AI and machine learning, spatial explorations of the past, and interdisciplinary approaches that bridge digital humanities with other fields such as archaeology, anthropology, and criminology.

By documenting these collaborative processes and their outcomes, this research provides a replicable model for future interdisciplinary initiatives addressing complex challenges in cultural heritage protection and digital humanities research.

When bringing past events to the screen for a broad audience, archival footage often falls short of providing a complete picture. To bridge these gaps, historical documentaries and educational programs have traditionally relied on dramatic recreations and explanatory animations (cartoon-like animated sequences). However, the “digital resurrection” of deceased individuals using audio and video deepfakes is rapidly transforming the field. By training AI on archival material, filmmakers can now realistically reconstruct historical figures within audiovisual media, opening new possibilities for historical storytelling and engagement. This technological advancement, however, raises complex ethical questions regarding authenticity, representation, and the very nature of historical memory. This research explores both the transformative potential and the ethical complexities of this evolving technology, focusing on its impact on our understanding and interaction with the past.

Specifically, this study examines the implications of deepfake technology —the synthesis of realistic yet artificial human likenesses— for various stakeholders, including archivists, filmmakers, and the public. Case studies, including the AI voice cloning in Roadrunner: A Film About Anthony Bourdain (2021) and the digitally resurrected celebrities in Hôtel du Temps (2022–2024), highlight diverse approaches and ensuing ethical debates. These are contrasted with the more ethically considered recreation of comedian Pepe Rubianes' voice and likeness in The World of Pepe Rubianes (2024), which prioritized family consent and audience transparency, illustrating the spectrum of possibilities and the crucial role of ethical considerations.

Further, this research investigates the broader impact of generative AI on historical narratives. While acknowledging its potential to enrich understanding by creating a seemingly tangible connection to the past, it also emphasizes the risks of misrepresentation and manipulation. Responsible implementation guided by established ethical principles —such as those from the Archival Producers Alliance advocating for transparency, accuracy, and the prioritization of primary sources— is paramount, particularly concerning the accuracy and respectful representation of deceased individuals.

Finally, this study highlights the growing importance of AI literacy for both media professionals and the public. As generative AI becomes increasingly sophisticated, critical assessment and interpretation of digitally-created content is essential. This includes understanding AI’s capabilities and limitations, recognizing potential biases, and engaging in informed discussions about the ethical implications. The goal is to empower individuals to distinguish between authentic historical representation and AI-generated recreations, fostering a more nuanced engagement with the past. Ultimately, this research hopes to contribute to the ongoing conversation about the responsible and ethical application of generative AI within the cultural heritage sector, ensuring its use enriches, rather than distorts, historical understanding.