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Question 125·Medium·Cross-Text Connections

Text 1 In an essay on museum practice, curator Imani Cho argues that the appeal of standing before an original painting lies in its material presence: the viewing of brushstroke ridges and subtle irregularities that testify to the artist’s hand. "High-resolution projections and digital reconstructions are useful as illustrations," Cho writes, "but they cannot produce the same feeling of presence that only the original object can elicit."

Text 2 Marta Lin and colleagues piloted a "layered looking" exhibit in which visitors could toggle a hand-held overlay while viewing an original canvas. The overlay accentuated paint topography and revealed underdrawing captured through imaging. Compared with a control group that viewed the painting without overlays, participants using the digital layer reported higher levels of awe and a stronger "sense of being with the artist" on surveys, and their interviews contained more sensory descriptors. Some spent less total time than controls yet described more intense moments of seeing. Lin’s team cautions that cluttered overlays reduced these effects. They conclude that well-designed digital augmentation can heighten, rather than diminish, a visitor’s sense of presence with the original artwork.

Based on the texts, how would Lin and colleagues (Text 2) most likely respond to Cho’s claim in Text 1?