Hi, I'm Alex Kretowski, and this is the Digital Human for the documentary on the BBC World Service.

First broadcast on BBC Radio 4, but specially curated for you.

Sacred asks if our use of technology can help explain what is sacred to us. This is my dad's old Olympus OM2 camera.

It's a traditional SLR.

Everything's mechanical in it.

And it is an artifact of my childhood.

When he died a few years ago, there was a lot of things in the house that I thought, oh, should I keep this? Should I have this? This reminds me of him, but there was no question in my mind that I was going to keep this camera.

Because this camera represents everything about my time with him.

Dad was a voracious amateur photographer. He's left me several boxes of packed pictures of me growing up through the ages.

It's for that reason that I can't give this camera up.

There's too much of me in the lens.

There's too much of him looking through the viewfinder.

And I don't want to give it up because I'm afraid that I'll lose something intangible about myself and about my dad.

How much of my dad actually is in this camera and how much of me actually is in this lens?

On today's digital human, we ask, what is it that makes an object sacred and how does it keep

connections alive even when the person is long gone. Follow the digital human on hashtag Digi human. I am of the Napuhi and Nati Kahu tribes of North Island of New Zealand.

Dear Drew Brown is of New Zealand.

Deardee Brown is professor of architecture at the University of Auckland. My great-grandmother's great-grandfather was a Rangatero or chief known as Tepahi. And Tepahi was a Rangatira or chief known as Tepahi and Tepahi was a paramount chief in the northern part of New Zealand in the early part of the 19th century and he was one of the first Maori chiefs to engage with Europeans

through trade which eventually led to him taking a voyage to Australia and

meeting the governor of New South Wales Philip Goodly King.

And Philip Goodly King allowed him to stay in his house at Parramatta in Sydney and

when Tepah he was leaving after some weeks of stay there, he was presented with a silver medal that Gidley King had struck by his wife's jeweller to present to him to acknowledge the great friendship that they

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