Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology
Visualization techniques may have changed over the years, but have they fundamentally changed archaeological visual literacy and the ways archaeologists create knowledge? Or do new digital tools merely disguise conventional practices? The answer may reside in a deeper understanding of the long tradi...
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2021-06-01
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Online Access: | https://doi.org/10.1515/opar-2020-0138 |
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doaj-5c6844c86bfb40b8a58ae5ffbc87d6582021-10-03T07:42:40ZengDe GruyterOpen Archaeology2300-65602021-06-017135337710.1515/opar-2020-0138Visualizing Archaeologists: A Reflexive History of Visualization Practice in ArchaeologyOpgenhaffen Loes0ACASA – Department of Archaeology, University of Amsterdam, Turfdraagsterpad 9, Postbox 94203, 1090 GE Amsterdam, NetherlandsVisualization techniques may have changed over the years, but have they fundamentally changed archaeological visual literacy and the ways archaeologists create knowledge? Or do new digital tools merely disguise conventional practices? The answer may reside in a deeper understanding of the long tradition of visualization practice, from the Renaissance to the present, for which the foundation lies in the activities of antiquarians and artists, as well as artistic, technical, and scientific innovations. This paper presents an historical synopsis of two usually separated but complementary research areas, digital archaeology and archaeological visualization, and builds on previous research undertaken on these traditionally separated subjects. By taking a slightly Dutch perspective I will introduce a few visualizing protagonists who have left substantial traces in our collective visual memory, aiming to contribute to a more inclusive historical narrative on archaeological visualization. The overview ends with an integrated discussion on the shared creative visual practice and its epistemic role in archaeological knowledge production. A praxis-oriented and reflexive approach to the history of visualization provides a critical understanding of the current workings of 3D visualization as a creative practice, and how archaeology responds and acts upon innovations and the adoption of new visualization technology.https://doi.org/10.1515/opar-2020-0138visualization practiceepistemologytechnological changeantiquariansinnovation |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Opgenhaffen Loes |
spellingShingle |
Opgenhaffen Loes Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology Open Archaeology visualization practice epistemology technological change antiquarians innovation |
author_facet |
Opgenhaffen Loes |
author_sort |
Opgenhaffen Loes |
title |
Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology |
title_short |
Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology |
title_full |
Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology |
title_fullStr |
Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology |
title_full_unstemmed |
Visualizing Archaeologists: A Reflexive History of Visualization Practice in Archaeology |
title_sort |
visualizing archaeologists: a reflexive history of visualization practice in archaeology |
publisher |
De Gruyter |
series |
Open Archaeology |
issn |
2300-6560 |
publishDate |
2021-06-01 |
description |
Visualization techniques may have changed over the years, but have they fundamentally changed archaeological visual literacy and the ways archaeologists create knowledge? Or do new digital tools merely disguise conventional practices? The answer may reside in a deeper understanding of the long tradition of visualization practice, from the Renaissance to the present, for which the foundation lies in the activities of antiquarians and artists, as well as artistic, technical, and scientific innovations. This paper presents an historical synopsis of two usually separated but complementary research areas, digital archaeology and archaeological visualization, and builds on previous research undertaken on these traditionally separated subjects. By taking a slightly Dutch perspective I will introduce a few visualizing protagonists who have left substantial traces in our collective visual memory, aiming to contribute to a more inclusive historical narrative on archaeological visualization. The overview ends with an integrated discussion on the shared creative visual practice and its epistemic role in archaeological knowledge production. A praxis-oriented and reflexive approach to the history of visualization provides a critical understanding of the current workings of 3D visualization as a creative practice, and how archaeology responds and acts upon innovations and the adoption of new visualization technology. |
topic |
visualization practice epistemology technological change antiquarians innovation |
url |
https://doi.org/10.1515/opar-2020-0138 |
work_keys_str_mv |
AT opgenhaffenloes visualizingarchaeologistsareflexivehistoryofvisualizationpracticeinarchaeology |
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