Archaeology is a visually rich discipline with a long history of utilising images across a variety of contexts within its practice. However, due to the often unavoidably subjective nature of visual interpretation, fundamental issues with its application remain problematic and largely unresolved. Furthermore, in recent years the rising dominance of digital techniques for archaeological threedimensional surveys and interpretive visualisation has resulted in a rapid uptake of emerging technologies without adequate assessment of their impact on the interpretive process and practitioner engagement. Using an example from experimental work in Orkney as a springboard for discussion this paper outlines the need for the field to develop a more practical approach to addressing some of these recurring issues by developing methodologies which more accurately reflect the multi-layered, interpretive and ambiguous processes involved in archaeological interpretation.

No abstract

The processes of archaeological visualisation exist at the intersection of art practice and archaeological interpretation, often involving complex negotiations between stakeholders and practitioners. This paper reflects upon the authors' experiences developing interactive mixed media content for public outreach from two case study archaeological excavations: the SERF Hillforts Project in Strathearn, Scotland and the Nunalleq Archaeology Project in southwest Alaska. Each presented unique challenges in the integration of layered multivocal narratives in the context of ongoing archaeological excavations. This included evolving scientific interpretations, co-design with stakeholders and a cycle of feedback. Creative design and software development were a core part of the collaborative process that resulted in these interactive digital interfaces. Here we explore how collaborative creative practice influenced the design choices that were made and the programming paradigms that were used.

In 2017, the Nunalleq Project initiated the co-design of a digital educational resource for schoolchildren in the Yukon-Kuskokwim region that curates the story of the archaeological excavations in a way which engages with Yup’ik ways of knowing and traditional oral storytelling. Here, we present an account of an archaeological outreach project which creatively unites science and history with traditional knowledge and contemporary engagements. Co-creation of the Nunalleq educational resource revealed the diverse ways in which people connect to the past, sometimes expected, sometimes surprising. In particular, the project made space for a younger generation of Yup’ik who are forging new relationships with their heritage inspired by the archaeology from Nunalleq through traditional dance, art and shared experience. Ultimately, this article explores co-design as a means to illuminate the processes of interpretation from varied perspectives and worldviews with the aim of better understanding how the methods we use frame the knowledge we create.

No abstract