Resumen:Una parte importante del atractivo de la Arqueología ha venido desde el uso recurrente de estereotipos en los medios audiovisuales, especialmente en los no creados por arqueólogos. Sin embargo, un uso responsable, unido a una creación reflexionada, por parte de profesionales del Patrimonio y la Arqueología, puede llevar a la transformación de los audiovisuales existentes en unos más pensados que contribuyan de forma directa a la valoración social del arqueólogo y por consiguiente a la mejora de sus condiciones legales y laborales. Este aspecto social, no obstante, es sólo una parte de las aplicaciones de una poco desarrollada Arqueología Audiovisual, que junto a las mejoras en divulgación, puesta en valor, o valoración social de yacimientos y arqueólogos, propone el uso de audiovisuales que sirvan de herramienta científica para mejorar los sistemas de registro en Arqueología, la planificación de intervenciones arqueológicas, la gestión de equipos de trabajo, la clasificación y análisis de materiales en laboratorio, o las ya mencionadas vertientes social y divulgativa. Todo ello nos permitirá plantear nuevas formas de innovación científica y social, que serán una evolución de la metodología existente y que representarán sin lugar a dudas un hito y unas herramientas susceptibles de ser usadas para salvaguardar información, mejorar su análisis, y en general, perfeccionar el trabajo arqueológico de una forma real, práctica y funcional, que llegue a un público mayor, y que repercuta en el cambio de un amplio campo compuesto por elementos sociales, divulgativos, económicos y laborales, legales, o científicos dentro de las llamadas Arqueologías Creativas. Palabras Clave: Arqueología, Audiovisual, divulgación, registro, metodología, creativa. Abstract: An important part of the attractive of Archaeology has come from the recurrent use of stereotypes in audiovisual media, mainly in those which have not been created by archaeologists. However a responsible use of them together with a creation from the reflections of professionals of Archaeology and Heritage, could contribute to the transformation of current audiovisuals material into ones that 1 Graduado en Historia (Universidad de Murcia). Máster de Arqueología y Patrimonio (Universidad Autónoma de Madrid). Presidente Asoc. Arqueología de Guardia. E-mail: tic78josemarmol@hotmail.com Mármol, could help efficiently to make social appreciation about the archaeologists's labour, also to get better images of archaeologists to improve their legal and labour conditions. Nevertheless, this social aspect its only part of the applications of an underdeveloped 'Audiovisual Archaeology'. In addition to social divulgation, Audiovisual Archaeology proposes the use of audiovisual material as a scientific tool to improve the archaeological records systems as well as the planning of archaeological interventions, work-teams management too. Moreover, the laboratory works and the actions related to the social projection of Archaeology. All of this will allow us to re-think tradiciona...

Along with the technics that allows archaeology to adopt a precise knowledge about the composition of the materiality, also exists a critical thought that claims for take into account experience, perception and creativity. In the latter, we find Art-Archaeology approach. With this at background emerged the idea of the presence and the ontology of the ‘dot’ in archaeology, identified in the ongoing process of the attendance of a meeting at Kyoto, in the excavation of a simulated site, in the survey of an unidentified site and in a short research about Prehistoric tattoo. This idea, in its explicit simplicity, is part of a creative thought situated in the roots of the archaeological practice. In this paper I reflect about this through an artistic photo-essay that is at the same time an artistic and theoretical exercise, with the intention to identify the existence of the ‘dot’ in different dimensions of archaeology, and to make theory making art.

Archaeology offers insight into the values of the contemporary world. From three separate discourses, which address different temporalities and sites, an overarching archaeological narrative has been established, which reflects the role of art and heritage in artistic destruction; education and archaeology as an educational and social tool; and materiality (in the present case, the Chinese pottery sherds in Al-Andalus) in the interpretations and acts of archaeologists. The visual values of archaeology and the role of the archaeological imagination to unify disparate archaeological practices will be explored here. The permeability of the spheres of archaeology and art allow us to explore both archaeological and artistic practices, as well as reflect on universal convictions and on the potentiality of archaeological practice to intervene in social contexts. With all this, archaeology acquires relevance insofar as it is a practice that is able to address the problems of the present day. In line with the so-called ‘creative archaeologies’, with their experimentation and creation of artistic works (in this case photographic), this paper aims to reflect on new ways to ‘see’ archaeology, which has never been more necessary.