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y and for whom posthuman post digital post archaeologists nb these convoluted assemblages of thought will be elaborated in a chapter titled digitializing digital archaeology some implications in the forthcoming oxford handbook of digital classical studies edited by e barker o bobou and r raja posted in uncategorized tagged ai technology dec 28 temporal ripples in art archaeology images in colour posted by drpaulreilly 0 ian dawson andy jones louisa minkin and myself have just published an edited volume titled diffracting digital images archaeology art practice and cultural heritage published december 28 2021 by routledge 224 pages 70 b w illustrations isbn 9780367486556 chapter 7 temporal ripples in art archaeology images by simon callery ian dawson and paul reilly has a number of b w images which in an ideal world would be printed in colour we would like to share these colour images below colour figure 7 1 raindrop diffraction patterns and canvas washing river severne maverley simon callery copyright 2020 dacs all rights reserved colour figure 7 2 temporal diffraction patterns displayed using rti viewer colour figure 7 3 simon callery developing a contact painting panel in an excavation trench colour figure 7 4 simon callery in his purfleet studio simon callery copyright 2020 dacs all rights reserved colour figure 7 5 h rti frame of flat painting bodfari 14 15 ferrous sinon callery 2014 15 canvas distemper thread wood and aluminium 293 x 182 x 19 cm simon callery copyright 2020 dacs all rights reserved colour figure 7 6 simon callery studio h rti detail of panels in progress simon callery copyright 2020 dacs all rights reserved colour figure 7 7 specular enhancement rti detail of simon callery s flat painting bodfari 14 15 ferrous figure 7 8 rti of plag dawson 2020 polylactic acid on aluminium on plywood base 20 x 12 x 82 cm colour figure 7 9 sceen grab of a remote dirty rti session in ian dawson s plastic studio colour figure 7 10 remote dirty rti entanglement memories of its iterative reconfigurings diffraction patterns of be com ing diffracting digital images book description digital imaging techniques have been rapidly adopted within archaeology and cultural heritage practice for the accurate documentation of cultural artefacts but what is a digital image and how does it relate to digital photography the authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists cultural heritage practitioners and digital artists borrowing from the feminist scholar karen barad the authors ask what happens when we diffract the formal techniques of archaeological digital imaging through a different set of disciplinary concerns and practices diffracting exposes the differences between archaeologists heritage practitioners and artists and foregrounds how their differing practices and approaches enrich and inform each other how might the digital imaging techniques used by archaeologists be adopted by digital artists and what are the potentials associated with this adoption under the gaze of fine artists what happens to the fidelity of the digital images made by archaeologists and what new questions do we ask of the digital image how can the critical approaches and practices of fine artists inform the future practice of digital imaging in archaeology and cultural heritage diffracting digital images will be of interest to students and scholars in archaeology cultural heritage studies anthropology fine art digital humanities and media theory posted in uncategorized tagged art archaeology digital archaeology rti jan 07 w h ither archaeological knowledge towards a re map posted by drpaulreilly 1 in a recent paper in the journal of caa co written with jeremy huggett and gary lock huggett et al 2018 we explore a variety of scenarios depicting how knowledge is produced circulated enriched and maintained around the discipline profession of archaeology positing four alternative but not mutually exclusive potential knowledge regimes within each scenario we investigate the question of how do we know what we know or put another way how do we tap into disciplinary knowledge when knowledge is explicit it can sit quite comfortably inside a system of libraries museums and other archives where it might be associated with some sophisticated ontology created under the auspices of long standing disciplinary institutions and organisations increasingly even such explicit archaeological knowledge now languishes disconnected or adrift in grey reports and isolated databases most importantly it seems to us me our practice based knowledge which is often tacit in character is distributed across a wide body of people and sub groups of the archaeological community each with their unique perspectives filters and ways of mediating what they know and what other knowledge they have access to how do we connect with them we named our scenarios the ministry of digital orthodoxy the academy of digital advancement the school of digital citizenship the commune of digital anarchy each scenario is plausible and indeed we show that aspects of all of them are visible in archaeological practices today in reality they represent overlapping practices with their own blend of strengths and weaknesses however the issue that emerges across the board is that knowledge production in archaeology today is somewhat precarious and access to much of that knowledge is piecemeal sometimes restricted and at risk of being severely impaired or lost i won t rehearse the arguments here but in summary archaeological knowledge is being created in the wild that is far outside the traditional environs of the academy and its established modes there are an unknown number of loosely connected or unconnected knowledge sources which are un curated in alternative and perhaps vulnerable knowledge repositories however there are no end to end maps depicting the many and ever expanding activities of archaeologists and where much of this extensive and possibly idiosyncratic disciplinary knowledge can now be found we therefore proposed that a digitally mediated mapping of our disciplinary knowledge would be a challenge that the archaeological community as a whole might engage with for our own collective self enlightened interest at the very least it would help reduce unnecessary and avoidable duplication and re invention more positively it might free up new creative spaces for the discipline to build upon we have to be realistic here there is no single knowledgemap and no one common central or overriding perspective there must and should be pluralism so we might instead think about an atlas of knowledgemaps utilising an array of projection techniques and tinted by many different perspectives and contexts any given knowledgemaps will likely be out of date almost from the moment that they are conceived and require constant review to remain of use and there is the rub a knowledgemap has no value by itself it must serve a purpose to have any authority to be credible and to warrant the effort of creating and maintaining it in short it has to have some use with this in mind john pouncett stephen stead and myself are organising a round table session session 19 our knowledge is all over the place at caa 2019 krakow to explore a range of different perspectives on digitally mediated alternatives provided by colleagues from around the world and different parts of archaeological practice it is therefore very timely that mark gillings piraye hacıgüzeller and gary lock gillings et al 2018 pp 10 12 have laid out a manifesto which i feel we would do well to keep in mind as we share our unique perspectives on what a digitally mediated knowledge map might look like maps are never stable and we continually need to question what a map is as well as what the potential consequences are of its creation our maps have histories and genealogies and we need to understand these in all their nuanced detail how we map shapes what is possible to do with the maps we create our maps can act and should be encouraged to do so we need to accept that our maps can be affective as well as effective and must embrace their performative character there is nothing wrong with maps that are argumentative discordant disruptive playful provocative or simply beautiful there should be no limits to what is deemed mappable hear hear i for one am looking forward to the conversation that will follow what shall we discover plurality status quo declining horizons w h ither archaeological knowledge references gillings m hacıgüzeller p and lock g 2018 on maps and mapping in gillings m hacıgüzeller p and lock g eds re mapping archaeology critical perspectives alternative mappings london routledge pp 1 16 huggett j reilly p and lock g 2018 whither digital archaeological knowledge the challenge of unstable futures journal of computer applications in archaeology 1 1 pp 42 54 doi http doi org 10 5334 jcaa 7r posted in digital archaeology tagged costarkwork knowledgemaps nov 06 art and archaeology collide in drawings posted by drpaulreilly 0 delighted to see my co authored paper with stefan gant is out in the journal of visual art practice today http www tandfonline com doi full 10 1080 14702029 2017 1384974 abstract in this article we explore what we perceive as pertinent features of shared experience at the excavations of an iron age hillfort at bodfari north wales referencing artist archaeologist and examples of seminal art works and archaeological records resulting through interdisciplinary collaboration we explore ways along which archaeological and artistic practices of improvisation become entangled and productive through their different modes of mark making we contend that marks and memories of artist and archaeologist alike emerge interactively through the mutually constituting effects of the object of study the tools of exploration and the practitioners themselves when they are enmeshed in cross modally bound activities these include but are not limited to remote sensing surveying mattocking trowelling drawing photographing videoing and sound recording these marks represent the co signatories the gesture of the often anonymous practitioners the voice of the deposits as well as the imprint of the tools and their interplay creates a multi threaded narrative documenting their modes of intra action in short our practices they occupy the conceptual space of paradata and in the process of saturating the interstices of digital cognitive prosthetics they lend probity to their translations in both art form and archive keywords archaeology craftwork contemporary drawing embodied practice paradata phygital posted in digital archaeology paradata phygital virtual archaeology oct 13 digital practice at caa tubingen posted by drpaulreilly 0 the call for papers for caa 2018 to be held in tübingen 19th 23rd march 2018 is open until 29th october 2017 there are two exciting sessions focusing on digital practice and digital scholarship in archaeology both these sessions in their different ways explore the value of digital practice to the discipline and to practitioners to save you looking i have attached them below we welcome all view points if you would like to deliver a 15 minute viewpoint or 5 minute flash statement at the round table or present a 10 minute paper please make your submission here or contact me s3 digital archaeology scholars in a changing world problems perspectives and challenges advances in the use of digital and computational methods in archaeology have encouraged great hope among archaeological computing practitioners regarding the potential of digital archaeology to transform archaeology as a discipline such an optimism was apparent in the diverse response received at the challenging digital archaeology sessions organised in caa 2014 and caa 2015 hugget 2015 https www degruyter com view j opar 2014 1 issue 1 opar 2015 0003 opar 201 5 0003 xml nonetheless positive views on the future of digital archaeology often come into contrast with the reality in academia for most archaeological computing practitioners who sometimes face significant challenges in making their work accepted as genuine archaeological research and are often considered as hybrid scholars digital archaeology specialists often find themselves into an in between space comprised of two or more disciplines trying to create their own distinct identity demonstrate their value and get credit for their contributions to these fields academic hierarchies conservatism and established processes and practices are only a few of the challenges that hinder digital archaeologists from securing their status in academia at the same time digital and computational approaches to archaeology have created continuous needs for new modes of research evaluation collaboration teaching and publication that don t always conform well with traditional academic practices the focus of this session is on the role of digital archaeology scholars in a changing world with constant transformations in the academic ecosystem participants in the session are expected to contribute short papers of no more than 10 minutes a ten minute discussion will follow after each talk while the session will conclude with a general discussion 30 minutes contributions that discuss philosophical and theoretical aspects of digital practice and scholarship are especially encouraged as well as reflective works drawing from personal experience in distinct digital archaeology fields some relevant topics include but are not limited to what is the value or potential of digital archaeology research and how this is reflected in or contrasted with perceptions of digital scholarship in the wider discipline of archaeology to what extent are digital outputs and digital creations e g agent based models virtual worlds etc accepted as genuine archaeological research what is the contribution of digital archaeology to new forms of research e g crowdsourcing and teaching practices e g moocs spocs serious games etc in what ways trends in computational archaeology for open data and open software policies as well as reproducible research could transform archaeological scholarship and publication practices to what degree the role of digital archaeology practitioners ties in with the concepts of hybrid scholars and alt academics discussed in digital humanities eleftheria paliou jeremy huggett konstantinos papadopoulos s7 what is the value of digitally mediated archaeology for more than six decades archaeologists have been exploring the power of computer based methods and digital technologies to advance archaeological inquiry and practice successive cohorts of caa members have been quite rightly anxious to articulate the relevance and impact of their work to archaeology in general however costopoulos in digital archeology is here and has been for a while frontiers in digital humanities 3 4 2016 http d...