Connecting Foundations and Roofs:The Satricum Sacellum and the Sant’Omobono Sanctuary

This chapter reconnects the architectural terracottas from different roofs of the cult building on the acropolis at Satricum with related foundations and in the process discovers a hitherto-unknown temple. While it was known that the cult building at the site went through multiple phases of extension, refurbishment, and reconstruction, the application of 3D modelling techniques in which all elements of the buildings are connected has succeeded in reconciling problematic data by identifying a new structure named ‘Sacellum II’. When the results are compared to contemporary temples in Rome, the relative precociousness of different cities’ architecture can be re-evaluated, leading to the suggestion that Caere, along with eastern Greece and Sicily, may have been influential in the development of religious architecture in central Italy. The project shows the value of studying terracottas and foundations together, something that is not done as a matter of course

Art, Creativity and Automation. From Charters to Shared 3D Visualization Practices

In this study, we introduce the themes of the Special Issue on Art, Creativity and Automation. Sharing 3D Visualization Practices in Archaeology, and present the most important outcomes of a roundtable session involving prominent researchers in the field, organized by the authors during the Archon Winter School in February 2020. By assessing the diversity of research aims, artistic projects, creative practices and technology used in the contributions to the Special Issue, and drawing on the thoughts and perspectives generated during the roundtable discussion, we seek to identify shared challenges within the community of visualizers which could ultimately pave the way to shared practices. In this light, we assess whether established charters and guidelines are still relevant in a now matured digital archaeology, where visualization techniques have attained a central position in archaeological knowledge production. Although parts of the guidelines have become common practice, the remainder did not keep up with the fast pace of development of digital practice and its current fundamental role in archaeology, and as a result some of the guidelines risk becoming obstructive in archaeological creative practice.Material Culture Studie

Archives in action. The impact of digital technology on archaeological recording strategies and ensuing open research archives

Digital-born research archives, data re-use, participation and the inclusion of academic and lay stakeholders in archaeological knowledge production. These are important topics that are increasingly addressed but often overlooked in the creative stages of archiving, be it data collection or the reproduction of an archiving practice. This creative practice is affected and changing due to the implementation of digital technology. These practices are reproduced in the design of the research archive and, as such, the impact of technology can potentially be scrutinised and traced reversely by analysing the uses of the archive. In addition, digital technology is believed to prompt greater inclusivity of diverse audiences. But how to reach that audience, and who is this “audience”? In this paper, emphasis is placed to reflect upon the practice of archiving of ongoing, post-excavation archaeological research with an audience, as opposed to well-established reflexive research into excavation and museum practices. As such, the concept of archiving as research process, rather than the traditional approach towards archives as data repositories is introduced here. As a case study to identify and assess potential change in a particular archaeological practice, the paper describes and analyses the archiving practice of the team of the Tracing the Potter's Wheel-project, from its inception in offices and storerooms to the archive's targeted manifold use as a place of knowledge production, data sharing and learning