Traditional Egyptology has typically focussed on textual criticism and archaeological investigation, with the results of the former approach used to interpret the results of the latter, and vice versa. These methods have led to a self-reinforcing conservatism in the identification and interpretation of Egyptian religious sites that has resulted in certain types being ignored because traditional Egyptology lacks the tools to analyse and interpret them.

This paper explores the possibilities for GIS terrain modelling in investigating and interpreting sites such as carins, shrines and stone alignments as components of a three dimensional symbolic landscape in Middle Kingdom Egyptian quarries.

While GIS investigations have been criticised as being overly deterministic and impersonal, more empathetic phenomenological approaches have been seen as subjective. This paper demonstrates how ancient textual evidence can provide an appropriate background for the interpretation of the results of GIS-based landscape investigation. This permits investigators to penetrate beyond the GIS model and consider how the anthropogenic sites interact with and reflect the mythological and spiritual dimensions of the landscape. It is suggested that by combining new technology and theoretical approaches with traditional Egyptology, it is possible to investigate those sites which could not previously be interpreted by traditional methods and enhance our understanding of the great range of Egyptian religious expression.

The long-standing debate on the position of (GIS-based) spatial analysis in archaeology has not yet resulted in a clear consensus on whether these methods are actually helping to arrive at more sophisticated interpretations of the past. Characterizations of GIS as being a 'non-novel' technology, heavily favouring deterministic visions of the past have appeared next to claims that GIS-based spatial analysis can actually tell us more about such diverse issues as the individual perception of the landscape or long-term socio-economic dynamics. In this paper we want to make the case that, more than anything else, archaeology lacks practice in framing research questions in such a way that they can be fruitfully analyzed in GIS. We want to illustrate this through a case study that would seem to be a relatively clear-cut example: the reconstruction of a 5 km stretch of a Roman road in the Dutch region of South Limburg. Reconstructing this section through least-cost path analysis would seem to be a sensible approach to determining the most probable route. However, despite all the technological means and data sets at our disposal, the archaeological part of the problem is still one of extremely scattered knowledge and information, and of widely diverging interpretations. We hope to illustrate that reframing the research questions in the language of spatial technology will not only result in possible routes that can be tested on the ground; it also helps us to better understand where and why the archaeological interpretative process is turning facts into faith.

For many years illustration (digital or otherwise) and the process of reconstruction have been considered as 'the final step' or accumulation of archaeological practice, rather than an integral part of the interpretation process (Sorrell 1981). Building upon my own experience as an archaeological illustrator and digital artist, this paper will investigate the potential and application of various creative media (hand-drawn illustration, 3D modelling and animation, virtual reality technologies, etc) to the process of archaeological reconstruction and interpretation.

In order to investigate how archaeological reconstructions are assembled and how the act of assembling them and the consequential output functions as an archaeological interpretative process this paper will consider case studies from my own previous projects. Namely, the great hall reconstruction from Bodiam Castle in East Sussex and the prehistoric ceremonial complex animation at Forteviot, Perthshire as well as discussing the theoretical direction of my current PhD. Research.

Archaeologists have been creating digital reconstructions for over thirty years, yet despite the numerous criticisms that have been raised with the way these are typically depicted in a 'photorealistic' style, depicting digital reconstructions in alternative styles remains generally unexplored. This paper therefore attempts to evaluate the potential benefits of presenting digital reconstructions using 'non-photorealistic rendering' (NPR); a relatively new discipline in computer graphics which aims to depict computer-generated models in artistic and expressive styles. A study is described which evaluates the potential of using non-photorealistic rendering techniques as a way to overcome the various problems that have become associated with using photorealistic styles of depiction. The study also highlights the potential benefits that non-photorealistic graphics could offer archaeologists who create digital reconstructions. Recent multi-disciplinary research in computer graphics and psychology suggests that non-photorealistic rendering techniques can influence a viewer's psychological response to an image, for example, NPR techniques can be used to encourage conversation, influence a viewer's judgements and direct their gaze. This literature is contrasted with the findings of an online survey that was based on both archaeologists' and the publics' responses to several archaeological reconstructions that were depicted in both photorealistic and non-photorealistic styles. The results suggest that choice of style clearly influences the way in which viewers respond to digital reconstructions, and indicate that archaeologists should consider the impact of style in their reconstructions, especially in regards to interpretive reconstructions where creating a strong aesthetic or a sense of engagement are not essential.

This paper will investigate the application of different modelling process and media in archaeological reconstruction and interpretation. In order to analyse how the modelling process and the successive output are created and influenced by the interpretative process, this paper will consider case study from current digital project at the prehistoric SHM-1, Tunisia.

This paper accords with Gooding, D. G., (2008: 10) when he states that 'each new visualisation is a response to the constraints and opportunities posed at the point at which it is invoked in the problem-solving process'. Hermon (2008) discuss about the utility of 3d modelling in archaeology and she came up with the idea that it will be easier express result to an audience. VR and 3d are great tools for education and communication of cultural heritage; they can visually express alphanumeric data and translating concept and ideas in visual images. In the last few years, illustrations have been slowly substituted by digital modelling with the idea to add something 'nice' to the traditional interpretative process, rather than a fundamental part of the interpretative process. 'The better the visual tool is, the better the explanation and the comprehension are' (Hermon, 2008: 37).

The use of digital modeling within archaeology is becoming increasingly important. This paper discusses the advantages of an interdisciplinary heritage science approach, drawing from fields including 3D modeling, animation, digital video and music technology, illustrated by a project focused on creating a digital model of Stonehenge. It looks at the quality of digital models that are currently available, and discusses techniques available that increase realism and accuracy. It investigates how in this project LIDAR surface data, laser scans of individual stones, photographic texture mapping and acoustic models as well as weather, astronomical and lighting condition simulation, have been brought together to create an immersive interactive experience and high-resolution digital video examples. It discusses the processes and technical issues involved.

The paper illustrates how such models can be used to illustrate various possible site orientations, to provide a phenomenological and experiential exploration of a site, and to provide non-destructive virtual visitor access. It discusses the advantages of involving professionals from a number of fields, and situates this discussion within a theoretical framework, proposing that an interdisciplinary approach to multimedia experimental archaeology is vital in a post- and 21st century existence. It theorises a model approach to such digital interpretation, discussing both the storytelling techniques illustrated here, and further approaches such as complex interactivity, 3D TV and projection, 3D printing, and character creation. It asks what role such virtual (and inevitably somewhat conjectural) projections of the past have in archaeology.

The vast majority of archaeological projects are under appreciated by the way that they are represented, not only within archaeology but to the public as well; in many ways archaeological discoveries and especially excavations rarely find an audience beyond those who actually read excavation reports. There have been many criticisms in the way that excavation reports have been written, especially in terms of their direct focus on specific groups, the limited use of data collected within excavations and the technical focus that they follow. There is need then to change this for the better and introduce a new way to represent archaeological information not only to the discipline but in ways that excite the public, making them more interested in what archaeologist do and how we study the past. This paper aims to do this through an interactive three dimensional model of an excavation that represents all aspects of an archaeological report in a way that can be understood by all. The paper will discuss the different methods that could be used, previous work associated and will attempt to discuss the future of archaeological excavations through computational archaeology.

There is much new and exciting theoretical research in funerary

archaeology, revealing the potential of archaeological evidence for

understanding the responses, attitudes and practices surrounding

burial, and the ways in which mortuary practices can serve in the

make-up and expression of social identities. Yet in practice, there is

all too often a disjuncture between archaeological and anthropological

data, theories about burial, and interpretation in the field and post-excavation analysis.

New web-based technologies offer a means to integrate a variety of

data types and disseminate this information to facilitate a

finer-grained analysis on burial and funerary practices. We examine

the implications of these new techniques through a detailed case-study

of the excavations of the medieval cemetery at Villamagna, Italy

(2006-2010). At Villamagna, we used an integrated and reflexive

approach to manage and record anthropological, osteological,

archaeological, and topographical data. The collation of plans,

images, finds, and specialist data for consumption by the entirety of

the project team has enabled us to create a more holistic

understanding of individuals from the funerary record by combining

evidence of identity as signalled after death in mortuary practices

with evidence for identity during life from osteological analysis. The

Villamagna case study illustrates the potential that new technologies,

specifically web applications, have for the integration of data from

excavations and the production of theoretically nuanced analyses.

Facebook currently has over 500 million active users, only six years after its launch in 2004. The social networking website's viral spread and its direct influence on the everyday lives of its users troubles some and intrigues others. It derives its strength in popularity and influence through its ability to provide a digital medium for social relationships. The key to understanding the strength of Facebook lies in the evolving system of relationships as well as the particular social interactions between individuals it is made up of.

This paper is not about Facebook at all. Rather, through this analogy the strength of relationships between people becomes apparent most dramatically. Undoubtedly social relationships were as crucial to stimulating human actions in the past as they are in the present. In fact, much of what we do as archaeologists aims at understanding such relationships. But how are they reflected in the material record? Do networks of Roman pottery distributions, for example, reveal the past social processes underlying them? How can we model and analyse them using modern tools? And is it possible and relevant to reveal past social relationships using computers at all?

This paper will explore how current computational techniques in understanding present-day social relationships can be applied to examine the many types of relationships archaeologists are interested in on the one hand, and those they are confronted with in their data on the other. It will focus on the way these existing tools direct archaeological efforts in exploring past social relationships.