Digital creativity affords archaeologists and colleagues across the arts and humanities community an opportunity to think more deeply and imaginatively about how new technologies can enhance traditional forms of scholarly research, workshop and studio practice. From early debates at the 1995 CADE (Computers in Art and Design Education) conference, practitioners in digital creativity have aspired to create a unified discipline in theory and in practice across computer science and the creative arts, especially through the publications of the journal Digital Creativity (and see Beardon and Malmborg 2002). The strategic importance of this discipline, not just to academia but also in the commercial world of creative and digital economies, has also been increasingly recognised. Archaeologists have been quick to embrace the creative potential of digital technologies, not only to record and archive data, but also as a means of opening up interpretation to a diverse range of academic and public audiences and user communities.
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