ABSTRACT
Visual producers have a deep and inseparable relationship with the institutionalisation and development of archaeological practice. A substantial literature now exists on the role of the visual producer in the development of archaeological practice. A growing body of literature is accumulating on the skills and expertise of visual producers and their relationships to epistemological change. The resistances of media compelled Morgan to reflect on the actual archaeology both its virtual and material dynamics. The illustrator plays the intermediary at multiple levels, and is directly implicated in the probative intellectual enterprise of archaeology. Shanks and Webmoor are similarly concerned to move past traditional semiotic and communicational models of visual representation, towards the broader 'work' of graphic media in archaeology. As Herzfeld has said in regard to anthropology, disciplinary training 'is often inchoate; explicit instruction raises suspicions of betrayal of craft'. As evidenced at Catalhoyuk, this is the potent role that visualisation plays in archaeology.
