Visualisation is much in vogue at present, especially with the increasing availability and accessibility of virtual reality devices such as the Occulus Rift and the HTC Vive, plus cheaper consumer alternatives including the Google Daydream and Sony’s Playstation VR, and there’s always Google Cardboard. We’re told that enhancing our virtual senses will increase knowledge, especially when we move into a virtual world in which we are interconnected with others (e.g. Martinez 2016), and the future is anticipated to bring sensors that go beyond vision and hearing and transmit movement, smells, and textures.
Hyperbole aside, we generally recognise (even if our audiences might not) that our archaeological digital visualisations are interpretative in nature, although how (or whether) we incorporate this in the visualisation is still a matter of debate. However, we understand that the data we base our visualisations upon are all too often incomplete, ambiguous, equivocal, contradictory, and potentially misleading whether or not we choose to represent this explicitly within the visualisation. I won’t rehearse the arguments about authority, authenticity etc. here (see Jeffrey 2015, Watterson 2015, Frankland and Earl 2015 (pdf), amongst others).