Colleen Morgan
Colleen is the Senior Lecturer in Digital Archaeology and Heritage in the Department of Archaeology at the University of York. She is the Director of the Digital Archaeology and Heritage Lab, the MSc in Digital Archaeology and the MSc in Digital Heritage. She was Marie Curie Experienced Researcher for the EUROTAST project from 2013-2015 and a postdoctoral fellow for the Centre for Digital Heritage from 2015-2017. She has an established international reputation as a leading scholar in critical digital archaeology and heritage. Her research contributions fall in three main areas: 1) bringing digital archaeology into conversation with current theory drawn from feminist, queer, posthuman, and anarchist approaches 2) multisensorial interventions and digital embodiment, with a focus on avatars of past people created from bioarchaeological data 3) issues surrounding craft, enskillment and pedagogy in analog and digital methods in field archaeology, including photography, videography, and drawing.
Colleen is currently the PI on the UKRI-AHRC funded OTHER EYES project which confronts an emerging issue within archaeology: that of interpreting past people using digital technology. She is collaborating with York Museums Trust and interactive digital media specialists BetaJester and a large team of diverse researchers to create avatars based on Romano-British era human remains found in York. She is the Co-I of The Avebury Papers with Professor Mark Gillings of Bournemouth University to creatively investigate the extensive personal and archaeological archive at Avebury. Colleen is also the Co-I of the Aide Memoire Project with Professor Helen Petrie, Dr Holly Wright and Dr James Stuart Taylor, which investigates the role of drawing in digital archaeological recording. She also conducts archaeological fieldwork in the Arabian Gulf and in the United Kingdom. She is the author of over 25 peer-reviewed papers, has given 6 keynote lectures, has presented films at the Asian Art Museum of San Francisco, California and the International Museum for Contemporary Sculpture in Santo Tirso, Portugal, contributed to photography exhibitions, built virtual worlds and blogs at: colleen-morgan.com.
Supervisors: Jonathan Finch, Ruth Tringham, Meg Conkey, and Nancy Van House
Colleen is currently the PI on the UKRI-AHRC funded OTHER EYES project which confronts an emerging issue within archaeology: that of interpreting past people using digital technology. She is collaborating with York Museums Trust and interactive digital media specialists BetaJester and a large team of diverse researchers to create avatars based on Romano-British era human remains found in York. She is the Co-I of The Avebury Papers with Professor Mark Gillings of Bournemouth University to creatively investigate the extensive personal and archaeological archive at Avebury. Colleen is also the Co-I of the Aide Memoire Project with Professor Helen Petrie, Dr Holly Wright and Dr James Stuart Taylor, which investigates the role of drawing in digital archaeological recording. She also conducts archaeological fieldwork in the Arabian Gulf and in the United Kingdom. She is the author of over 25 peer-reviewed papers, has given 6 keynote lectures, has presented films at the Asian Art Museum of San Francisco, California and the International Museum for Contemporary Sculpture in Santo Tirso, Portugal, contributed to photography exhibitions, built virtual worlds and blogs at: colleen-morgan.com.
Supervisors: Jonathan Finch, Ruth Tringham, Meg Conkey, and Nancy Van House
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Papers by Colleen Morgan
In this poster we explore the changes in technology, methodology and theory at the site as seen in the changing modes of visualization at Çatalhöyük. Through quantitative and qualitative analyses of the visual record, we provide insights regarding the contrasting archaeological processes at the site. Finally, we look to the future of visual interpretation at Çatalhöyük.
Archaeology, the Public and the Recent Past. The Society for Post-Medieval Archaeology Monograph Series. Edited by Chris Dalglish. 189 pages, illustrated. Woodbridge, Suffolk: The Boydell Press, 2013.
Archaeology and Preservation of Gendered Landscapes. Edited by Sherene Baugher and Suzanne M. Spencer-Wood.
My research at Çatalhöyük expands on the groundwork laid by Tringham’s video walks and other work in new media and Hodder’s reflexive methodology. Archaeologists have been exploring the phenomenological experience of space at sites as an interpretive tool for over a decade (Thomas 2001:; Tilley 1994), but only recently have we been able to create digital

models appropriate to explore interpretive space virtually. These site models are rarely shared outside of the profession, much less with the public. A stronger dedication to public education and the desire for an expanded, multivocal construction of the past has been emphasized by third-wave feminist scholarship within archaeology. My own work speaks to this agenda.
Professor Ian Hodder, since 1993. During this time the site has undergone extensive
development; between 1996 and 2003 a large dig house was constructed that incorporates
accommodation for the research team, laboratories and office space as well as a visitor
centre. A reconstructed, Neolithic-era Çatalhöyük house, known as the experimental house,
was built in front of the visitor centre in 1999 (Stevanovic 2003). Two large shelters, built in
2002 and 2007 have been built over the ongoing excavation areas to protect the
archaeological remains, and allow them to be put on display year round. In 2009 and 2010,
two storage depots were built to house the project’s ever growing archive of artefacts and
samples. An older guard’s house was demolished after the 2009 field season, and new
accommodation built for the guards, who also lead the guided tours of the site. Finally, a
series of other infrastructure and landscaping changes include the improvement of the
sanitation on the site with the introduction of grey water recycling capability and the planting
and irrigation of a large vegetable garden and orchard behind the dig house.