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Acknowledgements

This article originated as a presentation to a Computer Applications in Archaeology (CAA) 2016 session on Theorising the Digital organised by James Taylor, Sara Perry, Nicolò Del'Unto, and Åsa Berggren, and I should like to thank them for their invitation to contribute. It also has its origins in several earlier conversations with Paul Reilly, and I am grateful to him for acting as a catalyst for some of these thoughts. I am also grateful to Paul Reilly and Gareth Beale for the invitation to contribute to this issue. Colleen Morgan kindly shared some of her pre-publication work on digital photography in archaeology with me. Finally, I am grateful to the anonymous referees for their valuable comments and suggestions. All cognitive errors and misconceptions naturally remain my own.


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