Prosthetic archaeology is a theoretical proposal for a materially oriented digital practice. It is based on a critical approach to implementing the latest technologies in archaeology. Drawing from the philosophy of technology and prosthetic studies, this project offers a more critical and meaningful understanding of digital methods in archaeology. The main interpretative figure is the verb “to prostheticize.” Thus, prosthetic archaeology is not solely about prostheses — technological improvements understood as supplements. Rather, it is about the processes of “prostheticizing” archaeology, brought on by the digital turn in “the discipline of things.” A verbal understanding of this main category and its processual potential allows for a technological prosthesis to function as an active addition that does, makes, transforms, refers, evokes, (re)constructs, and generates meanings. The concept of prosthetic archaeology is illustrated with a discussion of the “Body Can’t Wait” advertising campaign organized in Paris, March 2018, where ancient and neoclassical sculptures were equipped with 3D-printed artificial limbs. Inspired by an advertising campaign that uses technology to raise social awareness and engage in current global problems, prosthetic archaeology may offer a prefigurative blueprint for a future, radical archaeology.

修复考古学是面向物质的数字实践的理论建议。它基于实施考古学最新技术的关键方法。该项目借鉴了技术和假肢研究的哲学，对考古学中的数字方法提供了更为批判和有意义的理解。主要的解释性数字是动词“ prostheticize”。因此，假肢考古学不仅涉及假肢-技术进步被理解为补充。相反，它涉及“修复”考古学的过程，该过程由“事物学科”的数字化转变带来。对这一主要类别及其过程潜力的口头理解可以使技术假体起到积极的补充作用，可以进行，制造，转换，引用，唤起，（重新）构建并产生含义。假肢考古学的概念在2018年3月于巴黎举办的“身体不能等待”广告活动的讨论中得到了说明，其中古代和新古典主义雕塑都配有3D打印的人造肢体。受使用技术提高社会知名度并解决当前全球性问题的广告战役的启发，假肢考古学可能为未来的激进考古学提供预想的蓝图。