Cognitive archaeology focuses on the mental processes behind human material culture, exploring the human mind for patterns of behavioural strategies and their corresponding material expression in artefacts. Sharing some of the aims and perspectives of cultural anthropology, cognitive archaeology has also been called ‘Evolutionary Cognitive Archaeology’ (ECA) when it refers to hominin evolution. However, despite the abundance of publications and research projects that focus on ECA, this is a relatively new discipline, in which the earliest analyses were principally oriented to the appearance and evolution of language and symbolism. As there is no standardized method for investigating cognitive evolution, ECA researchers use multidisciplinary and wider theoretical models and methodological approaches. In this sense, partially because it is not unique to the genus Homo, stone toolmaking has been, and still is, an essential criterion for inferring hominids’ cognitive capacities. Aiming to contribute to ongoing discussions, this paper addresses and reviews some of the more relevant evolutionary cognitive approaches related to stone-tool manufacture in general and Acheulean technology in particular, aimed at building a synthesized chronological review of the discipline.

This study identifies, introduces and joins up the long lives of the geographically dispersed fragments that exist of the famed and fabled Stone of Scone/Destiny, used in inauguration and coronation of Scottish, English and British monarchs since medieval times. Based on an interdisciplinary approach that combines material culture studies and ethnographic methods, it characterises the networks in which the fragments have lived and considers what work these fragments were and are doing. It asks what difference fragmentation and the existence of fragments makes to our contemporary understanding of the meaning, values and significance of the Stone. The Stone and its considerable fragmentation evoke specific procedural and curatorial issues that invite wider reflection on the nature and role of fragments, and about private collections and their afterlives. Through the life of pieces, the study suggests, we can better understand what role social value could and should be playing in our museum and heritage practices.

This study examines tephra layers from lacustrine sediment cores collected in Patagonian Andean Range, correlating them with volcanic sources from the southern segment of the Southern Volcanic Zone (SVZ). Ten distinct tephra layers, spanning approximately the last 2000 yr, were identified across four cores from Lakes Rivadavia, La Zeta, Brychan, and Theobald, from ∼42°S to 44°S. Mostly geochemical and mineralogical analyses of tephra components (pumice, glass shards, scoria) reveal that the Chaitén, Michinmahuida, and Huequi volcanoes are the main sources of tephra in the region. Identified eruptions include four from Chaitén (ca. 2008 CE, ca. twelfth, ca. eighth, and fourth to fifth centuries), two from Huequi (beginning of the nineteenth and, possibly, fourteenth centuries), and four from Michinmahuida (ca. seventeenth to eighteenth, thirteenth, eighth, and ca. second centuries). Four of these tephra layers also have potential as isochronous marker beds in the region, allowing a preliminary reconstruction of their regional dispersal patterns. Some tephras may represent previously undocumented or scarcely documented eruptions. These findings suggest that the eruptive frequency in the southern SVZ has been underestimated, emphasizing the need for further research to expand the eruptive history and more accurately assess the volcanic hazards associated with this region.

Northwestern Iberia was inhabited by communities whose only settlement model was the hillfort throughout the Iron Age. In archaeological terms, these people are included in the so-called ‘Castro Culture’. These communities experienced social and material changes at the end of the Iron Age. From the second century bc onwards, a more hierarchical and complex social system, together with a process of monumentalization and sophistication of the architecture of the settlements, was adopted. More specifically, in the region between the Douro and Miño rivers, a series of highly original subterranean constructions have been documented. Unique in the archaeological record of the European Iron Age, the function of sites has been much debated, with the most accepted use as steam bath. In this article, these buildings are analysed from a performative approach, to understand their meaning and function in the context of the landscape of the hillforts.

Earlier this year a Swedish archaeologist based at Gothenburg University’s Centre for Critical Heritage Studies published an unfounded ad hominem attack on me in the pages of the International Journal of Cultural Property. I am grateful to the editors for this right to reply to Staffan Lundén’s wholly spurious claims, and order to correct the record. Despite its provocative, “clickbait” title, not one substantive mistake or incorrect fact was identified in Lundén’s article in my book “The Brutish Museums”. The motivation for Lundén’s serial accusations against colleagues with whose scholarship on the history of the Benin Expedition he disagrees - from curators at the British Museum to members of the Royal Court of Benin - is discussed. In conclusion, the allegation that my book The Brutish Museums is “part of a trend away from pro-British perspectives” is contextualised and refuted. On the contrary, this reply argues, openness and transparency about the colonial past and present is a key element of the reclamation and reimagining of Britishness that is unfolding in the 2020s – this unfinished period that the book calls “the decade of returns”.

Anxiety about nuclear war emerged after the 1945 atomic bombings of Japan and has risen and fallen over the following decades. It is grounded in future thinking shaped by narrative form and function in policy discussions and especially in film and television. These media have repeatedly drawn on three basic narrative templates organised around three different endings: destruction, judgement, and renewal; human extinction; and permanent and irreversible societal collapse. Several film and television productions are used to illustrate the internal organisation of these narrative templates and to examine how both nuclear fear and nuclear anxiety are involved.