We present an alternative radiocarbon (14C) age-depth model using IntCal20 to calibrate new accelerator mass spectrometry (AMS) data applied to a Lake Baikal sediment core (VER99G12) in southern Siberia. 14C dating showed that the core extends to 31 ka. To take into account uncertainties in 14C age and sedimentation depth in the core, a new age-depth modeling routine, undatable, was used in this study. Undatable revealed that significant changes in sedimentation rate correspond to global climate events, either warm or cold, which periods are likely close to the timing of the occurrence of the Meltwater pulses (MWP) at 19 and 14 ka, and the Last glacial Maximum (LGM) at 21–20 ka. Since the Selenga River accounts for 50% of the total river inflow to Lake Baikal, we interpret that these changes in sedimentation rate could be signals of significant changes in Selenga River discharge to the lake, which is expected to be affected by global climate change. Based on pollen analysis, it is highly probable that the sudden influx of the Selenga River to Lake Baikal, particularly at 19 ka, was due to the thawing of permafrost water through the Selenga River, which had developed in the region. Total organic carbon content and mean grain size increases concurrent with sedimentation rate, suggesting river inflow increased available nutrients for biological activity. Our results indicate that hydrological changes corresponding to MWP events can be observed in continental areas of the Northern Hemisphere.

In 2017, ancient DNA analysis of the Harper Road burial from Southwark (London) found that the individual had male chromosomes. Now analysis has discovered that the individual had female chromosomes, data which match the osteological estimation of sex and the interpretation of the grave-goods.

This paper presents a new approach to an old problem, the provincial reception of the image of Roman emperors. Applying 3D computer modelling, we captured the portrait features of Hadrian as represented on coinage minted for the British province, produced a 3D model from a coin and compared it with the bronze head of Hadrian found in London. The aim was to test the possibility, previously posited by other scholars, that the London portrait might have been produced by an artisan who used coin portraits of the emperor as his main – if not only – model. More generally, the paper examines the dependencies of coinage and sculpture on shared models and applies new technology to Roman portrait studies.

Shott (2022, American Antiquity 87:794–815) argues that making inferences from ceramic data requires first inferring use lives of vessels—something that is difficult to do. This comment argues that the problem of differential use life becomes more tractable if the assemblage, rather than the vessel, is the unit of analysis. Aside from empirical reasons, theoretical considerations also favor the assemblage as the appropriate unit.

This article presents and analyzes a newly discovered petroglyph from Tetzcotzinco (mun. Texcoco, Mexico) in the form of arranged pecked dots. Based on what is known about Mesoamerican divinatory systems, calendars, and the perception of space, the interpretation takes into account both the encoded numerical values and the layout of the dots. The main argument is that this and similar representations’ function was not limited to simple counting of days or serving as a kind of astronomical marker, in which the arms of the cross indicated, for example, equinoxes, which is by far their most common interpretation in academic literature. Instead, it represented calendrical cycles through the numbers, as suggested by some scholars. Based on this hypothesis, the article explores the possible connection between numbers registered in Tetzcotzinco's “pecked cross” and specific diagrams from indigenous divinatory books. Therefore, the plausible interpretation of the symbolism of this petroglyph is that it either expressed a series of meanings related to the agrarian period(s) and rain god(s) or less-known Mesoamerican calendrical cycles, such as half trecenas or seven- and nine-day periods.

Crime groups are drawn to stealing heritage and cultural property because the thefts can be less dangerous than other illicit activities and there can be a lower chance of detection. In addition, there are financial opportunities such as selling the objects, using them as currency and collateral in illicit markets, and through rewards and ransoms. While these factors remain, crime groups operating as criminal entrepreneurs will continue to be attracted to this type of theft even if situational crime prevention strategies are implemented at locations. Unique and irreplaceable heritage and cultural property will be stolen, and societies will lose in artistic, cultural, heritage, historical, and financial terms. This article argues that, while people tasked with the policing and security of heritage and cultural property should focus on the potential thefts, policing agencies also need to focus on the crime groups, especially as heritage and cultural property thefts can be crime groups’ “Achilles’ heel.”

We have all read the headlines heralding, often hyperbolically, the latest advances in text- and image-based Artificial Intelligence (AI). What is perhaps most unique about these developments is that they now make relatively good AI accessible to the average Internet user. These new services respond to human prompts, written in natural language, with generated output that appears to satisfy the prompt. Consequently, they are categorized under the term “generative AI,” whether they are generating text, images, or other media. They work by modeling human language statistically, to “learn” patterns from extremely large datasets of human-created content, with those that specifically focus on text therefore called Large Language Models (LLMs). As we have all tried products such as ChatGPT or Midjourney over the past year, we have undoubtedly begun to wonder how and when they might impact our archaeological work. Here, I review the state of this type of AI and the current challenges with using it meaningfully, and I consider its potential for archaeologists.

As the venues for professional training and education, universities have always shaped the future of the archaeological discipline—for better but also, in important ways, for worse. Historically, university structures promoted practitioner homogeneity and social inequity and, at the largest research-intensive universities, even managed to turn “service” into a dirty word. However, using the same structures that perpetuated damaging practices in the past, universities can just as readily transform archaeology into the inclusive, community-engaged discipline it should always have been—while serving communities in ways that matter to them. This article explains and illustrates how and why we have tried to do this through the founding and operation of the Oklahoma Public Archaeology Network (OKPAN) at the University of Oklahoma. OKPAN seeks to improve relationships among diverse Oklahoma communities by framing archaeology as a tool that that can serve communities’ interests while creating pathways within universities for members of historically excluded groups to join and help further transform the discipline.

This article provides an introduction to the theme issue “Archaeology of Service.” We explore how performing service in archaeology articulates with the concepts and practices of community-based archaeology, collaborative archaeology, and the Archaeologies of the Heart projects and their larger purposes of approaching work through a lens of social and environmental justice. We introduce seven articles that describe working in communities around the world, including the Bininj of the Gundjeihmi Aboriginal Corporation in the Northwest Territory of Australia; the Bunun of the Lakulaku River Basin in Taiwan; the Passamaquoddy Nation in Maine (USA); people from 21 First Nations in the province of Ontario, Canada; the diverse communities of Oklahoma (USA); the African American community in Bolivar, Texas (USA); and the people of San Cristóbal Island in the Galápagos Islands, Ecuador. The articles are tied together by the common theme of collaborative work that is built through relationships of trust and is conducted in ways that strive to change the institutional and educational structures in which archaeology is practiced.

This article summarises the research, protection, enhancement and awareness-raising activities carried out on coastal and submerged archaeological sites and wrecks discovered on the northern and Cap Bon coasts in Tunisia. The objective of these activities is to better understand and protect the underwater cultural heritage, while ensuring its preservation for future generations. The article also highlights the policy put in place by the supervisory institution to ensure an integrated and sustainable management of this heritage, despite the challenges it faces, in accordance with the principles of the 2001 UNESCO Convention on the Protection of the Underwater Cultural Heritage, ratified by Tunisia in 2009. Furthermore, the article stresses the importance of coordinating the conservation of this heritage with local development, while promoting responsible tourism practices, as part of Tunisia's active search to enhance its tourism and cultural potential – as a source of sustainable development in the coastal and maritime areas concerned.

The influence of pareidolia has often been anecdotally observed in examples of Upper Palaeolithic cave art, where topographic features of cave walls were incorporated into images. As part of a wider investigation into the visual psychology of the earliest known art, we explored three hypotheses relating to pareidolia in cases of Late Upper Palaeolithic art in Las Monedas and La Pasiega Caves (Cantabria, Spain). Deploying current research methods from visual psychology, our results support the notion that topography of cave walls played a strong role in the placement of figurative images—indicative of pareidolia influencing art making—although played a lesser role in determining whether the resulting images were relatively simple or complex. Our results also suggested that lighting conditions played little or no role in determining the form or placement of images, contrary to what has been previously assumed. We hypothesize that three ways of artist–cave interaction (‘conversations’) were at work in our sample caves and suggest a developmental scheme for these. We propose that these ‘conversations’ with caves and their surfaces may have broader implications for how we conceive of the emergence and development of art in the Palaeolithic.