This article is a proof-of-concept that archaeologists can now disseminate archaeological topics to the public easily and cheaply through video games in teaching situations or in museum or heritage communication. We argue that small but realistic, interactive, and immersive closed- or open-world 3D video games about cultural heritage with unscripted (but guardrailed) oral conversation can now be created by beginners with free software such as Unreal Engine, Reality Capture, and Convai. Thus, developing tailor-made “archaeogames” is now becoming extremely accessible, empowering heritage specialists and researchers to control audiovisual dissemination in museums and education. This unlocks new uses for 3D photogrammetry, currently mostly used for documentation, and could make learning about the past more engaging for a wider audience. Our case study is a small game with two levels, one built around 3D-scanned Neolithic long dolmens in a forest clearing and an archaeologist and a prehistoric person, who are both conversational AI characters. We later added a more open level with autonomous animals, a meadow, and a cave with a shaman guiding the player around specific cave paintings. We tested the first level on players from different backgrounds whose feedback showed great promise. Finally, we discuss ethical issues and future perspectives for this format.

The notions of “emergence” and “becoming” have become widely adopted in relational studies in archaeology, but their definition and application remain nebulous. We advocate a middle-range approach to the incorporation of these related concepts into the study of migration and pronounced cultural shifts. Our study relies on the Bayesian modeling of a significant corpus of radiocarbon dates from Mississippian sites in the Tombigbee Valley of southeastern North America. This investigation has identified the likelihood of two broad migration episodes that we hypothesize are related to cultural rephrasings of landscape and temporality.

Within a collaboration between the Brazilian Federal Police and the Radiocarbon Laboratory of the Fluminense Federal University (LAC-UFF), this work studies seized art objects made from ivory. We aim to develop protocols to verify whether they are illegal according to the Convention on International Trade of Endangered Species from Wild Flora and Fauna (CITES) law by measuring the carbon-14 concentration in the modified ivory samples from different sampling spots and comparing it to the bomb peak curve. Over the course of this research, we evaluate the uncertainties related to the determination of the elephants’ death. These uncertainties are due to several factors such as the provenance of the elephants, growth pattern of the tusks and incorporation of atmospheric radiocarbon to the tissues, sampling methods of ivory objects of different sizes and shapes, and radiocarbon data analysis. This work is a pioneer study in Brazil and is likely to become a reference in the country in the field of radiocarbon analyses in forensic contexts.

This paper examines the understudied role of reading and oral performance in Maya “scribal” imagery from the Late Classic period (a.d. 600–900). Although many studies consider the ways in which Maya artists represented the production of text and image, few systematically examine how textual reception was rendered in Maya art. With this in mind, the present essay considers one specific motif that recurs on painted drinking vessels: the image of a seated figure in front of a codex book. A systematic review of this imagery reveals the limits of conceptualizing these figures as “scribes,” a term which implicitly privileges the acts of painting and writing (tz’ihb). The majority of the figures who appear with books do not hold writing implements. Instead, they make a variety of gestures to texts that likely encode distinct forms of oral performance. Writers and readers can also be tied to separate deities and regalia, which suggests that this division is an emic distinction with implications for the hierarchy of Maya courts. The emphasis on speech and textual interpretation in scribal imagery demonstrates the value of embracing a more flexible, orality-based notion of aesthetics in studies of Maya imagery and non-Western material culture more broadly.

Aerial lidar (light detection and ranging) has been hailed as a revolutionary technology in archaeological survey because it can map vast areas with high-precision and seemingly peer beneath forest cover. This excitement has led to a proliferation of lidar scans, including calls to map the entire land surface of earth. Highlighting how the growth of aerial lidar is tied to fast capitalism, this article seeks to temporarily pause the global rush for data collection/extraction by focusing on the ethical dilemmas of remotely scanning Indigenous homelands and heritage. Although lidar specialists must obtain federal permissions for their work, few engage with people directly in the path of their scans or descendant stakeholders. This oversight perpetuates colonial oppression by objectifying Indigenous descendants. To address Indigenous objectification, I argue that aerial lidar mapping should be preceded by a concerted, culturally sensitive effort to obtain informed consent from local and descendant groups. With the Mensabak Archaeological Project as a case study, I demonstrate how aerial lidar can become part of a collaborative, humanizing praxis.

Archaeology comprises both systematic and pragmatic attitudes and processes concerned with the collection and maintenance of data. Thus, it needs to obtain formally defined data while also grappling with the fuzzy and uncertain nature of archaeological encounters, especially in fieldwork environments. This produces an epistemic tension, as archaeologists struggle to reconcile their desire to produce concrete outcomes based on objective facts and their intuitive understanding that data are in fact products of situated decisions and actions. Through observations of archaeological practices, interviews with archaeologists at work, and analysis of the documents they produced while recording objects of archaeological concern, this article describes how archaeologists cope with this tension and integrate it into their work experiences.

A 9200-year-long Holocene record of pollen, magnetic susceptibility (MS), and sedimentation rates from Pup Lake, northern Lower Michigan, USA, along with comparative pollen data from regional paleoecological sites and optically stimulated luminescence dates from inland sand dunes across the Great Lakes region, reveals emerging relationships among climate, vegetation, and erosion. Tsuga (hemlock) pollen was used to track local- and regional-scale hydroclimate variability owing to the taxon’s moisture sensitivity and close association with modern lake-effect snowfall gradients. Two periods of elevated MS and Tsuga values, 6800–5200 cal yr BP and 3200–800 cal yr BP, are interpreted as millennial-scale phases of greater effective moisture that drove key changes in forest composition and resulted in accelerated erosion. Overall, the lake’s MS record broadly tracks changes in Tsuga pollen frequencies and sedimentation rates, particularly during the Late Holocene, suggesting the emergence of a well-defined lake-effect climate system between 5200 and 1000 cal yr BP. Additionally, Pup Lake’s MS record exhibits notable connections with widely recognized hemispheric-scale climate deterioration episodes, including the 9.2, 8.2, and 5.2 ka BP events.

Understanding what happened after the collapse of and dating the different reoccupations of Teotihuacan can be challenging due to different factors, including the reuse of building materials and looting during Postclassic and modern times, which resulted in altered archaeological contexts or significant inbuilt ages for the samples. A Bayesian approach integrating radiocarbon ages and detailed archaeological information can help to overcome these difficulties. In this contribution we present the process of building a high-resolution chronology for the tunnels located to the east of the Pyramid of the Sun (excavated by Linda R. Manzanilla from 1993 to 1996) by the integration of 20 radiocarbon ages from Cueva del Pirul and Cueva de las Varillas with detailed archaeological information on the context for each dated sample, including ceramic style. With the resulting chronology it is possible to distinguish the moment of the different occupations during the Epiclassic and Postclassic times, helping to refine chronologies based on ceramic styles and to understand the population dynamics in the area.

Due to the extractive nature of quarrying activities, quarry workers are relatively invisible within the archaeological record. Through a focus on quarry implements, we argue that scholars can identify the individuals involved in the quarrying process as well as evaluate the economic and political networks tied to the extraction of limestone resources. In the Maya region, studies of quarrying tools are evaluated based on contextual and use-wear studies; however, quarrying tools are frequently recovered from mixed assemblages. To increase the identification of quarry workers within the archaeological record, we advance a limestone-quarrier tool kit, which emerges from previous archaeological, experimental, and ethnoarchaeological research. We evaluate this toolkit using a case study from Xultun, Guatemala to consider the multiple sociopolitical identities held by Classic period Maya quarry workers.

Analysis of the projectile points from the Arroyo Seco 2 site allows us to evaluate their design and use from the Early to the Late Holocene in the Pampas region. The Arroyo Seco 2 projectile points are associated with events of interpersonal violence as well as hunting. Based on the techno-morphological and typological analysis and the interpretation of weapon systems, it enables us to establish differences and similarities of several point designs. The results are integrated with projectile point information from other sites in the eastern Pampas to develop a chronological sequence from the Late Pleistocene through the Holocene of projectile designs that were used throughout the period.