Archaeological data literacy is an integral part of the stewardship of the archaeological record. From paper notes, and their digital surrogates, to time and power intensive computer-based modeling and simulations, archaeologists of all kinds require data literacy to do their jobs and preserve the work of previous generations. Yet, archaeological data literacy lacks explicit education in current archaeological training despite the demand for these skills in academic research contexts and in private sector and government mandated archaeology. In this review, we reflect on the places hiring archaeologists expect data literacy skills to be taught and frame this call in terms of a need to incorporate explicit data skills in archaeological education. We also suggest that the cultivation of data literacy skills should be part of the continuing education of archaeologists as the field becomes increasingly data and technology oriented.

Games have the potential to engage a wider public with archaeology, but popular products also continue to perpetuate misconceptions about the past. One potential solution is for archaeologists, heritage professionals, and historians to act as consultants in the process of game design. However, there has been little published about what consultation involves, particularly with the understanding that games with archaeological themes often rely heavily on colonial narratives, as well as stereotypes that affect descendant communities. In this digital review, I draw on my experiences as an archaeologist and cultural consultant within the tabletop games industry to highlight how representation, expertise, and positionality are considerations for any scholar who is solicited for consultation on a commercial product. I also address the unpaid, underpaid, and emotional labor that lurks within an industry reliant on personal passions and work characterized as fun. I conclude with recommendations that focus on reducing harm in the present while playing with the past.

This digital review examines how feminist data science can inform, challenge, and reshape archaeological knowledge production in an era of expanding digital data infrastructures. Beginning with a historical analysis of the term “feminist” in American Antiquity, I demonstrate that although feminist perspectives have appeared consistently over four decades, such engagement remains limited in scope. Drawing from this context, I argue that the proliferation of online, publicly accessible archaeological datasets requires renewed feminist and decolonial scrutiny. I situate these challenges within broader conversations around FAIR (Findable, Accessible, Interoperable, and Reusable) and CARE (Collective benefit, Authority to control, Responsibility, and Ethics) principles, Indigenous data sovereignty, and moderated openness, highlighting tensions between expanding digital access and resisting colonial datafication. Intersectional feminist data science, particularly the framework proposed by D’Ignazio and Klein (2020), offers actionable principles for confronting inequities embedded within archaeological data structures. I illustrate these principles through a multimodal collaborative project with the Pueblo of Zuni and the Hopi Tribe, which uses film-based storytelling to reframe relationships to ancestral collections and places. The article concludes with a reflection on citation inequities and disciplinary gatekeeping, underscoring how digital data practices can either reproduce or dismantle structural biases. I argue that transforming archaeological data science requires collective courage and sustained commitment to feminist, Indigenous, and community-engaged approaches that expand the inclusivity and ethical integrity of our field.

Archaeologists engage with the public in various ways and, with the popularity of social media, are learning to adapt to the fast-paced nature of content creation. Posting online provides opportunities for archaeologists to engage with the public at any time and is a tool that can be used to share our knowledge quickly and broadly. Archaeological social media content can use many different approaches, but short-form video content is particularly effective. Many of these methods have similar goals: to educate the public and entertain. This digital review introduces different aspects of social media like the attention economy, online echo chambers, and the public’s reaction to posts about archaeology.

Digital technologies, including 3D digitization and replication, are increasingly integrated into repatriation-related work by museums and Indigenous communities. Repatriation laws began being adopted in the United States at state level in 1976, followed by federal repatriation laws in 1989 with the National Museum of the American Indian (NMAI) Act, which applies only to the museums of the Smithsonian Institution, and in 1990 with the Native American Graves Protection and Repatriation Act (NAGPRA). Early repatriation, therefore, was in the predigital age, but the use of computers and databases, including digital imaging, email, and file-sharing, has had a significant impact, first with 2D digital technologies and more recently with the incorporation of 3D digitization. These, and the creation of surrogates of archival and object collections, have led to an explosion of information-sharing between museums and Indigenous partners. 2D digitization and 3D digitization and replication, in consultation and collaboration with Indigenous communities, are emerging as important tools alongside repatriation efforts—not in lieu of repatriation but as supplements to mutual interests that go beyond it. Here, the experiences of the Smithsonian’s National Museum of Natural History and others are offered as examples of such new applications of 3D in the context of repatriation and beyond.

This review considers how scientific archaeological publications, especially those relying on new digital technologies, can become sensationalized for the public in popular media. I present three separate examples of lidar-based mappings of ancient landscapes in the Amazon and Central Asia, each initially published by archaeological teams in the journals Nature or Science since 2022. These academic publications were followed by many news articles in the popular press. A common trope of these popular presentations includes the concept of “lost cities” being finally “found” by the lidar surveys. This oversimplification usually ignores existing knowledge, especially that of Indigenous local communities and archaeologists. We archaeologists should, therefore, become more aware of the potential consequences of our scholarly communications. We should consider the public’s experience with parsing scientific advances and what ways we can try to influence the public discourse.

Digital eXtended Reality technologies enable users to view and interact with spaces and objects in three dimensions (3D), thus supporting a variety of potential innovative embodied applications in archaeology. Here, we review the Apple Vision Pro as a Mixed/Augmented Reality (MR/AR) headset to determine where it might fit within current archaeological practice. Our interest in this device spans primary field data collection, in situ visual–spatial interpretation, and public education and tourism. Overall, we find that although it makes certain advances on prior eXtended Reality hardware, it does not yet represent a significant enough shift forward to have a major impact on archaeology. However, we do plan to continue our field experiments with this technology to push its limits and to prepare for future improvements to this product and its competitors.

Archaeologists promote the use of digital methods and data management principles such as FAIR and CARE to democratize and decolonize the discipline and our projects. Digital archaeology offers the potential to enhance accessibility, improve opportunities for data sharing, and foster multivocal interpretation while avoiding colonialist dynamics in international collaborations. In June 2024, the authors’ discussions about digital archaeology in Armenia highlighted the importance of addressing collaborators’ prior knowledge and knowledge frameworks in digital archaeological projects. These discussions, along with a case study about an earlier digital survey in the Azat River valley, demonstrated that varying levels of familiarity with tools such as geographic information systems (GIS) and different training traditions can limit successful collaboration and data interpretation if not addressed explicitly. This review argues that successful digital archaeology requires a focus on understanding and integrating the diverse knowledge frameworks and prior experiences of all team members into all aspects of the digital workflow.

Mobile apps provide archaeologists a way to engage the public and local communities in efforts to protect heritage at risk. This article discusses community engagement apps used by archaeologists who specialize in collecting data about climate change and its impact on cultural sites. It provides an overview of the process by which the Florida Public Archaeology Network (FPAN) developed various workflows over the last few years to engage community member–scientists using digital tools. FPAN based this work on examples from cultural heritage management practice in Scotland. Because we were unable to directly adapt Scotland's app to our US context, we experimented with multiple other apps and tools to implement our workflows, including Arches, Solocator, ArcGIS Field Maps, and the Arrow GNSS receiver.

For thousands of years, humans have been entertained by board games. The earliest documented game boards date to at least 6000 BC in the Near East (Sebbane 2001), and we know the name, Senet, and rules of a board game from Egypt dating to 3500–3100 BC. Aspects of inequality are omnipresent in the dynamics of the competition and cooperation inherent in games. In this review, I assess the digital version of the board game Catan, which is also called Catan Universe, discussing how anthropological theories such as human behavioral ecology are recognizable in the digital game. Playing this game provides a unique way to test models of inequality.

Archaeology in the United States is caught in a “curation crisis” (Childs 1995; Childs and Warner 2019; Marquardt et al. 1982; SAA Advisory Committee on Curation 2003; Trimble and Marino 2003) and a “digital data crisis” (or “deluge”) more specifically (Bevan 2015; Clarke 2015; Kansa and Kansa 2021; Katsianis et al. 2022; Kersel 2015; McManamon et al. 2017:239–240; Rivers Cofield et al. 2024). Recent estimates suggest that, collectively, over 1.4 billion dollars are spent annually to support archaeological work that is mandated by federal law (SRI Foundation 2020). Although substantial efforts are underway to generate and provide mechanisms for managing, curating, and sharing the resultant digital data, we suggest that a critical step that has yet to be taken is to describe and visualize the components, connections, and causal dynamics of the US digital data system as it currently functions. Here, we specifically apply a “systems thinking” approach to produce such a high-level model of this system. We argue that understanding and visualizing this system will help us all “think bigger” (Heilen and Manney 2023); identify sources of knowledge, opportunities for critical analysis, collaboration, and capacity building; and increase much-needed archaeological digital literacy (Kansa and Kansa 2022). We conceptualize this as bringing “equilibrium” to the system, and in this article, we make several suggestions on how to bring this about. These insights can enable practitioners to better understand their roles in and contributions to the overall system and to evaluate efforts to improve data sharing, management, and curation practices not only within their organizations and departments but beyond.

The award-winning video game Heaven's Vault stands out among a plethora of over-sensationalized representations of archaeology in video games and other media. The main character of the game is a woman of color named Aliya Elasra, whose primary weapon is her mind, which she uses to uncover a centuries-old mystery while unearthing the secrets of an ancient language. Set in a fantastical science fiction–inspired universe, the player engages in activities that gradually explain the game's world. With multiple endings and re-playability, Heaven's Vault offers an experience that is hard to pass up for fans of rich narrative, archaeology, and interactive puzzles.

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 an escape from the day-to-day drudgery of our “real” world, video games allow us to leave reality and explore new fictional worlds. These worlds are more enjoyable when they are developed from various digital materials and presented as an official story, which is called “lore.” Lore invites the player to submerge into background stories of fictional worlds, including but not limited to those in video games. Video-game lore often provides historical narratives of these worlds, sometimes even drawing on archaeological themes in the creation of characters and places. The video game League of Legends (LoL), developed by Riot Games, has its own detailed lore, often revolving around individual characters. Riot has developed this lore not only through the video game itself but through accompanying media. Although the lore is separate from the game and not necessarily needed, the advantage is that it can orient individuals to the world and the background stories of the characters and players. Additionally, it allows people who are not interested in playing the game to interact with the fictional world, given that the stories are captivating on their own. Here, we briefly discuss Riot's interactive lore website and focus on the background of two places within the LoL fictional world: Ionia and Targon. We examine the presentation of these places through an archaeological framework. Then, we evaluate how archaeology is portrayed throughout the lore, focusing specifically on archaeological field notes and the methods that we are told are employed by one of the characters. In our analysis of the portrayal of Targon, the discussion centers on how archaeological perspectives are an integral framework for the LoL lore. Lore creates a sense of place (a connection between a person and a spatial setting) for the fan community, players, and even developers. Consequently, it is useful to focus on this idea of storytelling through lore, taking a critical view of its power and how it can impact various audiences.

Spatial data, under the broader umbrella of digital data, is becoming increasingly integral to all stages of archaeological research design and dissemination. As archaeologists lean toward reuse and interoperability, with ethics on their minds, how to treat spatial data is of particular importance. This is because of the complexities involved at every life-cycle stage, from collection to publication, including black box issues that may be taken for granted, and because the size of spatial data can lead to archiving difficulties. Here, the “DIY” momentum of increasingly accessible spatial methods such as photogrammetry and handheld lidar is examined alongside forthcoming changes in publication policies that will impact the United States in particular, framed around a conversation about best practices and a call for more comprehensive training for the archaeological community. At its heart, this special issue seeks to realize the potential of increasingly digitized—and increasingly large amounts of—archaeological data. Within cultural resource management, this means anticipating utilization of data through widespread standardization, among many interrelated activities. A desire to enhance the utility of archaeological data has distinct resonances with the use of spatial data in archaeology, as do some wider challenges that the archaeological community faces moving forward.

Since its launch, TikTok has become one of the world's most popular social media apps. Once primarily used by teenagers, this app is now used by people of all ages; this shift is largely attributable to the COVID-19 pandemic, when many people transitioned to engaging with others via social media instead of having in-person interactions. Now, anyone who has either the app or access to a web browser can view a plethora of videos, all 10 minutes and under, on any topic. Informational videos about archaeology may not be promoted on everyone's personalized home page—called the For You page (FYP)—but they are easily accessible through the search function. This review will discuss the impact TikTok has on the world of archaeology, with a focus on public engagement, museums, and especially teaching and learning. The social power of this app needs to be acknowledged. Archaeology can introduce the public to snapshots of daily life from the past, a task that fits well with the design of TikTok. This social platform can become a resource to create spaces to learn more, especially through interactive conversations such as in the comments section or response videos.

The Portable Antiquities of the Netherlands (PAN) is an online system aimed at recording and documenting archaeological finds by the public. Since PAN launched in 2016, it has become an important data contributor to Dutch archaeology, amassing over 100,000 recorded finds. These data, mostly the result of metal detection, enable scholars to gain new insights and policy makers to make more informed decisions. This review describes the context in which PAN was established, along with its current structure and scope, before looking at its different components, including the underlying database and linked data reference collection. In a final section, the article briefly addresses some common issues inherent to public reporting programs and how PAN approaches these issues.

YouTube is now a common public face for archaeology and history. Professionals and amateurs alike make videos, whether it be for monetary gain, outreach, or a combination of the two. The YouTube channel Ghost Town Living is no exception. It features the town's current owner, Brent Underwood, modifying the “abandoned” mining town of Cerro Gordo into a tourist destination. During this process, as is documented in his videos, it becomes clear that Underwood is not only conserving the town but also transforming it into an amalgam of California's mining history. In doing so and by presenting it on YouTube, Underwood is sharing the heritage of Cerro Gordo with the public. Although Underwood is not an archaeologist and is not pretending to be one, some of the methods employed are far from “best practice.” Despite this, I argue that perhaps the overall goals and processes of Underwood should be encouraged to some degree, and in this case, that they do more good than harm for the “preservation” of Cerro Gordo.

Video games are unparalleled as an interactive medium and can serve as potential educational tools through intelligent game design and the players’ immersion in the game world (e.g., Mayo 2009; Rassalle 2021; Rubio-Campillo 2020; Winter 2021). At the same time, video games, like any media, might also misinform (e.g., Aron 2020; Dennis 2019; Emery and Reinhard 2016). In this review, I present my impressions of the game Ancestors: A Humankind Odyssey (Panache Digital Games 2019), specifically regarding its portrayal of paleoanthropological themes. In preparing this review, I played the game in its entirety and subsequently interviewed the developers in order to clarify their intentions when designing the game (Patrice Désilets and Marc-André De Blois, personal communication 2021). Using the medium of video games, is it possible to make a “perfectly” accurate simulation of human evolution? Perhaps, but that may not matter anyway. In my view, video games, as exemplified by Ancestors, have great potential for exploring the basic components of human evolution and to reach and inspire a wider public that might otherwise learn very little about the subject matter.

Daily data collection during archaeological fieldwork forms the basis for later interpretation and analysis. Across the world, we observe a wide variety of digital data collection methods and tools employed during fieldwork. Here, we detail the daily practices at four recent survey and excavation projects in the South Caucasian country of Armenia. As archaeology continues to become ever more digital, it is useful to consider these day-to-day recording processes at a typical field project. We provide details on both the types of data collected and the ways they are collected so as to foreground these topics. Finally, we reflect on how our work is currently impacted by digital changes and how it may continue to change in the future.