Stratified Middle and Upper Palaeolithic sites in Central Asia are rare. The recently discovered Soii Havzak rockshelter, in the Zeravshan Valley in northern Tajikistan, is a stratified site that contains several phases of Palaeolithic occupation rich in lithic, faunal and charcoal remains that help establish chronology of the region.

After colonising the loess uplands of Bohemia, Moravia and Poland, c. 5500 cal BC, the earliest farming societies (LBK) spread northwest along the Oder valley; then expansion ended at Uckermark, where 119 findspots are located. Newly found sites indicate changes to housing and livestock-farming techniques, in particular the specialised production of dairy products.

Since the mid-twentieth century, the study of designs on seals has often focused on exotica and elite items. The PLOMAT project investigates visual and material communication outside of elite exchange networks during the Late Bronze Age in western Eurasia. The authors present results from plotting flows of ‘commonplace’ cylinder seals and those classified as ‘Common-Style Mittani’.

In the ninth century AD, Moravia (now in Czechia) was the heartland of the first Slavic state-like formation in Central Europe. Traditionally, the archaeology of the region has been interpreted via historical records only; the FORMOR project aims to broaden this view by using archaeometry, archaeogenetics, bioarchaeology and introducing new theoretical approaches.

This Andean coast research has identified 113-plus geoglyphs spanning the Formative (1800–100 BC) to the Inka period (AD 1470–1532). The project combined digital technology and Remotely Piloted Airborne Systems to locate the sites. The authors also documented examples of ceramics and intricate road systems and suggest that the finds represent meticulously ritualised landscapes.

Rock art can be useful as a factor in reclaiming Indigenous identities. One example of this phenomenon is work by contemporary artists who explore and integrate rock art in their creations. The author considers how and why a selection of artists in Siberia/Central Asia and Canada use these ancient images.