This article examines how landscape modification was key to the development of an urbanizing society within a valley in Chiapas, Mexico. The Late Preclassic (400 bc–ad 250) site of Noh K'uh demonstrates how both the altered and unaltered environment signified the importance of cosmological concepts within this society. In an area rich with mountains and caves, the natural landscape offered residents opportunities to create symbolically meaningful living spaces. Evidence from local settlements reveals how the cosmological universe played a guiding role during the site's peak growth period, suggesting that other common contributors (such as economic and militaristic needs) of expansion may have been secondary.

Archaeology in Sudan and Nubia has been greatly impacted by modern colonialism in northeast Africa. In theory and practice, the discipline's history in the region includes interpretations of past realities that worked as intellectual bases for colonization. From a postcolonial standpoint, Sudan and Nubia offer us an opportunity to investigate complexity in the past beyond oversimplifying colonial narratives entangled with the practice of modern archaeology in the region. However, more complex, postcolonial interpretations of the ancient past have played only a small part in ‘decolonizing’ initiatives aiming to reframe archaeological practice and heritage in Sudan and Nubia today. In this paper, I discuss the different trajectories of postcolonial and decolonial theory in archaeology, focusing on Sudan and Nubia (roughly the region south of Egypt from Aswan and north of Sudan up to Khartoum). I will argue that bridging postcolonial and decolonial theory through what I will refer to as ‘narratives of reparation’ can offer us ways to address both conceptual problems underlying theory and practice and avenues for an all-encompassing decolonization of the field.

Photography has been a particularly important though often under-theorized aspect of archaeological research. Although seemingly simple representations, photographs are simultaneously objective and subjective, truthful and creative. This article considers the contradictory nature of photography generally and the specific relationship between photography and archaeology. It then looks at the Yucatan peninsula of Mexico and examines how individuals have photographed ancient Maya sites, architecture and artifacts from the mid nineteenth century to the present. Initially used to support diffusionist theories of Maya origins, photography was later understood as a neutral and scientific way to record the Maya past. More recently, it has been used to share power more equitably with local communities and to make archaeology a more inclusive and relevant endeavour. Indeed, several have demonstrated that photography is a useful tool for engaged archaeology. This article argues that the reverse is also true: insights from engaged archaeology are useful tools for archaeological photography generally. By making photographic choices explicit and by including people and other aspects of the contemporary world in their photographs, scholars can emphasize that archaeology is a decisively human and necessarily political endeavour, and that archaeological sites and artifacts are dynamic and efficacious parts of the contemporary world.

Evidence for working rock crystal, a rare form of water-clear type of quartz, is occasionally recovered from prehistoric sites in Britain and Ireland, however, very little has been written on the specific methods of working this material, and its potential significance in the past. This paper presents the first synthesis of rock crystal evidence from Britain and Ireland, before examining a new assemblage from the Early Neolithic site of Dorstone Hill, Herefordshire. This outlines a methodology for analysing and interpreting this unusual material, and, through comparison with the flint assemblage, examines the specific uses and treatments of this material. Far from being used to make tools, we argue the distinctive and exotic rock crystal was being used to create distinctive and memorable moments, binding individuals together, forging local identities, and connecting the living and the dead.

Archaeologists have discovered numerous human skeletons densely deposited on the floors of the houses of the Hamin Mangha Neolithic site (3600–3100 cal. bc) in Tongliao City, northeast China. Some researchers have hypothesized that a plague led to the decline of the Hamin Mangha population. Without dismissing the power of environmental and epidemiological factors, here I will propose additional potential forces that may have led to social change. In this regard, I will employ entanglement theory along with concepts of relational ontology, habitus and social memory to provide an expanded explanatory framework for interpreting social decline in the Hamin Mangha site. I will construct and employ a modified entanglement model to analyse the changes that occurred. I will argue that the complexity, instability and contradictions created by what is referred to as ‘human–thing entanglements’ contributed to the decline of Hamin Mangha society. I will conclude that the concept of entanglement helps us to direct attention to major factors that underlie the process of social decline in the research site.

Classic Maya hieroglyphic writing displays a coherence across time and space that points to intensive, sustained communication among scribes about what they were writing and how. Yet we know little about what scribal transmission looked like on the ground or what knowledge scribes were conveying among themselves. This article examines the monumental hieroglyphic corpora from two communities, at Copan in western Honduras and at Palenque in Chiapas, Mexico, to illustrate local processes of innovation and exchange that shaped participation in regional transmission. I argue that distinct ‘cultures of creativity’ developed at Copan and Palenque from local elites’ varying understanding of their position in the Maya world and the nature of hieroglyphic inventions. These case studies attest to the multi-faceted nature of scribal production and exchange within a hieroglyphic tradition that remained largely coherent despite never being centrally administered. In addition, the study's palaeographic methods suggest possibilities for tracing dynamics of cultural innovation and transmission in the ancient past at multiple scales of society.

Animals were central elements in many early state political economies. Yet the roles of livestock in building and financing the state generally remain under-theorized, particularly in comparison with other major elements such as crop intensification and bureaucratic technologies. We compare the political economies of two highly centralized and expansive states—the Inca in the central Andes and Ur III in southern Mesopotamia—through a deliberately animal-focused perspective that draws attention to the unique social and economic roles of the livestock that underpinned both imperial financing and household resilience. Despite important differences in the trajectories of the two case studies, attention to the roles played by animals in early states highlights several underlying dynamics of broader interest including the translation between modes of production and accumulation, the interplay between animal-based mobilities and territorial integration, and the functions of livestock in state regimes of value and political subjectivity.

In this paper, we discuss the occurrence of lions, bears and leopards in south Levantine archaeological assemblages between the last glacial maximum (c. 25,000 years ago) and the Iron Age (c. 2500 years ago). We argue that the occurrence of these large carnivores constitutes a significant long-term cultural feature that begins with the first settled hunter-gatherer communities of the Natufian culture. Importantly, we show that carnivoran species representation in the archaeological record shifts through time, with leopards common during the Neolithic and lions and bears during the Bronze and Iron ages. These shifts, we suggest, are best understood as reflecting the interplay between costly signalling and symbolism as they interacted through processes of increasing socio-political complexity.

The issue addressed in this article is essentially whether the same cognitive processes are at work for mimetic prehistoric graphic productions and schematic ones. Holocene schematic rock art is one of the main graphic expressions of European prehistory, from the Iberian peninsula to Italy. Despite its wide distribution and the incomparable insight it may provide on the functioning of prehistoric human groups and the cultural geography of the western European Neolithic, this rock art's imprecise chronology and geometric and schematic nature has often led to its exclusion from research on these societies, particularly in France. This paper proposes a study of schematic rock art from the perspective of the pragmatic and cognitive semiotics of visual culture and suggests that the production and purpose of diagrams, which compose so-called schematic rock art and which are common to all human societies, are different to those of figurative images, as is their cognitive origin. This demonstration sheds a new light on schematic rock art and the social practices it involved and invites us to rethink its coexistence with the Levantine imagery from the Spanish Levant.