Unique objects are often poorly integrated into discussions about the social organization of production or technological processes. Often they are frustratingly interpreted as ritual or prestige objects, or they are simply consigned to footnotes in archaeological reports. This does not do them justice and their contextualization may provide greater insight into the social factors involved in production activities. This paper attempts to demonstrate what unique, or one-off, objects can tell us about technological systems and how improvisational technical choices can lead to innovation within society. It focuses on a particular example of pottery production and usage at the Copper Age site of San Blas (Spain) and how two particular vessels on the surface appear to be unique one-off products. This paper shows that one-off objects may in fact be opening the door to innovation through acts of improvisation within existing socially sanctioned production aesthetics and object ideals.

The Achaemenids conquered Anatolia in the sixth century bce. However, in contrast to the historical descriptions of political response to Achaemenid control, e.g. the so-called ‘Ionian revolt’ of east Greek territories in Western Anatolia, the operation of Achaemenid-period economies in this region remains obscure. Only a handful of occupation sites in western Turkey provide archaeological data contemporary with Achaemenid rule. In this paper, we compare the results of compositional analysis on Achaemenid-period ceramics from a provincial centre, Seyitömer, with comparable analyses from similar periods at Sardis and Gordion. During the period of Achaemenid control a comparatively high level of compositional and typological diversity at this provincial centre suggests a surprising increase in regional connectivity, both locally and with East Greek and Greek centres.

Following trends in anthropology, the human body has recently become an important topic of discourse in archaeology. While some anthropologists consider the body as a social metaphor or site of symbolic inscription, others have questioned the validity of approaches based on the dichotomization and hierarchization of the mind and body. Semasiology, in particular, offers an epistemologically sound basis for interpreting the body, by grounding agency in the socially-structured actions that constitute corporeal space. This article applies the semasiological concept of the action-sign to archaeological problems through an examination of the interrelationship between Tairona anthropomorphic imagery and remains of ceremonial architecture at Pueblito, an archaeological site in Colombia. In both cases, physical remains constitute the traces of the actions through which agential persons created sacred spaces, and the meanings of these spaces may be more fully reconstructed by comparing diverse modes of embodiment. Tairona figural art and architecture constitute a creative technology, serving as an indexically-bound nexus of embodied social action.

Depictions of mythical beings appear in many different forms of art world-wide, including rock art of various ages. In this paper we explore a particular type of imagery, back-to-back figures, consisting of two human-like figures or animals of the same species next to each other and facing in opposite directions. Some human-like doubles were joined at the back rather than side-by-side, but also face opposite directions. In this paper, we report on new research on rock art, bark paintings and recent paintings on paper and chart a 9000-year history of making aesthetically, symbolically and spiritually powerful back-to-back figures in Arnhem Land, Northern Territory, Australia.

The unknown and exotic North fascinated European minds in the early modern period. A land of natural and supernatural wonders, and of the indigenous Sámi people, the northern margins of Europe stirred up imagination and a plethora of cultural fantasies, which also affected early antiquarian research and the period understanding of the past. This article employs an alleged runestone discovered in northernmost Sweden in the seventeenth century to explore how ancient times and northern margins of the continent were understood in early modern Europe. We examine how the peculiar monument of the Vinsavaara stone was perceived and signified in relation to its materiality, landscape setting, and the cultural-cosmological context of the Renaissance–Baroque world. On a more general level, we use the Vinsavaara stone to assess the nature and character of early modern antiquarianism in relation to the period's nationalism, colonialism and classicism.

David Lewis-Williams is well-known in rock-art circles as the author of a series of articles drawing on ethnographic material and shamanism (notably connected with the San rock art of southern Africa) to gain new insights into the Palaeolithic cave art of western Europe. Some 15 years ago, with Thomas Dowson, he proposed that Palaeolithic art owed its inspiration at least in part to trance experiences (altered states of consciousness) associated with shamanistic practices. Since that article appeared, the shamanistic hypothesis has both been widely adopted and developed in the study of different rock-art traditions, and has become the subject of lively and sometimes heated controversy. In the present volume, Lewis-Williams takes the argument further, and combines the shamanistic hypothesis with an interpretation of the development of human consciousness. He thus enters another contentious area of archaeological debate, seeking to understand west European cave art in the context of (and as a marker of) the new intellectual capacities of anatomically modern humans. Radiocarbon dates for the earliest west European cave art now place it contemporary with the demise of the Neanderthals around 30,000 years ago, and cave art, along with carved or decorated portable items, appears to announce the arrival and denote the success of modern humans in this region. Lewis-Williams argues that such cave art would have been beyond the capabilities of Neanderthals, and that this kind of artistic ability is unique to anatomically modern humans. Furthermore, he concludes that the development of the new ability cannot have been the product of hundreds of thousands of years of gradual hominid evolution, but must have arisen much more abruptly, within the novel neurological structure of anatomically modern humans. The Mind in the Cave is thus the product of two hypotheses, both of them contentious — the shamanistic interpretation of west European Upper Palaeolithic cave art, and the cognitive separation of modern humans and Neanderthals. But is it as simple as that? Was cave art the hallmark of a new cognitive ability and social consciousness that were beyond the reach of previous hominids? And is shamanism an outgrowth of the hard-wired structure of the modern human brain? We begin this Review Feature with a brief summary by David Lewis-Williams of the book's principal arguments. There follows a series of comments addressing both the meaning of the west European cave art, and its wider relevance for the understanding of the Neanderthal/modern human transition.

Studies into the presence and absence of post-European contact rock art within Indigenous communities are particularly relevant to questions of colonial impact and influence. However, it is the presence of post-contact motifs and introduced subject matter that typically takes precedence in these studies. In this paper, we focus on the absence of post-contact paintings of European ships in Torres Strait (northeastern Australia) rock art. This absence is curious, given that Torres Strait peoples first encountered European ships over 400 years ago, yet the only paintings of watercraft are of their own double outrigger canoes. Furthermore, ethnographic information suggests many painted canoes were spirit canoes used by spirits of the dead, and European mariners were considered spirits of the dead who travelled in ‘ghost ships’. Despite apparent epistemological and ontological congruence between Islander and Kaurareg canoes and European ships, we argue the latter were conceptually and metaphysically different to spirit canoes and thus fell outside of the representational (rock art) genre of watercraft that was limited to spirit canoes. The lack of Torres Strait post-contact rock art reveals that reasons for the inclusion of introduced subject matter in post-contact rock art are likely to extend beyond simple exposure to, and familiarity with, so-called new subject matter.

In responding to Scott's Against the Grain, my goal is not to write a book review. I take it as unnecessary to point out all the details that Scott, a historical anthropologist of South East Asia, got wrong about ancient history and archaeology. Instead, I want to take seriously Scott's own hope that his book would be read as a provocation and, in doing so, work through some of its larger problems and its potential.

Archaeological materials from the Mediterranean world in Southeast Asia are scarce and their social context and cultural implications are rarely considered, while objects in Mediterranean style are often misinterpreted or overlooked. Concomitant to the increasing implementation of laboratory analysis, the range of new evidence, especially coming from recently excavated sites in Thailand and Myanmar, along with the reinterpretation of earlier data now brings the potential to compare different regions, and to discuss possible variations in terms both of the diversity and density of Roman materials. This study includes Mediterranean imports produced between the last centuries bce and first centuries ce, as well as Asia-produced inspired objects that integrate Mediterranean elements to varying degrees, combining new data and re-analysed materials. The paper not only contributes to building the sequence of cultural exchanges, but also interprets in cultural terms the varying Mediterranean elements present.

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.

This paper presents key results of the Making a Mark project (2014–2016), which aimed to provide a contextual framework for the analysis of mark making on portable artefacts in the British and Irish Neolithic by comparing them with other mark-making practices, including rock art and passage tomb art. The project used digital imaging techniques, including Reflectance Transformation Imaging (RTI), and improved radiocarbon chronologies, to develop a new understanding of the character of mark making in the British and Irish Neolithic. Rather than considering this tradition in representational terms, as expression of human ideas, we focus on two kinds of relational material practices, the processes of marking and the production of skeuomorphs, and their emergent properties. We draw on Karen Barad's concept of ‘intra-action’ and Gilles Deleuze's notion of differentiation to understand the evolution and development of mark-making traditions and how they relate to other kinds of social practices over the course of the Neolithic.

Early urban societies feature specialized processes that integrate disparate populations as part of their social construction. One such process is commensalism and the associated display of exotica from interregional interaction. Hosts of a feast between 400 and 300 bce at the early urban centre of Etlatongo, in the Mixteca Alta of Oaxaca, Mexico, displayed pottery that manifested relationships with urban elites at Monte Albán and other regions of Oaxaca, but also expressed connections with something fundamentally different. The hosts sacrificed a greenstone sculpture in the Mezcala style from Guerrero state, located to the west and previously unknown in Oaxaca aesthetics. The discovery of this figure contributes to reassessing the extent of interaction during a time often marked by regionalism in Oaxaca as well as providing information on the little-known Mezcala civilization. A relational ontology explores how the discovery of this agentive object and the alterity of its aesthetics facilitates understanding perceptions of distant others or imaginaries, and how such entanglements facilitated processes of status differentiation for nascent urban elites, particularly their role as mediators.