Southern England, especially after yet another miserably wet summer, seems a surprising place to find neolithic grape-pips – at least by comparison with the sunnier places like southern France and Greece where early records of both wild and domesticated grapes have been reported. But here is a find of a grape-pip from neolithic Dorset.

Since seeds and grains have in the past proved intrusive even into deposits that seemed stratigraphically secure, an uncomfortable choice had to be made after the identification: to preserve the pip, leaving its date unproven; or to make a radiocarbon determination on the pip and so to destroy it in securing evidence of its date. The second option was taken, which is why this report is on a pip which no longer exists.

Excavations at the salt-making village of Kibiro, on the Ugandan shore of Lake Albert in East Africa, suggest that an important part of the economy of the Kingdom of Bunyoro originated early in the present millennium. The predominance of roulette-decorated pottery, in particular the use of carved roulettes, indicates that Kibiro was first occupied by people with northern affinities, possibly from the upper Nile region or further west. Collectively, these findings provide important clues concerning the origins of the Kingdom of Bunyoro.

Surface features that possess no useful stratigraphy and are not, by their own nature, informative about their age, are notoriously hard to date. A study of associations now defines with good confidence the dates of the surface arrangements of stones and of cleared areas that make up some of the celebrated Nazca lines, Peru.

Well-designed experimental archaeology combined with ingenious social argument show that a type of coarse-ware pottery, the BRB, performed a key role in early Mesopotamian governance. Its thick walls and conical shape produce a fine loaf of risen bread, supplied perhaps as tasty recompense to those undertaking the newly-proliferating public administrative duties.

The graphic rock-paintings of southern Africa, with their lively and colourful scenes, have long been one of the glories of the continent's archaeology. The last years have seen them become intellectually quite as graphic, as fragments of San ethnography and ethnohistory have been found to provide a commentary that allows aspects of their symbolism and meaning to be explored. This paper goes beyond, to see what can be iluminated without benefit of commentary.

How can we explain the variations and similarities of Palaeolithic art? Are we to suppose that European artists conformed to one great evolutionary sequence over 20 millennia? Or is the variation geographical, ideological or social? The author begins to address these big questions by deconstructing over 900 images of the horse, the animal most commonly depicted in European caves. He finds it possible to distinguish variations due to differences in live animals and due to differences in methods of representation – allowing the isolation of those few differences due to style. Applying this to a case study at Parpalló in Spain, he notes that the local sequence of horse images correlates with other cultural changes. Here is a method of great potential for revealing conservative and innovative trends.

Studies of prehistoric extractive and fabrication techniques suggest that the traditional view, that the earliest copper metallurgy in the British Isles was based on the exploitation of primary minerals deriving from the southwest of Ireland, is fallacious. Elaborate mineral selection and process control is not needed to produce copper of the composition reported for the Early Bronze Age, and so ore deposits in Britain were probably being exploited from a very early period.

The last four decades have seen marked changes of opinion about the chronology of the Neolithic. While at first a high dating for the Central European Neolithic was generally accepted, since the Second World War this has given way to a short chronology. With the help of archaeological stratigraphy and comparative methods of research it has been possible to determine anew the relative succession of the individual cultures, and to establish convincingly the temporal priority of those parts of South-eastern Europe adjacent to the Near East.

The relationship between economic power and political centralization during the First and Second Palace Periods of Bronze Age Crete is a topical theme in Aegean studies. Here, two scholars argue the case for continuity in the economic base of palatial political authority.

Among the most impressive monuments of the earlier part of the Bronze Age in Crete are the great circular communal tombs which began to be built, notably in the Mesara plain but also in other parts of the island, before 2000 B.C., and flourished in use throughout the first half of the 2nd millennium. Similarly, the most magnificent surviving architectural creations of the Late Bronze Age in the Aegean area are the stupendous beehive or tholos tombs of the chief Mainland centres like Mycenae. Tombs of this type, with corbelled stone vaults sunk in the ground and approached by long entrance passages (dromoi), seem to appear for the first time in the Aegean about 1600 B.C., and reach their finest and grandest expression on the Mainland of Greece in the two centuries between 1500 and 1300 B.C. A map of the Aegean area showing the distribution of these two types of tombs accompanies this article (FIG. I).

Going into a cave or shelter, one walks where one can stand upright or has to crouch less. That affects which zones objects are trampled on, which zones they may be kicked out of, which zones they may be kicked into. And those effects interact with the usual spatial order–with its activity zones and drop zones–that develops through occupation of the enclosed cave or shelter.

The authors present the musical properties of well-preserved bone flutes recently recovered from Jiahu, an early Neolithic site in central China with a sequence beginning in the seventh millennium BC (Antiquity 77: 31–44). Tonal analyses of five of the flutes indicate a gradual development from four-tone to seven-tone scale. By adding more holes to the pipe, structuring the pitch intervals closer to each other, and by alternating the keynote, the prehistoric musicians could play increasingly expressive and varied music. In addition, the flutes became progressively standardised in pitch, presumably so they could play in harmony. The study shows that the Jiahu flute makers and their musicians became progressively familiar with acoustics and developed a cognitive scheme of music comparable to that of modern times.

The archer's bow is a machine whose purpose is to impart stored energy effectively and accurately to propel the arrow. A mathematical modelling of different bow types shows how their engineering characteristics define their performances.

Analysis of knapped obsidian and flint artefacts from the early ceramic Neolithic site of Çatalhöyük has shown that there were several strategies used for the production of knapped-stone tools, and that there was a profound change in the character of lithic production occurring approximately during the middle of the occupation sequence. This paper outlines the details of this technical change and, with reference to possible changes in subsistence strategies and the organization of production, offers some explanations for its occurrence.

We are pleased to present here a preliminary account of the first discovery of Palaeolithic cave art in Britain.

On 14 April 2003 we made the first discovery of Palaeolithic cave art in Britain. Since portable art of the period has long been known in this country (Sieveking 1972; Campbell 1977: vol. 2, figs 102, 105, 143), it has always seemed probable that parietal art must also have existed. We knew that we were most unlikely to discover paintings, since these are generally quite visible; but as far as we knew, nobody with a trained eye and advantageous lighting had combed the British caves in search of engravings, which are often extremely difficult to see. Such was the purpose of our initial survey and, sure enough, we rapidly encountered engraved marks in a number of caves, which we will be investigating more fully and systematically in the near future. At the well-known sites of Creswell Crags, in Derbyshire, we found both figurative and non-figurative engravings of the period. What follows is a brief, preliminary announcement of a discovery soon to be further amplified in print following systematic investigation.