This paper draws attention to the fact that east-central Sweden consisted of an extensive archipelago throughout the Stone Age. An image of the Mesolithic cultural landscape is beginning to take shape, since a large number of sites have been found and excavated in recent years. The remains of the sub-regions on the mainland and at the inner margin of the archipelago are interpreted as reflecting changes in material culture without any corresponding change further out. In considering why people of some sub-regions were more susceptible to new ideas than those of others, the specific physical setting and the strong social order prevailing in fishing and seal-hunting communities are regarded as factors which prevent rapid changes.

The authors discuss results of long-term Dutch field projects in three regions in Italy and review case studies taken from these study areas in the light of indigenous developments in early Italian centralization and urbanization. By looking at regional developments in the domains of economy, religious and funerary practice as well as that of social relationships, they arrive at the conclusion that material culture was actively used in indigenous contexts. There is a consequent need for re-definition of centralization and urbanization, which in the Italian context are often seen as non-indigenous achievements. Comparative regional research, as suggested by the authors' case studies on the Sibaritide, the Brindisino and the Pontine region, will reveal both general trends concerning the concepts discussed and regional idiosyncrasies depending on regional traditions, histories and the regional landscape. To this end, a new project was launched, known as the Regional Pathways to Complexity project, that is introduced to the reader at the end of this paper.

Most people are used to forgetting the past quite quickly and are inclined to consider the recent situation as normal and forever valid. Comparisons of the East and the West often neglect the depth of the historical development between 1945 and 1990. Descriptions of East German situations and occurrences from the forties to the sixties often unconsciously suggest a comparison with the present-day Federal Republic.

The Bell Beaker site near Brodek u Prostějova (Czechia) has yielded remains of a large timber construction accompanied by four symmetrical ritual deposits with numerous artefacts, including more than fifty ceramic vessels. Their decoration consists of incised patterns, in nineteen cases with preserved white inlaid incrustations. To investigate the social relations at this extraordinary site, a multi-analytical and micro-destructive approach was employed to determine the provenance and technology of the pottery and the composition of the white incrustations. The results indicate various origins for the pottery within the region and the presence of extra-regional fabrics and graphitic temper. The main raw materials for the white inlays were calcium carbonate (calcite), hydroxyapatite (bone), and bright clay. The mixing of decorative motifs and the variation in the shape and size of the beakers suggest unique manufacturing processes. These results lend support to the monumental site of Brodek serving as a ritual place for several communities from both local and wider areas.

AMS radiocarbon dating has been widely applied in Palaeolithic art research and its value has been proven over the past three decades. Yet it still suffers from issues that need to be discussed and analysed to improve future sampling strategies and strengthen the interpretation of the results. This study presents new AMS dates for the parietal art in Cueva de Las Chimeneas in northern Spain, describes the quality of the samples, and discusses their reliability. The joint assessment of the dates and its comparison with previously obtained dates as well as stratified and dated portable art makes it possible to put forward a hypothesis about the time of creation of the cave's parietal art and the degree of synchrony or diachrony in its production. Consequently, it is proposed that the cave art at Las Chimeneas was created in the lower Magdalenian, between 19,000 and 17,500 cal bp.