Recent years have seen the rapid adoption of digital site recording strategies following the proliferation of GPS-enabled mobile devices and data collection apps. Much of the emerging literature on digital—or paperless—archaeology, however, has focused on excavation contexts, with fewer discussions of mobile-GIS solutions on archaeological survey. This article discusses the design and implementation of a site survey workflow based on Esri's ArcGIS Collector mobile app in the context of Project ArAGATS's Kasakh Valley Archaeology Survey in northwestern Armenia. The Collector app provides a simple, map-centric user interface that allows surveyors with little-to-no GIS experience to record site locations, enter attribute data on customized digital forms, and attach photographs. With a network connection, the Collector app instantly uploads site information as GIS data to the project geodatabase and refreshes the data across surveyors’ mobile devices. Although the Collector app lacks certain GIS features and requires an institutional Esri license, we found that the native integration with our project GIS and broad access to visualization and recording tools in the app made in-field decision-making and interpretation more collaborative and inclusive across the survey team.

Historic archaeological resources in the American West are increasingly at risk of loss because of prolonged droughts, wildfires, earthquakes, general deterioration, and the negative impact of increasing visitation. Casual visitors regularly remove objects from their original contexts in the landscape, either taking them home as souvenirs or bringing them to local staff because they are concerned about the items disappearing. As a result, many sites of cultural significance are losing the ability to convey the information required for scholarly interpretation and for drafting community and life histories of their past residents. We argue that citizen science and mobile apps specifically designed for site stewardship are viable tools for alleviating negative human impacts on cultural landscapes and enhancing our capacity to record and monitor sites of cultural heritage. We contend that our approach uses an innovative interface, the Citizen Preservationist app, an open-source hybrid mobile/desktop software we developed to foster both current use and protection of archaeological sites and historic parks. We demonstrated the viability of our app by conducting a user study at Bodie, California (ca. 1859–1942), that assessed how this software promotes a sense of stewardship and appreciation for the archaeological heritage of this beloved California State Historic Park.

Archaeologists have a responsibility to use their research to engage people and provide opportunities for the public to interact with cultural heritage and interpret it on their own terms. This can be done through hypermedia and deep mapping as approaches to public archaeology. In twenty-first-century archaeology, scholars can rely on vastly improved technologies to aid them in these efforts toward public engagement, including digital photography, geographic information systems, and three-dimensional models. These technologies, even when collected for analysis or documentation, can be valuable tools for educating and involving the public with archaeological methods and how these methods help archaeologists learn about the past. Ultimately, academic storytelling can benefit from making archaeological results and methods accessible and engaging for stakeholders and the general public. ArcGIS StoryMaps is an effective tool for integrating digital datasets into an accessible framework that is suitable for interactive public engagement. This article describes the benefits of using ArcGIS StoryMaps for hypermedia and deep mapping–based public engagement using the story of copper production in Iron Age Faynan, Jordan, as a case study.

Archaeologists have struggled to combine remotely sensed datasets with preexisting information for landscape-level analyses. In the American Southeast, for example, analyses of lidar data using automated feature extraction algorithms have led to the identification of over 40 potential new pre-European-contact Native American shell ring deposits in Beaufort County, South Carolina. Such datasets are vital for understanding settlement distributions, yet a comprehensive assessment requires remotely sensed and previously surveyed archaeological data. Here, we use legacy data and airborne lidar-derived information to conduct a series of point pattern analyses using spatial models that we designed to assess the factors that best explain the location of shell rings. The results reveal that ring deposit locations are highly clustered and best explained through a combination of environmental conditions such as distance to water and elevation as well as social factors.

In the past decade, archaeologists have increasingly made use of photogrammetry, the process of creating 3D models from photographs, in a variety of field and lab settings. We argue that we must, as a discipline, develop a consistent methodology to ensure that 3D models are held to a consistent standard, including not only photographic protocol but also the documentation of model accuracy using an agreed-upon measure. To help develop this discussion, we present our system for incorporating photogrammetry into the documentation of architecture. This technique was developed at the site of Nim Li Punit, Belize, in 2018. Excavating architecture involves documenting the pre-excavated building, liberating overburden, documenting all in situ construction (including wall fall, fill stones, and standing architecture), drawing consolidated architecture, and documenting the final state of the post-excavated buildings. The generation of 3D models greatly assisted in all facets of the excavation, documentation, analysis, and consolidation processes. To ensure that our models were accurate, we documented the reprojection error and final model horizontal distortion to assess the quality of the model. We suggest that documenting both forms of error should become standard practice in any discussion of archaeological applications of photogrammetry.

Although we, as archaeologists, recognize the value in teaching nonprofessionals about our discipline and the knowledge it generates about the human condition, there are few of these specialists compared to the number of archaeologists practicing today. In this introductory article to the special section titled “Touching the Past to Learn the Past,” we suggest that, because of our unique training as anthropologists and archaeologists, each of us has the potential to contribute to public archaeology education. By remembering our archaeological theory, such as social memory, we can use the artifacts we engage with on a daily basis to bridge the disconnect between what the public hopes to gain from our interactions and what we want to teach them. In this article, we outline our perspective and present an overview of the other three articles in this section that apply this approach in their educational endeavors.

The Public Archaeology Facility's (PAF) Community Archaeology Program (CAP) at Binghamton University began 25 years ago in response to intense community interest in participating in archaeology. Although non-archaeologists have unlimited access to programming and social media about archaeology, there is more limited access to professionally supervised opportunities. PAF developed CAP to provide non-archaeologists with the opportunity to participate in highly supervised archaeological research projects to share in the process of discovery at the “trowel's edge.” CAP recognizes the challenges and critiques of community programs and mitigates these by creating a climate of ethical practice. Our goal is to educate individuals about the presence of a rich and fascinating past in their own communities and create the sweat equity that can result in advocates for preservation. We operate under the principles that the heritage story embedded in an artifact is worthy of our respect and protection, and that an educated public is more likely to support the preservation of this heritage. Making a connection to people through artifacts builds not only a deeper understanding of the past but also an empathy for preservation. In this article, we introduce the program and reflect on the 25-year history of CAP and future directions.

The Office of the Wyoming State Archaeologist has as one of its main objectives to actively engage the population of Wyoming in archaeological stewardship. To achieve this goal, in the past five years, we have launched the youth-oriented Summer Ventures program and the adult-oriented Wyoming Avocational Archaeology Training Program. Both programs were inspired by existing programs in other parts of the country and were launched following research and target audience surveys on how to best adapt them to Wyoming. Despite this preliminary research, our in-field experiences over the past few years have shown some patterns that are causing us to rethink both programs. This article discusses these initial in-field testing years, the issues we have encountered, and the ways we are redesigning both programs to better target the appropriate audiences in light of the different lifestyles of populations, particularly those of youths, in a rural state.

In the United States, deaccessioning is a poorly understood collections management tool. Archaeologists often view deaccessioning with what Robert Sonderman called “primal fear,” and this fear has caused them to overlook the opportunities that deaccessioned artifacts and collections may provide in the area of public archaeology education. Although deaccessioning without checks and balances can be problematic, when done properly and ethically, it offers previously untapped resources to the creation of educational programming, such as teaching trunk programs. This article discusses the process of deaccessioning and suggests that deaccessioned artifacts may be useful as content for teaching trunk programs. We discuss a case study from our own institution, where we implemented a trunk program in 2016 that was largely stocked with material from a deaccession we had performed the previous year. We also offer suggestions for anyone wishing to implement a similar program.

Combining the strengths of “traditional” documentary filmmaking (as “creative treatments of actualité”) with the immersive power of interactive digital technologies (from 360° video to VR to data mining to algorithms), i-Docs can transform audiences into participants, co-creators, and collaborators in nonfiction storytelling, allowing them to not only explore and experience a story on their own terms but to remix, share, and contribute their own content to a collective story. i-Docs are cross- and multiplatform, screening across cinema, computers, smartphones, and gallery installations. Showcased at leading film festivals, increasingly adopted by broadcasters—including PBS, Al Jazeera, and BBC—and critically acclaimed from the Webbys and the Pulitzers to Cannes, the i-Doc sector is set to boom. After a close reading of two i-Docs, Hunt for the Inca Ruins (2017) and Saydnaya (2016), I consider the potential of i-Docs to resolve archaeologists’ concerns about misrepresentation, accuracy, information quality, (co)authorship, and crediting original research in documentary storytelling. I also examine the sector's shortcomings of unstable production pathways, funding sources, technologies, and difficulties assessing impact. I propose that archaeologists should engage proactively with the i-Doc sector if we wish to avoid the pitfalls previously encountered in film and factual TV and make the most of this new format.