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The number of scientific articles published each year is on the rise, but the current system, which is dominated by a few for-profit publishers, has become prohibitively expensive for many institutions. This model of publishing is increasingly being criticized for its serious flaws. The deposit of preprints in open archives is a solution for the rapid dissemination of research. However, the quality of these preprints must be ensured. This is where Peer Community In (PCI) comes in, by organizing communities of researchers to assess the quality of the work deposited in open archives. In 2020, a PCI dedicated to Archaeology was established, with over 100 archaeologists acting as recommenders. These recommenders handle the submitted preprints as associate editors would in traditional journals, but at the end of the process, they write a recommendation text, and the entire editorial process is published with it. So far, PCI Archaeology has received 45 submissions, mostly pertaining to Prehistoric periods, and from authors located in different regions of the world. This open process has been widely accepted by reviewers, but there is still a need to promote the use of preprints in the community of archaeologists. [ABSTRACT FROM AUTHOR]

Paleolithic art offers unique perspectives on prehistoric societies and cultures. It is also considered a key component of modern human behavior. Until recently, Paleolithic artworks were thought to be geographically restricted to a very few areas, especially southwestern Europe. Discoveries of art in other parts of Europe and other parts of the globe have challenged this vision, expanding the documented distribution of this important cultural phenomenon. As a consequence, there has been renewed interest in less well-known areas, with the goal of determining whether the current lack of art is a reflection of a past reality, the product of limited research, or a matter of preservation. One of these regions is the Balkan Peninsula, a key area for understanding Upper Paleolithic societies given its location at the crossroads of several migration routes into Europe. This article provides a comprehensive overview of the Paleolithic symbolic products, including both rock art and portable art from the Balkans. Recent research has led to new discoveries and insights into the symbolism of this long-neglected area. The present review, combining existing literature and new fieldwork, sheds new light on social and cultural interactions in this part of the continent and leads to a better understanding of its role within the European Upper Paleolithic cultural sphere. [ABSTRACT FROM AUTHOR]

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