Hobby metal detecting is a controversial subject. Legal and policy approaches differ widely across national and regional contexts, and the attitudes of archaeologists and heritage professionals towards detectorists are often polarized and based on ethical or emotive arguments. We, the European Public Finds Recording Network (EPFRN), have implemented collaborative approaches towards detectorist communities in our respective contexts (Denmark, England and Wales, Finland, Flanders, and the Netherlands). Although our motivations are affected by our national circumstances, we base our work on an agreed set of goals, practices, and visions. This article presents the EPFRN's vision statement and provides insight into its underlying thoughts. We hope to create a debate on how to develop best practice approaches that acknowledge the inherent challenges of hobby metal detecting while realizing its potential.

In his paper ‘Quantitative analysis of open-source data on metal detecting for cultural property’, Samuel Hardy suggested that permissive policy is ineffective in minimizing the damage done to cultural heritage by non-professional metal detecting. This response paper contests the basic assumptions upon which this analysis is based. While Hardy‘s comparative, quantitative approach is laudable, it is founded in a biased and simplistic outlook on the metal detecting phenomenon.

No abstract

Since 2016, hobby metal-detecting is legal in Flanders (Belgium), although it was unofficially tolerated for many years before. However, research on metal-detected artefacts in Flanders is hindered by a low reporting rate. The MEDEA project aims to address this by encouraging detectorists to record their finds on an online platform. Finds experts are invited to enrich records with further information and thus instigate a rewarding feedback cycle. This paper discusses MEDEA's 'Human-Centred Design' development process and the design choices underpinning the platform. MEDEA may be seen as an example of 'Open Archaeology' and related trends in digital humanities.

No abstract