Ever since Alexander Thom visited Calanais in the Outer Hebrides, groups of Neolithic monuments in western Scotland have been studied in relation to the land and the sky. Less attention has been paid to their close relationship with the sea. These places were secluded and could be difficult or dangerous to reach, yet details of their architecture suggest that there were close links between them. How important were long distance connections between 3000 and 2000 bc? Were some ceremonial centres visited by boat? And was the journey itself treated as a rite of passage? The case extends to structures in Orkney and Ireland.

Decorated cists have been identified at three burial cairns in Kilmartin Glen, Mid Argyll. The paper provides a new analysis of the cover slab at Nether Largie North, which features a series of pecked axeheads. Previous studies suggested that they replaced an array of cup marks, but the evidence of photogrammetry suggests a longer sequence and a more complex scheme. The same approach was taken to the decorated cists beneath the Nether Largie Mid cairn and a comparable structure at Ri Cruin. Additional depictions were identified. The carvings within all three cists are organised in similar ways. They date from a period in the Early Bronze Age when metal was imported from Ireland. At the same time, the reuse of older structures suggests a new concern with the past.

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Within sight of the Neolithic axe quarries on the Langdale Pikes is a group of massive boulders at Copt Howe. The two largest command a direct view of the stone source where the sun sets into the mountainside at the midsummer solstice. Both are decorated by pecked motifs which resemble features of Irish passage tomb art. Small-scale excavation in 2018 showed that a rubble platform had been built at the foot of the main decorated surface and sealed two further motifs of similar character. New work has established an important sequence in Great Langdale. Recently obtained radiocarbon dates indicate that the main period of axe production was between 3800 and 3300 bc, whilst Irish megalithic art is later and was made between about 3300 and 2900 bc, suggesting that Copt Howe achieved its importance after axe-making had ceased or was in decline. That is consistent with an increasing emphasis on relations between northern Britain and Ireland during the Late Neolithic period. Perhaps Copt Howe itself was treated as a ‘natural’ passage tomb.

The practice of field archaeology depends on the ability to distinguish between cultural and natural features of the landscape; the same is true of heritage management. Early antiquarians found it difficult to maintain this distinction before the development of the discipline of geology, and prehistoric communities may have experienced similar problems. That is not surprising since the distinction between nature and culture is a recent development in Western thought. Mounds, cairns, rock outcrops and glacially transported boulders must have been difficult to interpret, especially in regions where there is convincing evidence that ancient monuments were reused in the past. These observations are illustrated by a recently excavated site in Strathtay, Scotland, where a geological outcrop seems to have been treated as the remains of a megalithic tomb of Neolithic date. During the Early Bronze Age, the rock was embellished with a zone of cup marks directed towards the midsummer sunrise, a cairn was erected, quartz was extracted, and pieces of worked stone were deposited in cracks visible in the surface of the stone. Others were spread across the surface of the site. The site was treated as if it was a built structure of some antiquity. On analogy with objets trouves, it can be described as an example of 'found architecture'.

The paper considers the significance of one of the largest collections of earlier prehistoric artefacts associated with a Scottish dune system. It came from a narrow spit, formerly an offshore island, at the mouth of Loch Fleet and was dominated by large numbers of arrowheads dating from the Early Neolithic period and the Beaker phase. They seem to have been made there, and many were unfinished. The original findspots are inaccessible today, but a programme of field walking in the surrounding area confirmed their exceptional character. Perhaps this remote location was chosen as a production site because of the specialised roles played by the artefacts made there. The results of this project are compared with similar evidence from the Culbin and Luce Sands.

This paper considers the earliest metalwork hoards in Scotland, most of which have been found at conspicuous points in the landscape. The treatment of individual objects suggests that they had been carefully selected before they were deposited. Fieldwork, combined with computer reconstruction, shows that half the collections with adequate provenances come from places with direct views of the rising and setting sun at the solstices. The main emphasis seems to have been on midwinter.

The paper considers the significance of one of the largest collections of earlier prehistoric artefacts associated with a Scottish dune system. It came from a narrow spit, formerly an offshore island, at the mouth of Loch Fleet and was dominated by large numbers of arrowheads dating from the Early Neolithic period and the Beaker phase. They seem to have been made there, and many were unfinished. The original findspots are inaccessible today, but a programme of field walking in the surrounding area confirmed their exceptional character. Perhaps this remote location was chosen as a production site because of the specialised roles played by the artefacts made there. The results of this project are compared with similar evidence from the Culbin and Luce Sands.

The distinctive architecture of Neolithic passage tombs reproduces the fundamental format of a camera obscura. Could Neolithic people have projected animated images of the outside world into the chambers of these monuments? Fieldwork in Wales and Scotland reveals that the methods required to generate optical projections inside passage tombs are straightforward and do not require a lens. At those sites that feature a solar alignment it is possible to project an enlarged disc of the sun into the chamber, while the landscape is visible within others. Some of the most distinctive effects featured projections of people; spectral human figures that moved through the monument, or even appeared to emerge from the walls. These phenomena are striking to witnesses in the present day. In the Neolithic, such intense multisensory events might have transformed passage tombs into places where people engaged with spectacular and otherworldly experiences.

During the 1980 s, acoustic studies of Upper Palaeolithic imagery in French caves—using the technology then available—suggested a relationship between acoustic response and the location of visual motifs. This paper presents an investigation, using modern acoustic measurement techniques, into such relationships within the caves of La Garma, Las Chimeneas, La Pasiega, El Castillo, and Tito Bustillo in Northern Spain. It addresses methodological issues concerning acoustic measurement at enclosed archaeological sites and outlines a general framework for extraction of acoustic features that may be used to support archaeological hypotheses. The analysis explores possible associations between the position of visual motifs (which may be up to 40 000 yrs old) and localized acoustic responses. Results suggest that motifs, in general, and lines and dots, in particular, are statistically more likely to be found in places where reverberation is moderate and where the low frequency acoustic response has evidence of resonant behavior. The work presented suggests that an association of the location of Palaeolithic motifs with acoustic features is a statistically weak but tenable hypothesis, and that an appreciation of sound could have influenced behavior among Palaeolithic societies of this region.

An examination of Neolithic monuments across the British Isles reveals how they may function as sensory technologies and how the auditory effects generated by these structures can profoundly impact upon our perceptions and responses. To consider the auditory properties of a site we must actively produce sound to energise its acoustic qualities. This active' interaction prompts a broader consideration of our past and present relationship with Neolithic monuments. We suggest that these sites be re-imagined as reactive spaces, fuelled by the actions and thoughts of people within. As such, monuments are potentially vibrant and still-active technologies that can transform perception and generate dynamic multisensory experiences.

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It is widely accepted that between the beginning of the Early Neolithic period and the end of the Early Bronze Age different regions of Britain were connected to one another by sea, but little is known about the nature of maritime contacts before plank-built boats developed during the 2nd millennium bc . This paper considers a series of coastal sites, some of which were first settled from Mesolithic times. From the early 4th millennium they were also associated with artefact production and the use of imported objects and raw materials. Their distribution focuses on the region of isostatic uplift in northern Britain where the ancient shoreline still survives. It is considered in relation to a new model of coastal change which suggests that these locations were characterised by natural havens sheltered behind islands or bars. The sites can be compared with the ‘landing places’ and ‘beach markets’ discussed by historical archaeologists in recent years.

This note describes a stone circle in north-east Scotland which was inspired by prehistoric prototypes but built in 2004. It considers the circumstances in which the monument was constructed and used, the intentions of the original designer and its relationship to authentic examples in the same region. The circle is a particularly close copy of ancient structures in the vicinity, yet it was conceived by a modern shaman and its layout was apparently influenced by contacts with supernatural powers.

This project explores mixed-media as an archaeological field method through the act of making an experimental film at the Neolithic settlement of Skara Brae. A mixed-media approach has the potential to capture and communicate very different qualities of the archaeological record to systematic and objective techniques of data collection alone. The process of gathering and converging diverse media, from laser scans to watercolour painting, enables experiential and creative responses to the past.

How were Neolithic rock carvings related to the areas around them? Were they associated with structures or deposits of artefacts, and did that relationship differ between landscapes with earlier prehistoric monuments, and places where they were absent? This paper discusses the results of excavation around four decorated surfaces at All Coire Phadairlidh on the National Trust for Scotland's Ben Lawers Estate. They are compared with fieldwork around two conspicuous rocks on the same site, neither of which had been carved. No monuments were present in the vicinity, although there was a 'natural' standing stone. Excavation showed that all the decorated surfaces were associated with deposits of artefact, some of them on top of the rocks and others at their base. The more complex carvings were associated with the largest collections, and the control sample of undecorated rocks was not associated with any finds. The excavated material included two pieces of Arran pitchstone, a worked flint, a beach pebble, and a substantial quantity of broken and flaked quartz. One of the decorated outcrops was associated with an area of cobbles containing a number of artefacts. Fossil pollen sealed by this deposit suggested that the surrounding area was used as upland pasture; similar evidence was obtained from another rock carving at Tombr3eck, 5 km away. Some of the fragments of broken quartz were parts of broken hammerstones, but the distribution of these pieces showed little relationship to the hardness of the rocks where they were found, or the extent of the associated carvings. On the other hand it was closely related to the composition of the stone. Carvings on epidiorite were not associated with many artefacts, but that did not apply to those created on mica schist which glitters in the sun and even in moonlight. It may be that these surfaces of these stones had been prepared by pecking or hammering in order to enhance this effect. If so, the selection of particular rocks for special attention may have been as important as the designs that were created there.