Circles, cup-marks and wavy lines are some of the most emblematic motifs associated with Atlantic Rock Art. The term 'Atlantic' was only introduced in the 1940s and is used throughout this thesis as it reflects the widespread distribution of the prehistoric assemblage of rock art, but also the geographic scope of this investigation. This particular iconography is known from Portugal, through to Spain, Ireland, England and up to Scotland, sharing a number of characteristics. Prior to the use of this expression, Atlantic Art was known by a variety of designations that demonstrate the fragmented character of its historiography and the regional nature of investigations. In 1997 Bradley's study introduced a turning point in investigations, with an interregional approach and the premise of Landscape Archaeology. This contrasted with traditional studies, more focused on the motifs and creation of typologies, failing to view Atlantic Art holistically, as a socially meaningful practice. In this thesis I set out to investigate differences and similarities of Atlantic Art. I define what its quintessential characteristics are beyond the motif typologies, and identify regional variations. Contextualizing these similarities and deviations, I assess the social and cultural implications of its creation and use. In each one of my five study areas (one in each country), I subjected empirical data to a three-scale investigation: i) Graphic-to study the motifs, ii) Sensorial-to study the rock medium and iii) Environmental-to study the landscape placement. These were developed under principles of Relational Ontology and Assemblage Theory, combining a multi-scalar methodology with a dynamic perspective of the data, explored through a detailed categorical scheme and its analysis with a Presence/Absence Matrix (PAM), spatial analysis carried out with GIS and Social Network Analysis (SNA) to relate and explore the differences and similarities, relationships and connectivity between the study areas. Concepts of developmental psychology and cultural transmission were used to posit that the tradition spread through methods of teaching. Contextualizing the tradition chronologically, it became clear that it formed another transformative processes that characterised the Neolithic. i TABLE OF CONTENTS TABLE OF CONTENTS .

s Rock Art Project) is an information professional with experience of working in digital archives. He graduated from Glasgow University's Information Management and Preservation (Digital) postgraduate degree in 2018. He then worked as a Special Collections Assistant at the National Library of Scotland, before joining Historic Environment Scotland in 2019. Frederick led the digitisation element of Historic Environment Scotland's Archives Digital Projects, which generated over 500,000 newly digitised records. Tertia BarnettTertia Barnett (Principal Investigator, Scotland's Rock Art Project) is an Honorary Fellow in Archaeology at Edinburgh University. Since completing her PhD she has been researching and recording rock art in Britain and North Africa, with a specialism in post-Palaeolithic carvings. She has led on several community co-production projects in Britain, including Scotland's Rock Art Project and The Northumberland and Durham Rock Art Project, and is a keen advocate of community engagement in rock art.

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