Archaeology in the past century has seen a major shift from theoretical frameworks that treat the remains of past societies as static snapshots of particular moments in time to interpretations that prioritise change and variability. Though established analytical concepts, such as typology, remain key parts of the archaeologist’s investigative toolkit, data-gathering strategies and interpretative frameworks have become infused progressively with the concept that archaeology is living, in the sense of both the objects of study and the discipline as a whole. The significance for the field is that researchers across the world are integrating ideas informed by relational epistemologies and mutually constructive ontologies into their work from the initial stage of project design all the way down to post-excavation interpretation. This volume showcases examples of such work, highlighting the utility of these ideas to exploring material both old and new. The illuminating research and novel explanations presented contribute to resolving long-standing problems in regional archaeologies across Africa, Asia, Australia, Europe, and Oceania. In this way, this volume reinvigorates approaches taken towards older material but also acts as a springboard for future innovative discussions of theory in archaeology and related disciplines.

The study of stone circles has long played a major role in British and Irish archaeology, and for Scotland most attention has been focused on the large monuments of Orkney and the Western Isles. Several decades of fieldwork have shown how these major structures are likely to be of early date and recognised that that smaller settings of monoliths had a more extended history. Many of the structures in Northern Britain were reused during the later Bronze Age, the Iron Age and the early medieval period. A series of problems demand further investigation including: when were the last stone circles built? How did they differ from earlier constructions? How were they related to henge monuments, especially those of Bronze Age date? How frequently were these places reused, and did this secondary activity change the character of those sites? This major new assessment first presents the results of fieldwork undertaken at the Scottish recumbent stone circle of Hillhead; the stone circles of Waulkmill and Croftmoraig, the stone circle and henge at Hill of Tuach at Kintore; and the small ring cairn at Laikenbuie in Inverness-shire. Part 2 brings together the results of these five projects and puts forward a chronology for the construction and primary use of stone circles, particularly the Chalcolithic and Bronze Age examples. It considers the reuse of stone circles, long after they were built, and discusses four neighbouring stone circles in Aberdeenshire which display both similarites and contrasts in their architecture, use of raw materials, associated artefacts and structural sequences. Finally, a reassessment and reinterpretation of Croftmoraig and its sequence is presented: the new interpretation drawing attention to ways of thinking about these monuments which have still to fulfil their potential.

Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared 'ways of seeing' that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.

Public Archaeology and Climate Change promotes new approaches to studying and managing sites threatened by climate change, specifically actions that engage communities or employ 'citizen science' initiatives. Researchers and heritage managers around the world are witnessing severe challenges and developing innovative mechanisms for dealing with them. Increasingly archaeologists are embracing practices learned from the natural heritage sector, which has long worked with the public in practical recording projects. By involving the public in projects and making data accessible, archaeologists are engaging society in the debate on threatened heritage and in wider discussions on climate change. Community involvement also underpins wider climate change adaptation strategies, and citizen science projects can help to influence and inform policy makers. Developing threats to heritage are being experienced around the world, and as this collection of papers will show, new partnerships and collaborations are crossing national boundaries. With examples from across the globe, this selection of 18 papers detail the scale of the problem through a variety of case studies. Together they demonstrate how heritage professionals, working in diverse environments and with distinctive archaeology, are engaging with the public to raise awareness of this threatened resource. Contributors examine differing responses and proactive methodologies for the protection, preservation and recording of sites at risk from natural forces and demonstrate how new approaches can better engage people with sites that are under increasing threat of destruction, thus contributing to the resilience of our shared heritage.

Scandinavia is home to prolific and varied rock art images among which the ship motif is prominent. Because of this, the rock art of Scandinavia has often been interpreted in terms of social ritual, cosmology, and religion associated with the maritime sphere. This comprehensive review is based on the creation of a Scandinavia-wide GIS database for prehistoric rock art and re-examines theoretical approaches and interpretations, in particular with regard to the significance of the ship and its relationship to a maritime landscape Discussion focuses on material agency as a means to understanding the role of rock art within society. Two main theories are developed. The first is that the sea was fundamental to the purpose and meaning of rock art, especially in the Bronze Age and, therefore, that sea-level/shoreline changes would have inspired a renegotiation of the relationship between the rock art sites and their intended purpose. The fundamental question posed is: would such changes to the landscape have affected the purpose and meaning of rock art for the communities that made and used these sites? Various theories from within and outside of archaeology are drawn on to examine environmental change and analyse the rock art, led to second theory: that the purpose of rock art might have been altered to have an effect on the disappearing sea. The general theory that rock art would have been affected by environmental change was discussed in tandem with existing interpretations of the meaning and purpose of rock art. Imbuing rock art with agency means that it could be intertwined in an active web of relations involving maritime landscapes, shoreline displacement and communities. Though created in stone and fixed in time and place, rock art images have propagated belief systems that would have changed over time as they were re-carved, abandoned and used by different groups of inhabitants. In the thousands of years rock art was created, it is likely that shoreline displacement would have inspired a renegotiation of the purpose and meaning of the imagery situated alongside the Scandinavian seas. This journey through a prehistoric Scandinavian landscape will lead us into a world of ancient beliefs and traditions revolving around this extraordinary art form.