'On the top of a mountain I saw the figure of a man': An analysis of the relationship between visual perception and the engraved art of the Sydney-Hawkesbury region using GIS and the concept of affordances.

The last 2 decades have seen intensifying interest in rock art and the senses. This perspective stems from the recognition that sensory perception is at the core of human experience and is culturally variable. GIS methods are frequently used in this context as they are capable of complex mapping and data manipulation exercises. Such investigations have led to new understandings of the spatial patterning of art sites around the world. Despite the potential benefits of this approach, it is not commonly taken in Australia, where functional explanations of rock art are prevalent. This thesis aims to develop a new appreciation of Australian rock art by investigating the relationship between visual perception and engraving sites in the Sydney- Hawkesbury region. Two national parks in the region, Ku-ring-gai Chase and Yengo, form the study areas for this thesis. A total of 85 sites in these parks were subjected to a GIS-based visibility analysis focusing on the visual affordances of the landscape. Affordance is a concept used in other visibility analyses that formulates the landscape as an arena of potential decision-making. By interrogating the visual affordances of the landscape, the patterns in the co-occurrence of engraved art and places with panoramic views are brought to light. Visual perception was also investigated in relation to motif rarity and movement. The results of the analysis suggest visually impactful places were often (but not always) targeted for the production of engraved art. The results also indicate a link between visual perception, Dreaming tracks and ceremonial activity. This thesis provides a more comprehensive view of engraved art in the Sydney-Hawkesbury region. It also identifies sensory perception as a theme that may benefit Australian archaeology upon further investigation