38 canlyniad gyda gwrthrychau digidol Dangos canlyniadau gyda gwrthrychau digidol
Geomythology, science, archaeology, Cardigan Bay and the Mabinogi
A printed copy, June 2015, of ‘Of myth and man: essaying the space-between in geomythological theory’, an unpublished UWTSD Master's dissertation by Erin Kavanagh discussing the relationship between aspects of ‘Branwen uerch Lyr’ and Cardigan Bay in the context of geomythology, science and archaeology.
A printed laminated copy, 2016, of the poem 'King of the Sea Trees', composed and illustrated by Erin Kavanagh and described by her as ‘a myth [which] communicates disparate unpublished and published archaeological/geological data from the submerged landscapes along the coast of Wales, combined with poetic, mythic, folkloric, and song references’; the poem was used in the film ‘Layers in the Landscape’ and in the project exhibitions, and inspired other work in a variety of media which also appeared in the exhibitions.
Jacob Whittaker filming 'Layers in the Landscape'
A photograph, 2016, of Jacob Whittaker filming 'Layers in the Landscape' on Borth beach; photograph by Erin Kavanagh.
A copy, 2016, of an English translation by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen relating to Seithenhin and the myth of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Middle Welsh rendition and the Modern Welsh translation.
‘King of the Sea Trees’ postcard
A postcard image, 2017, of the ‘King of the Sea Trees’, drawn and designed by Erin Kavanagh with an extract from her poem of the same name; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.
The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.
‘Chwedlau’r Borth a Gollwyd’ poster
The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.
Mererid Hopwood and Erin Kavanagh (1)
A photograph, November 2017, of Mererid Hopwood and Erin Kavanagh at the launch of the ‘Layers in Lampeter’ exhibition, which Professor Hopwood opened.
Layers in the Landscape Archive
Manuscript, typescript, printed and digital material (comprising text, images, film and sound recordings) created as part of the 'Layers in the Landscape' project, which applied the concept of interdisciplinary and non-hierarchical 'deep mapping' - as interpreted by Mike Pearson, Michael Shanks and Cliff McLucas - to the submerged landscape of Cardigan Bay, and in particular the submerged forest at Borth; this ‘deep mapping’ would be both a process and a product, juxtaposing and combining disparate spatial narratives within a single multi-faceted platform. Originally inspired by the story of Bendigeidfran in the Second Branch of the Mabinogi (‘Branwen uerch Lyr’) and the myth of Cantre'r Gwaelod, and based on the academic work of Erin Kavanagh, the project brought together specialists from a range of creative and scientific disciplines to produce a response to the flooding of Cardigan Bay over 125,000 years under the umbrella of geomythology, which is the study of landscape and story. The results were presented in the form of both academic work and multimedia public events, including the 'Borth's Lost Legends' exhibition at Borth Station Museum (July-September 2017), the 'Layers in Lampeter' exhibition at University of Wales Trinity Saint David (UWTSD) Lampeter (November 2017 - February 2022) and the 'Penrolio' performance at UWTSD Lampeter (January 2018). The theory of communication without hierarchy was tested by taking the project to as many different cultures, age groups and environments as possible (including art galleries, museums, schools, colleges, WI meetings, cinemas, cadet huts and village halls - the ‘Layers in the Landscape’ film alone has been shown in at least 14 countries around the world), and public responses to the project were treated as part of it. The project was funded primarily by the Independent Social Research Foundation (ISRF) with support from UWTSD and private sponsors.
Kavanagh, Erin
Textual content in traditional (non-digital) formats
Manuscript, typescript and traditional printed material relating to the Layers in the Landscape project, and in particular the theoretical side of the project including the geomythology of Cardigan Bay and the relationship between poetry and archaeology in the 'King of the Sea Trees' poem, as well as the 'Borth's lost legends' exhibition at Borth Station Museum.
Borth exhibition visitors' book ('Little Green Book')
A volume of manuscript and typescript notes and illustrations, 22 July - 1 October 2017, contributed by children and other visitors in reaction to the 'Borth's Lost Legends' exhibition at Borth Station Museum, together with a manuscript macalla poem written in response by Erin Kavanagh (after Percy Bysshe Shelley) and a note by the museum staff.
Geomythology, science, archaeology, Cardigan Bay and the Mabinogi
A digital copy, June 2015, of 'Of myth and man: essaying the space-between in geomythological theory', an unpublished UWTSD Master's dissertation by Erin Kavanagh discussing the relationship between aspects of 'Branwen uerch Lyr' and Cardigan Bay in the context of geomythology, science and archaeology.
A recording, 2016, of the song ‘Bran’ which was composed and performed by Lynne Denman in response to Erin Kavanagh’s work on Cardigan Bay and ‘Branwen uerch Lyr’ as well as the discovery of prehistoric antlers at Borth in 2016, anticipating their association with the ‘King of the Sea Trees’ in Erin Kavanagh’s poem; recorded by Erin Kavanagh and used in the films ‘The Bridge’ and ‘Layers in the Landscape’ as well as in the project exhibitions.
‘The Bridge’ / ‘Y Bont’, 2016, a short film created as a ‘deep mapping’ experiment set in Cardigan Bay and which was the pilot for the ‘Layers in the Landscape’ project, having grown out of Erin Kavanagh’s Master’s dissertation at UWTSD; the contributors include Maria Hayes (artwork), Lynne Denman (song), Diarmuid Johnson (flute), Martin Bates (geoscience), Peter Stevenson (narration) and Erin Kavanagh (stills photography and artwork); each commissioned response was integrated into the film to show how an interdisciplinary approach to site specific representation could be achieved in a format that is equally accessible to all sides; filmed and edited by Jacob Whittaker, and produced and directed by Erin Kavanagh.
A digital copy, 2016, of the poem 'King of the Sea Trees', composed and illustrated by Erin Kavanagh and described by her as ‘a myth [which] communicates disparate unpublished and published archaeological/geological data from the submerged landscapes along the coast of Wales, combined with poetic, mythic, folkloric, and song references’; the poem was used in the film ‘Layers in the Landscape’ and in the project exhibitions, and inspired several pieces of work in other media which also appeared in the exhibitions.
A photograph, 2016, of the ‘Thin Deep Map’ designed by Erin Kavanagh to depict the multidisciplinary components of the ‘Layers in the Landscape’ project, drawing on geological science, medieval literature, poetry by Erin Kavanagh and images by Peter Stevenson to illustrate the change in the coastal border, the prehistoric antlers and related folklore; the map was used in the film ‘Layers in the Landscape’ and in the project exhibitions.
'Layers in the Landscape' film
‘Layers in the Landscape’, 2016, a short film which sought to ‘deep map’ Cardigan Bay by bringing together multi-disciplinarian experts in a range of fields, each with skill crossovers with at least one of the other participants; what they chose to produce was their own choice and developed organically; the contributors include Martin Bates (geoscience and archaeology), Maria Hayes (artwork), Diarmuid Johnson (medieval Welsh language and literature), Lynne Denman (song), Peter Stevenson (artwork and folklore), Jacob Whittaker (filming and editing) and Erin Kavanagh (direction, production, folklore, photography, geoscience, archaeology and artwork), and there is also an interview with the geoscientist Denis Bates; the film includes the ‘Time Scroll’, the ‘Thin Deep Map’ and excerpts from the ‘Bran’ song’ and the ‘King of the Sea Trees’ poem; filmed and edited by Jacob Whittaker, directed and produced by Erin Kavanagh, and used in the project exhibitions.
‘Seithenhin’ poem (Middle Welsh)
A copy, 2016, of a rendition by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen (ff. 53v-54) relating to Seithenhin and the myth of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Modern Welsh and English translations.
A photograph, 2017, of the submerged forest at Borth, used in the project exhibitions; photograph by Erin Kavanagh.
‘King of the Sea Trees’ shanty
A recording, August 2017, of the 'King of the Sea Trees' shanty, composed and performed by David Moore (under the pseudonym Dafydd Eto) and drawing on traditional songs of the sea in response to Erin Kavanagh's poem of the same name, with the prologue of the poem spoken by Erin Kavanagh and also backing vocals by her; recorded by Jacob Whittaker and used in the project exhibitions.