Dangos 9637 canlyniad

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.

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Sea Trees', composed and illustrated by Erin Kavanagh and described by her as ‘a myth [which] communicates disparate unpublished and published archaeological/geological data from the submerged landscapes along the coast of Wales, combined with poetic, mythic, folkloric, and song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, January 2018, of Lynne Denman singing her song ‘Bran’ at the ‘Layers in Lampeter’ exhibition during the ‘Penrolio’ event; photograph by Jacob Whittaker.

A photograph, November 2017, of 'Haenau'r Tirlun', an englyn composed by Mererid Hopwood for the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

Author's proof copy, 2018, of 'Re-thinking the conversation: a geomythological deep map' by Erin Kavanagh in which she describes the conceptual framework behind her ‘deep mapping’ of Cardigan Bay and explains the activities undertaken by the ‘Layers in the Landscape’ project.

A photograph, November 2017, of part of the display at the ‘Layers in Lampeter’ exhibition, including the prehistoric red deer antlers, the ‘Brenin Y Coed Môr’ sign and the 'Time Scroll'; photograph by Erin Kavanagh.

A photographic reel, January 2018, containing an account of a live performance entitled ‘Penrolio’ at the castle mound, UWTSD Lampeter, in which R.M. Parry delivered his sculpture, ‘Pen Bendigeidfran’, to the ‘Layers in Lampeter’ exhibition; the performance was inspired by ‘Branwen uerch Lyr’.

A scan of 'Branwen's starling', a watercolour by John Chamberlain, sent to Erin Kavanagh in 2022 in response to the 'Layers in Lampeter' exhibition, and in particular ‘Branwen uerch Lyr’.

A digital copy, June 2015, of 'Of myth and man: essaying the space-between in geomythological theory', an unpublished UWTSD Master's dissertation by Erin Kavanagh discussing the relationship between aspects of 'Branwen uerch Lyr' and Cardigan Bay in the context of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.

‘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 volume of transcripts by John Davies, Mallwyd, comprising poetry of the 'Gogynfeirdd'; 'Llyfr Taliesin'; 'Gwasanaeth Mair'; a short Latin chronicle; and lists of the contents of 'Llyfr Coch Hergest' and 'Llyfr Gwyn Rhydderch'; etc.

Llawysgrifau'r Parchedig William Phillips (1861-1944), Gwalchmai, yn ymwneud â'i ymweliad i Wladfa Patagonia ym 1891. = Manuscripts of the Rev. William Phillips, (1861-1944), Gwalchmai, Congregational minister, relating to his visit to the Welsh Colony in Patagonia in 1891.

A volume containing Welsh poetry in free and strict metres, in the hand of David Evans (Dewi Dysul), Llandysul, Cardiganshire (see W. J. Davies, Hanes Plwyf Llandyssul (Llandysul, 1896, repr. 1992), pp. 253-5), mostly written by himself and relating to local events and personalities. Also included are diary entries, 1839-1872, relating to the weather and agricultural memoranda (ff. 70-81verso, inverted text).
The volume contains a Welsh carol, 1828 (ff. 1-2), Welsh poems sent as Valentines, 1850-1851 (ff. 13, 15, 33), a poem in praise of Llanover Hall, [1860s] (f. 52 verso), a poem in praise of John Hopkins (Ioan Glan Tees), 1863 (ff. 53 recto-verso), a Welsh metrical version of Mother Shipton's Prophecy, 1873 (f. 59), a poem on the death of the son of David Davies (Glan Cunllo), 1867 (f. 55 verso), and a chart of early-nineteenth century Welsh poets compiled by John William Thomas (Arfonwyson), [c. 1840] (f. 74 verso).

Full-length studio portrait of a United States Serviceman, identifiable as a Technician Fifth Grade by his insignia. The negative is inscribed 'MORRIS.'

Draft of a letter by Paul Silk to the Prime Minister David Cameron relating to progress on implementing the Commission's recommendations in the first report.

A head and shoulders portrait in pencil and watercolour of Evan Roberts looking upwards to the top left of the picture.

Briefing paper, agenda and travel arrangements for a Commission visit to Belfast on 18-19 March 2013 to look at the Scottish model of devolution.

A talk given by Paul Silk ot the Scottish Study of Parliament Group on the work of the Independent Commission on Devolution in Wales.

Briefing paper, agenda and travel arrangements for a Commission visit to Belfast on 26-28 March 2013 to look at the Northern Ireland model of devolution.

Presentation to the business community in Swansea on the work of the Commission to engage and encourage input from the sector in the Commission's work.