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A photograph, 2016, of Jacob Whittaker filming 'Layers in the Landscape' on Borth beach; photograph by Erin Kavanagh.

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.

The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.

A photograph, November 2017, of Mererid Hopwood and Erin Kavanagh at the launch of the ‘Layers in Lampeter’ exhibition, which Professor Hopwood opened.

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.

A digital copy, June 2015, of 'Of myth and man: essaying the space-between in geomythological theory', an unpublished UWTSD Master's dissertation by Erin Kavanagh discussing the relationship between aspects of 'Branwen uerch Lyr' and Cardigan Bay in the context of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

A photograph, 2017, of the submerged forest at Borth, used in the project exhibitions; photograph by Erin Kavanagh.

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.

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.

Author's proof copy, 2019, of 'Writing wonders: poetry as archaeological method?' by Erin Kavanagh in which she discusses theoretical aspects of her poem ‘King of the Sea Trees’.

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, 2016, of the antlers belonging to a 3,1000-3,300 year-old red deer stag that were discovered at Borth by visitors in the summer of 2016, seen here at Tan-y-bwlch, Aberystwyth, where they were drawn by contributors to the ‘Layers in the Landscape’ project; photograph by Erin Kavanagh.

A photograph, 2016, of Emily Hawkins working on the audio recording of Erin Kavanagh's reading of the ‘King of the Sea Trees’ poem; photograph by Erin Kavanagh.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.