Gothvos Mis En Abyme

The Guilemene by Elizabeth Howard.

Tramore (Irish: Trá Mhór, meaning "big strand/beach") is a seaside town in County Waterford on the southeast coast of Ireland. This Gothvos stone was placed there by Elizabeth Howard, a performance artist from Tramore, who I hope will contribute further when she writes a little about the experience - or not the experience, perhaps some other matters will be prevalent in Elizabeths perception in this event. When I received these photographs I was really overjoyed.

The Tramore Gothvos: Tramore is my homeplace and the town where I grew up. My parents still live there, but I moved away when I was eighteen, and I have lived in many different places since then. When I am asked to close my eyes and think of a peaceful place, I imagine that I am flying over Tramore Bay on a sunny day.
The bay is horseshoe shaped, and is full of rocks which makes it very dangerous for boats to sail in, and because of it's proximity and similarity in size to the haven of Waterford harbour, it was often mistaken for the safe passage, and sadly, many ships were wrecked there. As a result, the headlands on either side of the bay are marked with tall stone pillars. The two pillars that you can see in the picture are on Brownstown head, and out of view but just to the right of where the photo was taken are three pillars, one of which hosts 'The Metal Man' who is said to warn the ships with the rhyme 'Stay out, stay out, stay out from me, for these are the rocks of misery.' There is a four mile gap in between the two headlands and my granny was the first woman to swim from one to the other. Ninety years later my sister swam the same route. The day the picture was taken was the day after I had discovered that I was about to embark on a PhD course of study, and it was also the day before my boyfriend asked me to marry him. The picture was taken at a point in my life when big change was afoot, with new journeys starting. However, it was taken in the place that will always be home, where I will always be that girl who grew up in that house. It is the significance of integrating change into the constant that made this experience extra special for me.

Elizabeth Howards placing of the Cornish Gothvos Stone in the Guillemene Tramore Ireland.

Tremadhevas in Ynys Gybi

Mynydd Twr Holyhead Mountain, Caer Gybi.

Gothvos at Wylfa ,Trwyn Pencarreg

Tremadhevas at Ynys Gybi looking across the "inland sea" from a standing stone near Treardurr beside a disused windmill, the causeway from Ynys Môn to Caergybi/Holyhead. Performing amelioration and  composing with ameliorative effects.
How did this come about, in view of the supposition that there was no major influx of population into the island of Britain during the iron age, nor for that matter during a thousand years and more before the iron age? This is one of the considerations which caused Myles Dillon to argue that it was the Beaker Folk, around 2000 b c, who brought the Celtic language or languages to Britain. He asserted that the celts carried the indo-european inheritance westwards from the heartland of Indo-Europa in southern Russia at much the same time as the Aryans carried it eastwards, to India. This theory helps to explain the survival of some of the earliest elements of that inheritance among its westerly legatees - the celts - and among its most easterly ones - the Aryans. The theory also helps , argues Dillon, to explain the substantial differences which developed between the British version (P-Celtic) and the Irish version (Q-Celtic) of the original Celtic tongue.
The Beginings, Paviland, Tinkswood and Llyn Cerrig Bach; A History Of Wales by John Davies, a thoroughly excellent introduction and in depth study of Wales.  isbn 0-14-014581-8  

 Walking, Photography and Intervention around Ynys Gybi, Walking and placing: Pedestrian Mobility in Literature, Philosophy, and the Arts from the Eighteenth to the Twenty-First Century

Walking is our fundamental mode of relating to the environment, of comparing ourselves to a sense of place and space. In the modern period, this human practice has also become a literary theme, a mode of writing and performance as much as a form of movement in space. Thus it represents a mediation between man and the world at large: the corporeal movement in space and time, and the reflection of that movement in literature and the arts. It is from this two perspectives that the exploration of  walking has been turned into both an aesthetic framework and a form of ‘mobile’ contemplation, from John Gay to Paul Auster, from Wordsworth and Thoreau to Richard Long and Harriet Tarlo, from Rousseau to Rimbaud and André Breton.

Walking is an empowering aesthetic consideration, a form of reflection, an ambivalent metaphor; particularly in consideration of walking from the perspective of  historical, ideological, aesthetic, philosophical, and poetical implications. How can we delineate the semantic field of ‘walking,’ ‘rambling,’ ‘sauntering,’ ‘roaming,’ ‘hiking,’  ‘perambulating,’ but also of the Aristotelian ‘peripatetic school' , The “flâneur.”Walter Benjamin, Andre Breton, Baudelaire.  How are these values compared to such practices? Can walking increase or broaden ones knowledge of a place? What are the differences between rural walking and urban walking? To what extent has walking questioned the distinction between the rural and the urban? If major texts in this tradition, such as Rousseau’s Reveries of a Solitary Walker and Wordsworth’s The Excursion, focus on the rustic, walking is not only a rural phenomenon, but is also a reality of contemporary urban life. Walking as a literary genre evolved throughout the modern period, and, how, following its heyday during the Romantic period, has it been redefined in connection to modernist issues? To what extent does the aesthetics of the ordinary and of chance, which seem to be associated with walking, relate to aspects of postmodern nomadology? 

Limitless cultural strands and approaches and literary history are found in all philosophical aspects of walking. Alternatively, while analyzing representations and practices of walking, we are equally interested in studying instances of (inter)textuality and cross-disciplinary fertilization. For example, how is the activity of walking related to literary genres: are aesthetic depictions or representations of walking intrinsically narrative or poetical? The various links between walking and writing or reading, the connection between walking and creativity, or the diverse ‘textual transcriptions’ of walking might also be considered. Furthermore, the complex temporality of walking, next to its relation to space, is also crucial. This temporality is usually marked by an ‘intensified’ temporal awareness, which is antithetical to the modern emphasis on speed as a symbol of modernity, and which privileges a sense of place over that of space. One may also think of the connection or analogy between the rhythm of walking and that of a poetic text (as in the notion of ‘foot,’ traditionally the basic unit of poetic scansion). In all of these different senses, walking encapsulates both the physical and spiritual dimensions of human existence; it thus turns into an important cultural symbol, a site where the outside world meets with the intimate realm of human reflection and creativity.

From Glastonbury Tor in secular conditions.

The Logos of Gothvos

 A narrative may extend beyond the limits of verbally conveyed text, it may function as a containing concept for all modes of signification including the anecdotal, in this case :photographs and rituals or actions .

 The Logos as a signifier with an extending mode of signification may be theoretically challenged with a discourse narratology. 

Discourse narratology is an option analysis that determines the form of a narrative (Jahn 2003) in attempting to describe in which way these choices are embedded in broader socio-cultural situations. In this way, narratology can be integrated into a systemically oriented history of Performance / Scenography in which the interaction between the closed system of the performance and its Umwelt, the larger cultural, historical, social, and artistic context occupies a core position, which references the more specific study of narratology with the broader framework of systemic theory. As a consequence, discourse narratology exceeds the more traditional 'story narratology' which limits itself to the construction of several narrative units into a story, as if a narrative were a self-containing unit, independent of the external worlds.

From Mulfra

In 1987, Patrice Pavis suggested a theory regarding the translation of dramatic works. The idea of 'verbo-corps' has been described as "highly theoretical" and criticized for leaving "a gap between theory and translatory practice which cannot be closed". The theory suggests a culture-specific union between language and gesture used subconsciously by every writer. Pavis suggested that the translator needed to be to able to comprehend the union in the original and reconstruct it in the translation

Boskednan stone circle with Gothvos completing the gap between theory and translatory gesture.
 (grid reference SW434351)  A partially restored prehistoric stone circle at Boskednan, around 4 miles (6 kilometres) northeast of Penzance in Cornwall, United Kingdom. The megalithic monument is known as the Nine Maidens or Nine Stones of Boskednan, although the original structure may have contained as many as 22 upright stones around its 69 metre perimeter.

Mise en scène: In film theory (film theory: film theory seeks to develop concise, systematic concepts that apply to the study of film/cinema, mise en scène [mizA~sEn] refers to everything that is to appear before the camera (camera: Equipment for taking photographs (usually consisting of a lightproof box with a lens at one end and light-sensitive film/instrumentation at the other)) and its arrangement – sets, props, actors (actors: A theatrical performer) , costumes, camera movements and performances. The term was coined by early French (French: The Romance language spoken in France and in countries colonized by France) film critic (film critic: more facts about this subject) s and means literally "put into the scene" or "setting in scene." In auteur theory (auteur theory: the auteur theory is a way of reading and appraising films through the imprint of an auteur, less creative director (director: Someone who supervises the actors and directs the action in the production of a show) s are sometimes disparagingly called "metteurs en scène"

Chûn Castle looking towards Watchcroft.

GASTON BACHELARD, in The Poetics of Space, invites recognition of the ways in which interior and imaginative landscapes, such as cupboards,houses, and forests, resonate in the phenomenological worlds of poets, novelists, explorers, and artists. Gothvos: in placing and re presenting paralingual indicators, resetting their composition.