The root cause of modern climate warming is the influence of gravitational forces on the geospheres of our planet, determined by the orbital configuration of the Earth-Moon-Sun system. This essay seeks to unsettle the text by engaging with both the poem’s extant words and the silent spaces of wyrd’s traces “inscribed” upon the material manuscript. However, what of more literal spaces in texts, not perceptual gaps composed by a poet, but rather material gaps “crafted” by manuscript damage? What more radical, “veered” reading follows if we pay attention to the physical damage, neither to lament the loss nor to restore what might have been there once, but rather to collaborate with its void? The damage to the final folios of the Exeter Book manuscript means that we read a different poem from any “intact” or “original” text we may try to (re)create we read something that not only responds to, but also reifies the material effects of time and wyrd, the powerful other-than-human force that plays so prominent a role in the poem. Such spaces, he argues, invite readers into a kind of intellectual “play” that constitutes, in fact, participation, even collaboration, in the creation of meaning. John Niles suggests that Old English poems often “demand attention not only to the possible nuances of meaning of every word, but also to the spaces where no words are written and no story told”. Finally, implications for multimodal research are discussed. The conclusion is that the monument was risen for the enactment of a counsel of the gods with the aim of securing the rhythm of celestial light. Further, it is suggested that the big crosses of cipher runes and the small crosses between some information units may represent the sun and stars, respectively. Through an investigation of how the visual semiotics interacts with place semiotics and interaction order, it turns out that the marked reading direction of the lines of the inscription symbolizes the movement of the sun, and that the change of font size in two lines probably mimics the change of solar brightness at sunrise and sunset. The study applies Scollon and Scollon’s geosemiotic framework (2003). This study examines if it is possible to deal with the methodological challenges of a historical material and make a multimodal approach deepen our understanding of the Rök runestone, one of the most famous and enigmatic Viking Age runestones. In the field of runestone research, the importance of multimodal understanding has been downplayed although it is obvious that several semiotic resources interact when it comes to carving a stone and erecting it in the landscape.
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