“A sound has no legs to stand on” – John Cage
The format of a bound volume, regardless of size, creates a self-contained space where the designer can tell a story, explain an idea, juxtapose images and present information.
David Tremlett
The Spring Recordings
During the late spring of 1972 David Tremlett travelled through all 81 counties of England, Scotland and Wales. In each county he made a recording lasting approximately fifteen minutes. With the exception of Greater London, each recording was made in quiet rural locations and is of whatever could be heard at that time (principally wind and bird song). Tremlett observed that ‘your field, or your hill, or your landscape is your studio’. (http://www.tate.org.uk/art/artworks/tremlett-the-spring-recordings-t01742)
Key points throughout sound clip
12 Sound Artists Changing Your Perception of Art
For some, abstraction might mean non-figurative painting, but today’s hottest emotive medium is so abstract it can’t be seen, touched, or felt. There’s no arguing that sound art is having a moment. Some artists explore sound in its pure state, simultaneously bridging and muddling barriers between sound, noise, and music in the contemporary or historical sense. Others investigate the political and cultural implications of certain sounds, using their work to bring human rights to the fore.(https://news.artnet.com/art-world/12-sound-artists-changing-perception-art-587054)
As there was such a variety in descriptions and caparisons that Derek Boshier talked about in my chosen audio clip I have researched possible varied looks of what was said to start to get a visual representation of where he was, and the feelings that would have spring from this environment.
Susan Philipsz
The Distance of Sound
Susan Philipsz is an artist who installs recordings of her untrained singing voice in public spaces to make people aware of their surroundings. She prefers not to be referred to as a sound artist but rather an artist who works with spaces, narrative and sounds.Sound is materially invisible but very visceral and emotive. It can define a space at the same time as it triggers a memory. (http://www.tate.org.uk/whats-on/tate-britain/exhibition/susan-philipsz-war-damaged-musical-instruments/philipsz-introduction)
I quite like the calming colours and tones, such as the black and white but also soft shades of grey, yellow and blue, as i think that these colours fit the description of the hot spring well. Although I think that creating my book in mono tone may bring benefits that colour may distract from the storyline/ narrative.
From this research I really like the use of negative space and playing around with layout on each page as I feel that it creates another dimension and element of interest to it. I think that it would relate well to my overall concept of my book as you would be able to see the next few illusions of this technique was used, or as alternative I could use tracing paper to reps rest the hot steam fro the hot spring & i would still get the effect of seeng through the paper.
These Japanese style images have a trend of being presented in a circular formation which could be an interesting theme to follow through with as my audio clip in based in japan. I think that the bold black and white effect creates contrast and strength in the illustrations which would aid my idea of cutting away the drawings from the negative space.