Wednesday, 9 November 2016

Audio Visual Experiments

Plans and diagrams/ wall drawing

The Dome - potential as a space for both visual and audio

Projecting sound drawing/lithographic marks onto architectural plan/ dome drawing

Introducing the 'filter'
experiments with coloured acetate

Thinking about idea that the sound surrounding us on a daily basis is mechanical/ electronic/ manmade (bound to Lefebvre's notion of SOCIAL SPACE) what status does this give to physical space ie. nature?
Juxtaposing the two, thinking about they interact - the blurring of boundaries between fixed categories such as natural/urban, constructed/organic, photographic/autographic, audio/visual...

Documents of contemporary art: Sound

Introduction//Sound in Art
Caleb Kelly

Aiding this neglect is the view that sound is difficult to represent : one cannot look at sound in a book...
Page 13

Thinking about perception as discussed in invisibilia- our peripheral vision. As we travel our focus is on the destination.  We don't focus in any one element but we experience a multitude of sensual encounters : visual and sound in particular,  situated in relation to the body. 

As bull and back have noted, 'the experience of everyday life is increasingly mediated by a multitude of mechanically reproduced parallel to this, cities are noisier than they ever were in the past.' Given this increased awareness,  how are we to re-listen to the sound world around us, and how do we situate our bodies and our everyday through these discourses?
Page 14

Thursday, 3 November 2016

Audio Visual

The use of both sight and sound.

Invisibilia Podcast

Invisibilia (Latin for invisible things) is about the invisible forces that control human behavior – ideas, beliefs, assumptions and emotions.


How different schools of therapy think about thoughts:
1. Thoughts have meaning (Freudian). Thoughts, and where they come from, intimately related to who we are. 
2. Cognitive behavioral therapy. (Dr Aaron Beck). We shouldn't accept 'automatic negative thoughts' at face value. We should challenge/contradict these thoughts. Displacing popularized Freudian theories. 
3. Third wave therapy/ mindfulness. Some thoughts have no meaning. Don't contradict negative thoughts, ignore them. MEDITATION. 

But what happens when we 'lean into' dark thoughts?


'Visual areas of the brain can be activated by sound and touch'

Is the audible so far away from the visual? Are they closer than we think?

They use the example: What does the street look like when you're looking at your phone? We have periphery vision, but we couldn't look at a sign/ read specific information. There is a theory that this can be achieved by blind people with echo-location, especially is learnt at a young age.

Wednesday, 26 October 2016

Physical reaction to music

Physical reaction to sound - foot tapping. Can i use this when creating my drawings?  Layer recording of ambient journey sounds with foot tapping. Demonstrates how experience is mediated by headphones- tapping corresponds to an soundtrack that isn't revealed. Like watching someone listen to music without knowing what the song is. This rhythm can then begin to be reflected in the drawings.

Lisa Traxler

Came across this artist looking at the RWS Show 'London: A Sense of Place' at Bankside Gallery.

'Remembered Experience', Lisa Traxler
Work concerned with
- space
- 2D/3D
- gesture

Walking and taking photographs as a thought process.

Landscape/ sound/ experience
'Noise of the Landscape (Part 2)', Lisa Traxler

Monday, 24 October 2016

Drawing Connections

My most recent work [St George's Circus, below] puts me in mind of two works from my back catalogue. 

From a portrait project completed in first year of my BA. Painted whilst listening to an interview with the subject, who loved music, which is why I decided to focus on visualizing sound, which ultimately became a visualization of a conversation.

'Hampstead Road', Screen Print, Created for Slade Print Fair 2014. 

Photographed and deconstructed an alcove I used to walk past every day on my way to work. 

Deconstructed to reflect my experience of it:
- broken up by angular shafts of light
- grafitti
- enclosed and dominated by horizontal lines

And which went to inspire early 'movement drawing' at beginning of MA

Sunday, 23 October 2016

What type of space...

The metropolitan trails project suggests we widen the parameters of the so-called 'urban'. That in a new era, with an updated definition of nature the gap between the natural and the man-made has narrowed; the two are now intertwined. Does this need to be considered negatively? Is it a distraction to focus on 'landscape' in my practice with the assumption that that only includes the 'natural' world? My definition of landscape is widening, a return to use of the word space to describe our surroundings, free from above categorizations. 

(Raymond Williams, Keywords: Nature)

Friday, 23 September 2016

Deep Topographies: Inspiral London’s explorations into other spaces

Swedenborg House
22nd October 2016

Notes from Talks

SPIRALS- Recurring sign that binds the universe together

- Travel journals 
- Landmarks, uniting devices
- Walking stands for living
- Swedenborg: 'walking and journeying purvey mans movements'
- Walking and thinking: walking as inspirational too romantic and old fashioned view of connecting with the natural

Will Rowlandson

'The Holloway' - romanticising and anthropomorphising nature. Good speaker but nostalgic narrative!
Ken Worpole

'An Essex Journey', photographer Jason Orton
Photographs always make us reflect on the past as they are always necessarily images of the past.
Utopian settlements in England/ Land Colonies e.g. Silver End, Marylandsea.../ Experiments in alternative living

Discussed the IMMEDIACY OF SOUND (relates to Janet Cardiff) 


Marseille – a city on the edge/ the margins

Group of artists developed a trail and accompanying guidebook

Around the Bear Sea – largest inland sea in Western Europe

Heritage as narrative – intertwined histories (Doreen Massey in For Space– space as a complex meeting point of histories, not as a simple surface)

Walking and landscapes as complex:

- Creating narratives

- ‘Art as an experience’

- ‘The museum is the territory itself’

- ‘Getting lost in complexity’

Tension between urban planning and perceived ‘nature’

GR2013 as an experiment in dematerialised urban planning, made to create narratives

METROPOLITAN TRAILS – Created an official national federation trail in Marseille:

-          Hiking in the city

-          Connecting with the Anthropocene epoch

-          Discovering our own cities

-          Re-framing the city as a space to be explored



Banks (water)
Railway tracks
Window Sills


20:48, Thursday 22nd September 2016

At 20:48 on Thursday 22nd September 2016 I decided to walk on the edges of things.

Tuesday, 20 September 2016

Edward Burtynsky Exhibition Sept/October 2016

Edward Burtynsky

Salt Pans | Essential Elements

16 September – 29 October 2016 

Pivot Irrigation / Suburb

Edward Burtynsky

Salt Pans #25, Little Rann of Kutch, Gujarat, India

Edward Burtynsky

Rock of Ages #4, Abandoned section, Adam-Pirie Quarry, Barre, Vermont

Edward Burtynsky 


Tuesday, 13 September 2016

The Line

Composition 1960 #10 was one of a series of short succinct scores that Young produced in the early 1960s, several of which he published in An Anthology. Composition 1960 #10 follows Composition 1960 #9 (1960), which was a short straight line, printed on an index card. For Young, the form of the line served as the minimal unit of action, or an event, what he termed the “singular event.” The event for Young was the conceptual apparatus through which he structured activities over time and in space. The singular form of the line as event in turn expands into complex possibilities for experience, in each drawing, each following. Serving as a formal counterpart to Morris’s and De Maria’s own linear inscriptions (down the beach or along a pathway), Young’s line linked temporal process to spatial context: draw a straight line and follow it. His line is a model for a diversity of experience in a duration of time within a delineated place determined by material form —an appropriate, if minimal, example of practice inscribed in a site.

 Page 42-43
Toward Site
Jane McFadden