6 times Sounding Images blew your mind. You’ll never believe #4…

A Beach near Trouville – Eugene Boudin

Ruth Knight
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Following my time researching in the Barber Institute, I have gained a greater understanding of both the piece and the context in which it was painted. The transformation Trouville took between 1850 and 1870, due to the construction of railways as well as the publicity gained through writers and artists such as Monet and Boudin himself, is now something I want to focus on sonically.

I aim to create two contrasting worlds, one highlighting the natural beauty of the beach, the other focusing on the changing aesthetic of Trouville. These two worlds will be juxtaposed firstly through harsh jump cuts, and will eventually mould into one.

The lone fisherwoman is an important aspect of the piece. Boudin previously relied on figures to create movement and interest in his paintings, but here, combined with the vast sky, and the unusually large canvas, the lone fisherwoman reinforces the solitary nature of the coast. I have therefore been thinking about her journey and how I could represent that in my piece. I’ve decided to record a simple looping melody on the viol that will develop over time.

I have also been thinking about the overall aesthetic I would like to create. The following piece by Jónsi and Alex illustrates the use of subtly changing loops, something I would like to utilise in my piece, as well as an overall feeling of ebbing and flowing, an obvious property of the sea.

Primrose Hill – Winter.

Josh Chapman

Eye-catching, no? Sounding Images contributor Dicko seemed to think so, read his blog here.

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I was instantly drawn to the paining’s shear size and abstract nature in its gallery context; the immediate neighbours are painted in a more classical style (find out more about one of the neighbours here)

During my research on this painting, I discovered that Auerbach painted Primrose Hill, the famous London park, at different times of day in different seasons. I have included some of the other painting’s as well as working sketches below.

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In the first linked post above, the conflict between natural landscape and cityscape is discussed. With Primrose Hill being the primary subject of the works, the city is always in the background. This will carry over in my composition as my ‘city’ field recordings will be ever present in the background – listen to one those field recordings:

This recording has the sound of busy London, but also birds and trees too.

The winter edition is very dark and gloomy – research collected from the Barber Institute of Fine Arts suggest the painting indicates dawn, not dusk as commonly suggested. From top to bottom, the painting starts light with yellows and greens, perhaps the sun breaking through the cities skyline. As we head to the southern hemisphere of the painting it becomes denser and denser. This is consistent in the working sketches too, and with the use of panning, volume and working with space and perspective, I aim to recreate this effect in my composition.

With my own ‘working sketches’ – I have tried to start thinking about how I will recreate this.

London pieces – War and nature

Adam West
Flavour of Tears
Magritte

This week we settled on our final pieces of art and had a great time defacing them with adjectives! I am now well underway with the conception and implementation stage of my work having decided that the political aspect of this piece, especially that to do with the second world war, is to be my focus.

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My work is going to focus on the polemic which characterised the death of peace in Europe during the war. Magritte captures this theme in this stark image of a totem bird of peace transformed into a leaf. This leaf is slowly decaying, being eaten away at the heart. Magritte draws the eye constantly to the face of the bird which bares a sad, resigned expression. The humanity which rests there is quite unsettling. Magritte’s use of light draws us to this expression again and again as the brightest point of the painting is at the top of the head of this poignant effigy. The red curtain signifies the encroaching of communism and secrecy, secrecy being the death of peace.

Below is an excerpt from my work using Neville Chamberlain’s famous speech declaring war with Germany in 1939. I have mixed this with other speeches from Winston Churchill and Adolf Hitler. This excerpt was created in SuperCollider (learn more about SuperCollider Here) and is a work in progress.

James Dickinson
Primrose Hill – Winter
Auerbach

Primrose Hill is widely known due to its clear view of the city beyond a more rural park area. This is primarily why I chose this piece; there are clear parallels with industry and nature, or synthetic and organic, in electroacoustic music. The fact that this is also a very textural piece, i.e. where brush strokes are unashamedly visible, shows that Auerbach’s apparent aggression when painting was somewhat intentional. I want to bring this out in my work, especially when you consider the irony that this is inevitably meant to be a picturesque scene:

primrosehill

©Shutterstock

Auerbach has actually created more than fifty versions of this work, which have been very useful in my research for the piece, especially with regard to Auerbach’s approach to glimmering light in the distance. I wanted to focus on these glimmers first, which are most likely representations of lamp posts – I wanted to use these as a primary motif as they seem to be the only instance of the modern world within the otherwise green park. I have replicated this by taking three sine waves, representing a pure but electronic-based medium, and slowly distorting them, primarily using a 50Hz buzz.