The second part of my circular walk from the valley above Cwmdu near Crickhowell in Wales, took me up to the top of Mynydd Llangorse.
En route I met a sheep that stuck its tongue out at me! Having climbed up the valley, Cwm Sorgwm, to the shoulder between Mynydd Troed and Mynydd Llangorse, I rested for a few moments before climbing the steep section up to what I thought was the top. Continue reading→
My walk this week is not actually around Cwmdu, a small village lying between the Brecon Beacons and the Black Mountains in Wales. In fact it is in the valley above Cwmdu, a valley called Cwm Sorgwm (according to the OS map.
Back in June I took the opportunity to explore a small part of the hills in this area near Crickhowell. Knowing I was going to have enough time to do it as a StillWalks production walk, I took all my kit and enjoyed the weather and the views. Continue reading→
A few weeks ago I took a tapestry weaving workshop over the weekend for the Crickhowell Guild of Spinners, Weavers and Dyers. They had asked me if I could do a version of my workshop “Sounding out Colour and Texture”.
The workshop focus was sound and the intention was to help everyone to develop ideas for tapestry weaving by using a medium that may not have occurred to them previously. It wasn’t going to be possible in the time allowed to produce finished tapestries but we were able to experiment with different techniques and materials as a means of interpreting different aspects of sound.
The language used in describing sound relates very well to the language used in the visual arts and crafts. I am not talking of the technical terms connected to audio and tapestry weaving, but rather the interpretive, emotional terms used. Colour and texture, rhythm and melody.
We often hear the term “the tapestry of life” – the wide range of techniques and materials it is possible to use within tapestry weaving make it possible to represent any number of aspects of our emotional and physical lives and sound can be an excellent starting point for exploring those possibilities.
In these workshops I would also ask people to close their eyes and imagine what colour a sound might be or what it would feel like in their hands if they could grab a hold of it. The sound editing program I use, Adobe Audition, can show us the wave form of the sound and it can show us the “shape” of the sound in the spectral display, but it cannot tell us its texture and the colour it shows is only that selected by the user in the program’s preferences.
This is where the imagination comes in and helps us to develop the designs we may use to present an interpretation of a subject that could be said to have an extra dimension to it.
apart from looking at how different sounds appear visually on the spectral display of an editing program like Adobe Audition,