The American John Cage (1912-1992) was a composer who is probably known for just one work: 4’33”. It is an experimental piece that can be performed by any instrument and, even better, by any person.
The score instructs the performer to NOT play their instrument for exactly four minutes and thirty-three seconds, because the “music,” in this case, consists of the ambient sounds that the audience hears during the performance.
In short, a very simple little piece of music.
But, no matter how much this might seem like pure nonsense (I, for instance, wouldn’t pay to attend such a concert, since I could play it for free on the piano here at home), there is an interesting question to analyze not by what it is, but by what is around it.
Imagine a piece of paper with nothing written or drawn on it. Just a blank space.
This empty area actually has the same importance as the written or drawn elements on it. It is this separation of background and elements, as well as sound and silence, that explains the dependence our perception has on the surrounding environment.
Take, for example, the classic image of the two heads facing each other.
Or am I seeing a white vase? In any case, both options are valid. Figure and background have the same importance.
Similarly, we can say that size and brightness are also relative. Look at the figure below and say without thinking: are the shades of gray in the central square of these two figures the same?
They are. The simultaneous contrast of the surrounding squares is what ends up deceiving our eyes.
And what about the diameter of the central dots in the two illustrations—are they the same?
Yes, they are. The small and large dots around them, when seen side by side, create this perception.
So, now that we know that there is no such thing as “nothing” and that even the illusory emptiness of a blank page has its function in design, I had an idea: I’m going to write a book with only blank pages.
Preferably one where the reader can read for exactly four minutes and thirty-three seconds.
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