“Over the centuries, Western culture has relentlessly attempted to classify noise, music and everyday sounds... Ordinary noises and the mundane sounds that are not perceived as either annoying or musical are of no interest.” How to create a meaningful dialogue between looking and listening? Fowler’s film cycle attempts to address this question through the possibilities afforded by 16mm film and digital sound recording devices. In part 1, Fowler furthers his dialogues with the sound artist Lee Patterson (Manchester, England), who has been making recordings of various forms of underwater life using homemade hydrophones. In part 2, he initiates a new collaboration with Parisian-based composer Éric La Casa, who describes his own work as “finding a centre, a listening point in relation to everything which is taking place.” Part 3 features Toshiya Tsunoda (Yokohama, Japan), who develops a philosophical line of enquiry regarding the art of field recording as a conceptual act, and that of the relationship between the “field,” the recordist and the audience.
Lux. Matt Carter
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In the origin of the projects directed by Luke Fowler (Glasgow, 1978) there is usually a question, a profound interest in knowing more. They can either be an exploration into the life or work of psychologist R. D. Laing (All Divided Selves), or about a man who withdraws into a life in the wilderness disappointed by humanity ( Bogman Palmjaguar), or...