A Grammar for Listening (Part 2)
In part 2, Fowler initiates a new collaboration with Parisian-based composer Eric La Casa. Eric La Casa often consults maps, not in order to locate the habitat of specific species or significant sights but more prosaically to calculate proximity to traffic noise. The aeleatory nature of the routes taken often suggests a drift with the character of an “open investigation” and a broad appreciation for all sound. “The whole of my work consists in finding a centre, a listening point in relation to everything which is taking place. The microphones, then, amplify everything that this listening area transmits, that is to say, all the living substances in motion, from the interior of the body to the geophonic exterior”.
A Grammar for Listening (Part 2)
In part 2, Fowler initiates a new collaboration with Parisian-based composer Eric La Casa. Eric La Casa often consults maps, not in order to locate the habitat of specific species or significant sights but more prosaically to calculate proximity to traffic noise. The aeleatory nature of the routes taken often suggests a drift with the character of an “open investigation” and a broad appreciation for all sound. “The whole of my work consists in finding a centre, a listening point in relation to everything which is taking place. The microphones, then, amplify everything that this listening area transmits, that is to say, all the living substances in motion, from the interior of the body to the geophonic exterior”.
Creators and cast
- Directors
- Luke Fowler
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