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In part 3, Fowler furthers his on-going dialogue with the sound artist Toshiya Tsunoda (Yokohama, Japan). Toshiya Tsunoda develops an on-going 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. During these investigations, he came to think about the meaning of choosing an object to focus on; drawing the conclusion that “perhaps it is similar to a hunter who becomes more interested in shooting the bow than the prey itself”.
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A Grammar for Listening (Part 3)(2009)
January 3, 2009 · 13m
In part 3, Fowler furthers his on-going dialogue with the sound artist Toshiya Tsunoda (Yokohama, Japan). Toshiya Tsunoda develops an on-going 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. During these investigations, he came to think about the meaning of choosing an object to focus on; drawing the conclusion that “perhaps it is similar to a hunter who becomes more interested in shooting the bow than the prey itself”.
