Cours
Écologie des pratiques critiques (A)
Enseignant•e

Luke Fowler

Jour / Lieu

Intensif
du 17 au 21 janvier 2022
A1 - 175

Niveau / Semestre

M1, Semestre 2

Périodicité

Intensif

EC / UE

EC langue par la pratique
UE Spécialisation

Cours en anglais.

Artiste invité : Luke Fowler.

Luke Fowler est un artiste, cinéaste et musicien écossais né en 1978. Il a développé à partir d’archives une pratique singulière et collaborative, poétique et politique, structurelle et documentaire, mais surtout profondément humaine. En mettant l’accent sur les pratiques communautaires, les penseurs hétérodoxes et l’histoire de la gauche, ses films 16mm racontent l’histoire des mouvements alternatifs en Grande-Bretagne, de l’antipsychiatrie (Ronald David Laing) à la photographie féministe (Pavilion), en passant par la musique expérimentale (le Scratch Orchestra) et l’éducation ouvrière (Edward P. Thompson et la WEA). Alors que certains de ses premiers films traitent de la musique et des musiciens, le son lui-même devient une préoccupation majeure dans ses œuvres plus récentes. Il expose internationalement et a notamment été nominé au Turner Prize en 2012. https://www.luke-fowler.com

Memorized sound (son mémorisé)

At this time (1955-1962) I started to use the portable tape recorder to collect sounds in society and use them in my compositions. Looking back on it now, I think it was a different approach compared to what used to be and is still called the soundscape.* From 1967-1970 the musique concrete composer Luc Ferrari composed the work Presque Rien no.1 it was a radical break from the tradition of the acousmatic; bringing social and subjective modes of listening to the foreground for the first time. At first listen Presque Rien appears as a documentary recording of a day unfolding in a small fishing village, yet in actuality it is carefully composed and mixed from a series of recordings made from the same spot over the course of several days; condensed via seamless editing to give the impression of events unfolding chronologically in real time. Ferrari pursued the strategies of autobiography and sonic narrative within his manifold practice – coining the terms “memorized sound” and “anecdotal music” to describe his highly original practice. Taking these quietly radical strategies as a starting point or methodology; the workshop will integrate hands-on exercises/practical experiments in combination with a series of screenings and talks to investigate how artists draw on daily reality, auto-biography, personal collections, notebooks, journals and diaries to transcend and interrogate the documentary form. I thought that the sounds I had recorded were like images, not only for me who could remember them, but also for the innocent listener. They conveyed often contradictory images that catapulted themselves inside the mind more freely than if they could actually be seen.

SOME KEYWORDS: SOCIAL PHENOMENA /GRM / LUC AND BRUNHILD FERRARI / ANECDOTAL MUSIC / SOUND PORTRAITS / SONIC NOTEBOOKS / META-PORTRAITS / SOUND-IMAGES / WALTER RUTTMAN / DARK CINEMA / ABSTRACT AND CONCRETE / AUTO-PORTRAIT / PRIVATE ARCHIVES / STRUCTURES OF FEELING / LIVED EXPERIENCES / MATERIALITY / SUBJECTIVITY / CONSCIOUSNESS / MEMORY / DIARY / TEXT-SCORES / FAR WEST NEWS/ FRAMPTONS' NOSTALGIA / SENSORY ETHNOGRAPHY / SONIC REFLEXIVITY / TAUTOLOGY / ITERATIVE / ANALOGUE TAPE / 16MM FILM / SOUND-POEMS / MUSICA POVERA / DIALOGUE / PLACE / DISJUNCTIVE / NON-SYNCHRONOUS / SYNCHRESIS / SOCIALITY / COCHLEA

* All quotes from J. Caux, almost nothing with Luc Ferrari, errant bodies press (2002)


Université Paris 8 — Vincennes Saint-Denis