Jarrod Fowler

2009-04-01T00:00:00.000-04:00

'PERCUSSION' AS PERCUSSION

CD - 24 minutes - 8 panel poster - Digipak with recycled flex-tray
Featuring Bruce Andrews, James Whitehead, Liz Tonne, and John Mowitt
Published by Patrick Lovelace Editions, Brooklyn

'Percussion' conceptually percusses a book about conceptual percussion.

CD track listing:
1. Acknowledgments
2. Preface
3. Introduction: (Re)percussions
4. The End of Senseless Beating
5. Knocking the Subject
6. Different Strokes for Different Folks
7. Sound of the City: A Musician is Being Beaten
8. A Drum of One's Own
9. Notes
10. Works Cited
11. Index
12. Afterword

2009-03-21T00:01:00.005-04:00

THE TIMING OF 'THE TIMING OF BIOLOGICAL CLOCKS'
01. Forematter
02. Preface
03. Chapter One - Time_Zones
04. Chapter Two - The Ebb and Flow of Consciousness
05. Chapter Three - Jumping Between Time Zones
06. Chapter Four - Convergence of Time Zones
07. Chapter Five - Crystals of Living Time
08. Chapter Six - Collective Rhythmicity in a Community of Clocks
09. Chapter Seven - The Singularities of Biochemical Clocks
10. Chapter Eight - Circadian Dynamics and Its Evolution
11. Chapter Nine - The Shape of the Future
12. For Further Reading
13. References
14. Sources of Illustrations
15. Index
16. Endmatter
JMF044

2009-03-21T00:00:00.006-04:00

WRITING AND DIFFERENCE
by Jacques Derrida
Translated by Alan Bass
Translated by Jarrod Fowler
JMF043

Writing__.html
__Difference.html
Writing_and_Difference.mp3

2008-12-21T00:00:00.005-05:00

LISTENING TO THE INAUDIBLE

...my claims about the materiality of language apply equally to the sonic dimensions of spoken language, and much of what follows could serve as a model for listening to the inaudible.
- Dworkin, Craig. Reading the Illegible. Northwestern, 2003

01. Forematter
02. List of Illustrations
03. Acknowledgments
04. Introduction
05. Chapter 1 - Radical Formalism
06. Chapter 2 - The Politics of Noise
07. Chapter 3 - Destroying Redness
08. Chapter 4 - The Inhumanness of Language
09. Chapter 5 - Gamble and Sharp
10. Chapter 6 - Cover-Up
11. Chapter 7 - The Aesthetics of Censorship
12. Notes
13. Bibliography
14. Index
15. Endmatter

JMF042

2008-09-21T00:01:00.003-04:00

BEING AND TIME AND NOTHINGNESS AND RHYTHM
By Martin Heidegger - Translated by John Macquarrie and Edward Robinson
By Jean-Paul Sartre - Translated and with an introduction by Hazel E. Barnes
Translated by Jarrod Fowler
JMF041
Being_and_Time_and_Nothingness_and_Rhythm.mp3

2008-09-21T00:00:00.012-04:00

DRUMMING DRUMMING

Part V.mp3
JMF039
Presented by LEAVING RECORDS

2008-06-21T00:03:00.014-04:00

DIFFERENT DRUMMER
JMF037
Different Drummer.m4a

If a man does not keep pace with his companions,
perhaps it is because he hears a different drummer.
Let him step to the music which he hears,
however measured or far away

2008-06-21T00:02:00.009-04:00

NOISE AFTER ART AFTER PHILOSOPHY
JMF035 - "...there is no final proposition..."
Noise After Art After Philosophy.m4a

2008-06-21T00:01:00.013-04:00

DIFFERENCE & REPETITION
By Gilles Deleuze
Translated by Paul Patton
Translated by Jarrod Fowler
JMF033

01. Forematter
02. Introduction - Repetition and Difference
03. Chapter I - Difference in Itself
04. Chapter II - Repetition for Itself
05. Chapter III - The Image of Thought
06. Chapter IV - Ideas and the Synthesis of Difference
07. Chapter V - Asymmetrical Synthesis of the Sensible
08. Conclusion
09. Notes
10. Bibliography
11. Index
12. Endmatter

2008-06-21T00:00:00.028-04:00

AFTER HIP HOP, 5:
BBEAT GENERATION
JMF040

AFTER HIP HOP, 4:
ULTIMATION LESSENS
JMF038

AFTER HIP HOP, 3:
DIGGIN' IN THE CONTEXT
JMF036

AFTER HIP HOP, 2:
THE SOURCE
JMF034

AFTER HIP HOP, 1:
ULTIMATELY BROKE(N) AND BEAT(EN)
JMF032

2008-04-01T00:00:00.023-04:00

NOW THAT'S WHAT I CALL NOISE VOL. 13
CD-R by The Larks Council of England

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - Compilation

2008-03-21T12:04:00.003-04:00

RHYTHMS: On the Work, Translation, and Psychoanalysis
By Nicolas Abraham
Collected and Presented by Nicholas T. Rand and Maria Torok
Translated by Benjamin Thigpen and Nicholas T. Rand
Translated by Jarrod Fowler
JMF031
Rhythms.m4a

2008-03-21T00:03:00.034-04:00

SHUN AS RHYTHM
JMF030
to keep clear of; to get out of the way of; to escape from; to eschew
to avoid deliberately; keep away from. to slight or avoid scrupulously or habitually
_tion As Rhythm.html
_sion As Rhythm.html
_cian As Rhythm.html
_cean As Rhythm.html

+/-

-ION AS RHYTHM
used to turn verbs into nouns; denotes action or condition
an atom that has acquired an electric charge by gaining or losing electrons
-ion As Rhythm.m4a

In those ancient times in which poetry came into existence, the aim was utility, and actually a very great utility. When one lets rhythm permeate speech - the rhythmic force that reorders all the atoms of the sentence, bids one choose one's words with care, and gives one's thoughts a new colour, making them darker, stranger, and more remote - the utility in questION was superstitious. Rhythm was meant to impress the gods more deeply with a human petitION, for it was noticed that men remember a verse much better than ordinary speech. It was also believed that a rhythmic tick-tock was audible over greater distances; a rhythmical prayer was supposed to get closer to the ears of the gods. (Nietzsche 1882-1887/1974, 138)
- Kittler, Gramophone, Film, Typewriter (1986) in idem 1999, 79-80

-ion As Rhythm was commissioned and presented by the Tate Modern as part of:
Media Matters - Friedrich Kittler and Technoculture
Thanks to SK-C

2008-03-21T00:02:00.008-04:00

REPETITION: An Essay in Experimental Psychology
By Søren Kierkegaard - Translated by Walter Lowrie
Translated by Jarrod Fowler
JMF029
Repetition.m4a

2006-12-31T23:59:00.004-05:00

TRANSLATION AS RHYTHM
from Errant Bodies Press.
CD - 77mins - 12pg booklet - 2006

Translation As Rhythm is an investigation of reference, reflexivity, and stasis through the reactivation of the contents, methodologies, and structures of past compositions. With attention to this CD’s external partaker-specific meaning-making processes, internal associations, and fundamental presentation, Fowler advances a considered historical position of post-conceptual and post-minimal thought, practice and status. The CD specifically references Ludwig Wittgenstein, Erik Satie, John Cage, Joseph Kosuth, James “JLIAT” Whitehead and Fowler himself. Translation As Rhythm’s contents include: percussive sounds, speech synthesizers, noise drone, field recordings and a supplementary booklet.

CD track listing:
1. Wittgenstein to Fowler
2. Satie to Cage to Fowler
3. Variable Occurrences to Fowler to Fowler
4. Kosuth to Fowler
5. Fowler to Fowler
6. Digital Data to Whitehead to Fowler
7. Fowler to Fowler to Fowler
8. Fowler to Fowler

2006-12-25T00:00:00.011-05:00

DISTRIBUTION:

Ground Fault
Metamkine
Mimaroglu Music Sales
Minimamedia
Mystery Train Records
Sound 323
Staalplaat
Twisted Village
Weirdo Records

2006-10-31T00:00:00.019-05:00

INFORMATION:

I am a conceptual percussionist with a focus around rhythm. In my work, I activate sources in order to emphasize their percussive and rhythmic forces and processes. These works may be presented in the form of documents or site specific happenings.

dublab - Los Angeles, California. May 2009
Pierre Menard Gallery - Cambridge, Massachusetts. November 2008
Tate Modern - London, England. June 2008
Johan Deumens - Holland, Netherlands. April-May 2008
Instal Festival - Glasgow, Scotland. February 2008
Issue Project Room - Brooklyn, New York. December 2007
New York Art Book Fair - Manhattan, New York. September 2007
Rare Frequency - Newton, Massachusetts. July 2007
Non-Event - Cambridge, Massachusetts. March 2004
ResonanceFM - London, England. November 2003
Metro Boston Parks Series - June/July 2003
...