Jacqueline Caux's Film Homage to Daniel Caux and Experimental Music

Jacqueline Caux's film "Les couleurs du prisme, la mécanique du temps" pays homage to her late husband Daniel Caux, an activist in experimental, minimalist, repetitive, and postmodern music, as well as Arabic music, jazz, and techno. The film opens with New York City seagulls and John Cage's music, then features intimate encounters with key American experimental musicians from the 1970s, including Terry Riley improvising on piano, La Monte Young demonstrating the importance of holding a note as a foundation for improvisation (akin to Indian classical music), and Philip Glass absorbed in rehearsal. Daniel Caux is shown in his apartment, surrounded by records, guiding viewers through the music. The film traces 20th-century music history through the artists' own words, making the world appear rhythmic—pedestrian steps, San Francisco traffic lights, Detroit river waves. Released by La Huit Edition, the film was reviewed by Léonore Chastagner in artpress.