Referring to Counting’s poetic, essay style as “life-drawing,” Cohen composes a meditative multi-city symphony from the layers of matter—dark and light—created and destroyed by civilization and its corporations. Primarily traversing public spaces, Cohen documents the intimacy of the communal, the occupation of the private, and all of the ambiguous realms in between during trips to cities like London, Sharjah, Moscow, Porto, St. Petersburg, New York and Istanbul. Originating from his reaction to the death of Chris Marker, Cohen captures, with his own system of categorization and rhythm, the many layers of information that coalesce in modern urban centers . As events in his personal life eventually seep through and emotionally tone the landscape, Cohen’s open structure filters just enough, allowing for the audience to make their own narratives from his collection of observations and reflections.