Sonic Flux: Sound, Art, and Metaphysics
Autor Christoph Coxen Limba Engleză Paperback – 6 dec 2018
From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.”
Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general.
Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general.
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Specificații
ISBN-13: 9780226543178
ISBN-10: 022654317X
Pagini: 272
Ilustrații: 41 halftones
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.39 kg
Ediția:First Edition
Editura: University of Chicago Press
Colecția University of Chicago Press
ISBN-10: 022654317X
Pagini: 272
Ilustrații: 41 halftones
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.39 kg
Ediția:First Edition
Editura: University of Chicago Press
Colecția University of Chicago Press
Notă biografică
Christoph Cox is professor of philosophy at Hampshire College and editor-at-large at Cabinet.
Cuprins
Acknowledgments
Introduction
Part I: The Sonic Flux and Sonic Materialism
Chapter 1: Toward a Sonic Materialism
Chapter 2: A Brief History of the Sonic Flux
Chapter 3: The Symbolic and the Real: Phonography from Music to Sound
Part II: Being and Time in the Sonic Arts
Chapter 4: Signal to Noise: An Ontology of Sound Art
Chapter 5: Sound, Time, and Duration
Part III: The Optical and the Sonic
Chapter 6: Audio/Visual: Against Synaesthetics
Notes
Index
Introduction
Part I: The Sonic Flux and Sonic Materialism
Chapter 1: Toward a Sonic Materialism
Signification, Discourse, and Materialism
Representation and the Sonic Arts
Schopenhauer: Below Representation
Nietzsche: The Naturalization of Art
Dionysus, or the Intensive
Sound as an Immemorial Flux
Sonic Events and Sound Effects
A Materialist Aesthetics
Representation and the Sonic Arts
Schopenhauer: Below Representation
Nietzsche: The Naturalization of Art
Dionysus, or the Intensive
Sound as an Immemorial Flux
Sonic Events and Sound Effects
A Materialist Aesthetics
Chapter 2: A Brief History of the Sonic Flux
Noise, Deterritorialization, and Self-Organization
Systems of Sonic Capture
Interlude—Christian Marclay: Repetition and Difference
Digitality, Decommodification, and Deterritorialization
Systems of Sonic Capture
Interlude—Christian Marclay: Repetition and Difference
Digitality, Decommodification, and Deterritorialization
Chapter 3: The Symbolic and the Real: Phonography from Music to Sound
Hearing Things
Alvin Lucier: From Signification to Noise
Alvin Lucier: From Signification to Noise
Part II: Being and Time in the Sonic Arts
Chapter 4: Signal to Noise: An Ontology of Sound Art
Noise
Leibniz and the Auditory Unconscious
Sound Art and the Sonic Flux
Room Tone
Sound, Symbol, Sample
Music and Sound Art
Leibniz and the Auditory Unconscious
Sound Art and the Sonic Flux
Room Tone
Sound, Symbol, Sample
Music and Sound Art
Chapter 5: Sound, Time, and Duration
Beyond the Musical Object: From Being to Becoming, Time to Duration
Installing Duration: Postminimalism in the Visual Arts
Time’s Square
Time Pieces
Against Becoming and Duration? The Sound of Hyper-Chaos
Installing Duration: Postminimalism in the Visual Arts
Time’s Square
Time Pieces
Against Becoming and Duration? The Sound of Hyper-Chaos
Part III: The Optical and the Sonic
Chapter 6: Audio/Visual: Against Synaesthetics
From Gesamtkunstwerk to Synaesthesia
Sound/Image
Synaesthetics 2.0
Sound Figures
Dubs and Versions
Sound Cinema: Film and Video as Sonic Art
A Transcendental Exercise of the Faculties
Sound/Image
Synaesthetics 2.0
Sound Figures
Dubs and Versions
Sound Cinema: Film and Video as Sonic Art
A Transcendental Exercise of the Faculties
Notes
Index
Recenzii
"A rich, wideranging discussion, knowledgeable and insightful, that achieves the rare feat of connecting, and balancing, philosophy and artistic practice."
"I foresee that the book will become a staple in sound studies . . . . The book’s strength is that it offers the first philosophical genealogy (to my knowledge) that establishes the sonic flux theory as an ontology for understanding the emergence of sound art in the second half of the twentieth century."
"In this book, Cox (also co-editor of the Audio Culture anthology) constructs and formalises the concept of 'sonic flux,' conceived in an early form by Schopenhauer, Nietzsche and Deleuze, and furthered by Manuel DeLanda’s 'A Thousand Years of Nonlinear History.'"
"Christoph Cox in Sonic Flux investigates the most materialistic and prosaic music: the underrated background music. . . . Following the school of Schaeffer, Russolo, Varese, and Cage, Cox stands up for urban soundscapes and their range of attractions, blurs, chains, dilations and fades."
"Sonic Flux has solidified Cox’s role as the definitive voice in the field of sound art. Sonic Flux presents us with sound art’s long overdue conceptualization within contemporary discourse. In this text we encounter sound studies like never before, that is, as a site of courageous creative artistic research founded upon rigorous material experimentation and theoretical exploration. Cox’s background in philosophy, critical theory, and art history are clearly evident in this book and are greatly appreciated."