Paper $30.00 ISBN: 9780226543178 Will Publish October 2018
Cloth $100.00 ISBN: 9780226543031 Will Publish October 2018
E-book $30.00 Available for pre-order. ISBN: 9780226543208 Will Publish October 2018

Sonic Flux

Sound, Art, and Metaphysics

Christoph Cox

Sonic Flux

Christoph Cox

272 pages | 41 halftones | 6 x 9 | © 2018
Paper $30.00 ISBN: 9780226543178 Will Publish October 2018
Cloth $100.00 ISBN: 9780226543031 Will Publish October 2018
E-book $30.00 ISBN: 9780226543208 Will Publish October 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.


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

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

Chapter 3: The Symbolic and the Real: Phonography from Music to Sound
Hearing Things
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
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

Part III: The Optical and the Sonic

Chapter 6: Audio/Visual: Against Synaesthetics
From Gesamtkunstwerk to Synaesthesia
Synaesthetics 2.0
Sound Figures
Dubs and Versions
Sound Cinema: Film and Video as Sonic Art
A Transcendental Exercise of the Faculties

For more information, or to order this book, please visit
Google preview here

Chicago Manual of Style

Keep Informed