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.
About the Author
Christoph Cox is professor of philosophy at Hampshire College and editor-at-large at Cabinet.
"A rich, wideranging discussion, knowledgeable and insightful, that achieves the rare feat of connecting, and balancing, philosophy and artistic practice."
— The Wire
"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.'"