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Sonic Flux
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.
Nietzsche
Nietzsche: Naturalism and Interpretation offers a resolution of one of the most vexing problems in Nietzsche scholarship. As perhaps the most significant predecessor of more recent attempts to formulate a postmetaphysical epistemology and ontology, Nietzsche is considered by many critics to share this problem with his successors: How can an antifoundationalist philosophy avoid vicious relativism and legitimate its claim to provide a platform for the critique of arguments, practices, and institutions? Christoph Cox argues that Nietzsche successfully navigates between relativism and dogmatism, accepting the naturalistic critique of metaphysics and theology provided by modern science, yet maintaining that a thoroughgoing naturalism must move beyond scientific reductionism. It must accept a central feature of aesthetic understanding: acknowledgment of the primacy and irreducibility of interpretation. This view of Nietzsche's doctrines of perspectivism, becoming, and will to power as products of an overall naturalism balanced by a reciprocal commitment to interpretationism will spur new discussions of epistemology and ontology in contemporary thought.
Audio Culture
Contributions : Brian Eno, John Cage, Jacques Attali, Umberto Eco, Christian Marclay, Simon Reynolds, Pierre Schaeffer, Marshall MCLuhan, Derek Bailey, Pauline Oliveros, Tony Conrad, David Toop... etc.
Realism Materialism Art
"Realism materialism art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMA serves as a primer on "speculative realism," considering its conceptual innovations as spurs to artistic thinking and practice and beyond."--From publisher's description.
In the Blink of an Ear
This title traces the interactions and mutual influences of art and music over the past 60 years.
An Introduction to 5G
A comprehensive and approachable introduction to 5G Written by a noted expert on the subject, An Introduction to 5G: The New Radio, 5G Network and Beyond offers an introductory system-level guide to 5G. The material covered includes: The use cases and requirements of the 5G system The architecture of the next generation radio access network and the 5G core The principles of radio transmission, millimetre waves and MIMO antennas The architecture and detailed design of the 5G new radio The implementation of HTTP/2 on the service-based interfaces of the 5G core The signalling procedures that govern the end-to-end-operation of the system The new features that are introduced in Releases 16 and 17...
Loading the Silence: Australian Sound Art in the Post-Digital Age
The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (’silent’ piece) 4’33 . But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ’load’ modernism’s ’degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking A...
Sound Art
Essays and images that map art's new sonic cosmos, illustrated in color throughout. This milestone volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established sound art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive exhibition at ZKM | Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book...
Sonic Flux
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.
