Includes bibliographical references and index

Intro; Contents; Acknowledgments; Introduction; Part I. The Sonic Flux and Sonic Materialism; 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; 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 Deterritorialization3. 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; 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; 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-ChaosPart III. The Optical and the Sonic; 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; Notes; Index

"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."

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