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Sonic FluxSound, Art, and Metaphysics$
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Christoph Cox

Print publication date: 2018

Print ISBN-13: 9780226543031

Published to Chicago Scholarship Online: May 2019

DOI: 10.7208/chicago/9780226543208.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 02 June 2020

Sound, Time, and Duration

Sound, Time, and Duration

Chapter:
(p.139) 5 Sound, Time, and Duration
Source:
Sonic Flux
Author(s):

Christoph Cox

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226543208.003.0005

This chapter argues that sound art marks a radical shift in the concept of temporality, a shift from “time” to “duration.” It examines John Cage’s important distinction between “time-objects” and “purposeless processes,” and its connection with Bergsonian and Deleuzian philosophies of temporality. The chapter shows how, in the 1960s, this distinction fueled the debate between critic Michael Fried and artists Robert Morris and Robert Smithson, and has animated sound art practice ever since. The chapter examines conceptions of temporality in the ouevre of sound installation pioneer Max Neuhaus and concludes with a critical analysis of sound artist Florian Hecker’s collaboration with philosopher Quentin Meillassoux, who aim to show, both sonically and conceptually, that the world is not a becoming or flux but a “hyper-chaos.”

Keywords:   time, duration, time-objects, purposeless processes, Henri Bergson, John Cage, hyper-chaos, Quentin Meillassoux, Max Neuhaus, Florian Hecker

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