In the Blink of an Ear: Toward a non-cochlear sonic art

In the Blink of an Ear: Toward a Non-Cochlear Sonic Art traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle.

Marcel Duchamp famously championed a ?non-retinal? visual art, rejecting judgments of taste and beauty. In the Blink of an Ear is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp?s conceptualism. Rather than treat sound art as an artistic practice unto itself?or as the unwanted child of music?artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed ? or, in many cases, completely rejected ? the de-formalization of the artwork and its simultaneous animation in the conceptual realm.
Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenberg?s media-specificity with a phenomenological emphasis on perception. Subsequently, the ?sound-in-itself? tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sound?s expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological.

Artists discussed include:

George Brecht
John Cage
Janet Cardiff
Marcel Duchamp
Bob Dylan
Valie Export
Luc Ferrari
Jarrod Fowler
Jacob Kirkegaard
Alvin Lucier
Robert Morris
Muddy Waters
John Oswald
Marina Rosenfeld
Pierre Schaeffer
Stephen Vitiello
La Monte Young

CONTENIDO:

Preface
Introduction: Ay, Out, About

Chapter 1: In One Ear, Out the Other. Clement Greenberg, Pierre Schaeffer, John Cage, Muddy Waters
Chapter 2: Be More Specific. Clement Greenberg, Michael Fried, Robert Morris
Chapter 3: The Perception of Primacy. Annette Michelson, Robert Morris, Charles Sanders Peirce, Maurice Merleau-Ponty, Rosalind Krauss, Jacques Derrida
Chapter 4: Ohrenblick. Marshall McLuhan, Friedrich Kittler, Jacques Attali, Christina Kubisch
Chapter 5: Sound-in-Itself. Francisco López, Stephen Vitiello, Jacob Kirkegaard, La Monte Young, James Snead, Sam Phillips
Chapter 6: Unhearing Cage. Rosalind Krauss, John Cage, Robert Rauschenberg, George Brecht
Chapter 7: Sound-out-of-Itself. Luc Ferrari, Alvin Lucier, Bob Dylan
Chapter 8: A Dot on a Line. Bruce Nauman, Valie Export, Jean-François Lyotard, Douglas Kahn, Janet Cardiff, Jarrod Fowler, Marina Rosenfeld, Nicolas Bourriaud
Conclusion: Lend an Ear
Index