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Christoph Cox

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Christoph Cox


Born
October 20, 1965


Christoph Cox is an American philosopher, critic, curator, and educator specializing in sound studies, aesthetics, and contemporary art. He is Dean of Eugene Lang College of Liberal Arts at The New School. Cox is the author of Sonic Flux: Sound, Art, and Metaphysics and Nietzsche: Naturalism and Interpretation, and co-editor of Audio Culture and Realism Materialism Art. His essays have appeared in Artforum, The Wire, Cabinet, and October. As a curator, he has organized exhibitions focused on experimental sound and conceptual art for institutions including the Contemporary Arts Museum Houston and The Kitchen.

Average rating: 4.21 · 1,070 ratings · 41 reviews · 11 distinct worksSimilar authors
Audio Culture: Readings in ...

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4.22 avg rating — 1,013 ratings — published 2004 — 13 editions
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Sonic Flux: Sound, Art, and...

really liked it 4.00 avg rating — 31 ratings4 editions
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Nietzsche: Naturalism and I...

4.29 avg rating — 14 ratings — published 1999 — 4 editions
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Realism Materialism Art

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4.22 avg rating — 9 ratings — published 2015 — 5 editions
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Max Neuhaus

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3.33 avg rating — 3 ratings — published 2009 — 5 editions
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Utopia of Sound: Immediacy ...

0.00 avg rating — 0 ratings — published 2012
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Lyrische Agonistik: Das Pol...

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Verbrechen (an) der Gesells...

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Realismus | Materialismus |...

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Heike Baranowsky: Time Traps

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Quotes by Christoph Cox  (?)
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“Nietzsche's ontological theory presumes neither a pre-given world of unknowable becoming nor a pre-given world of ordinary objects. Against all realisms, Nietzsche maintains that every ontology is the construction of an interpretation and that no world would remain over after the subtraction of every interpretation. Against idealism, he argues that interpretations are not the productions of isolated subjects or minds but complexes of evaluation and power that traverse the entire spectrum of organic life and are discernible even in the inorganic world. Indeed, Nietzsche short-circuits the distinction between idealism and realism by dissolving the poles of subject and object into the unified field of interpretation or will to power.”
Christoph Cox, Nietzsche: Naturalism and Interpretation

“Anton Webern moved composition to the brink of silence.”
Christoph Cox, Audio Culture, Revised Edition: Readings in Modern Music

“Nietzsche insists that a thoroughgoing "naturalism" cannot be a scientism; that is, it cannot accept the Quinean view that "[t]he world is as natural science says it is" and "[n]aturalism looks only to natural science [ . . . ] for an account of what there is and what what there is does." Nietzsche's genealogy of European thought uncovers a residual theology in the modern scientific project's claim to describe the way the world really is. He argues that, if one carries through the naturalistic program implicit in modern science, one will discover that science overcomes itself, giving way to another discourse that can claim to be more rigorously naturalistic and that reveals the scientific to be but one among many true accounts of the world. That discourse is the aesthetic, which affirms sensuousness, materiality, multiplicity, becoming, historicity, creativity, and the irreducibility of interpretation. The aesthetic cannot and does not claim to take the place of science as the one true theory. It justifies itself holistically, by reference to a genealogical story; and it challenges the very idea of a single, final account.”
Christoph Cox, Nietzsche: Naturalism and Interpretation



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