By Seth Kim-Cohen
Marcel Duchamp famously championed a "non-retinal" visible paintings, rejecting judgments of flavor and sweetness. In the Blink of an Ear is the 1st e-book to invite why the sonic arts didn't adventure a parallel flip towards a non-cochlear sonic artwork, imagined as either a reaction and a supplement to Duchamp's conceptualism. instead of deal with sound paintings as a creative perform unto itself—or because the undesirable baby of music—artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous pursuits within the gallery arts. employing key rules from poststructuralism, deconstruction, and paintings historical past, within the Blink of an Ear means that the sonic arts were topic to a similar cultural pressures that experience formed minimalism, conceptualism, appropriation, and relational aesthetics. Sonic perform and concept have downplayed - or, in lots of circumstances, thoroughly rejected - the de-formalization of the art and its simultaneous animation within 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 conception. to that end, the "sound-in-itself" tendency has develop into the dominant paradigm for the construction and reception of sound paintings. Engaged with severe texts via Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, between others, Seth Kim-Cohen convincingly argues for a reassessment of the quick heritage of sound artwork, rejecting sound-in-itself in prefer of a examining of sound's multiplied scenario and its uncontainable textuality. even as, this crucial publication establishes the rules for a nascent non-cochlear sonic perform, embracing the inevitable interplay of sound with the social, the linguistic, the philosophical, the political, and the technological.
Artists mentioned include:
La Monte younger
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Additional info for In the Blink of an Ear: Toward a Non-Cochlear Sonic Art
Modernist art’s limit was built into its constitution. Later in 1967, Greenberg deals specifically with monochrome canvases. . ”4 The aesthetic leap represented by a blank canvas (implied, if not fully engaged, by the monochrome) is something that Greenberg was never willing to acknowledge. Thierry de Duve dances around it without ever landing squarely on it or its implications. The blank canvas is not just the last step in the journey away from pictorial illusionism. It actually is the abandonment of the problem of both illusionism and 3.
38 Notwithstanding this “attempt,” everything from the duration to the sonic content would be determined, not by Cage as composer, but by external forces: duration, by the standard length of a piece of “canned” music; sonic content, by the particular, unpredictable sounds of each individual environment in which Silent Prayer intervened in the flow of Muzak programming. One might read Cage’s proclamation from the Vassar lecture less as a declaration of compositional intentions and more as a prediction of how such a period of 35.
In Minimal Art: A Critical Anthology, ed. Gregory Battcock (Berkeley: University of California Press, 1995). 36 • In the Blink of an Ear the preoccupation with pictorialism. The blank canvas works in the register of Duchampian non-retinality. Greenberg could not abide it, precisely because it toys with the line between the retinal and the non-retinal. The fact that it also functions historically, logically, and aesthetically as the last step in the journey away from pictorial illusionism reveals something crucial: the history of art that licensed Greenbergian modernism always contained, within its very premises, the urge to move beyond visuality to the concerns of what would come to be known as conceptualism.
In the Blink of an Ear: Toward a Non-Cochlear Sonic Art by Seth Kim-Cohen