CHRISTOPH COX

WRITING

Books

• Vectors of the Readymade: Sound and Idea in Contemporary Art. Bloomsbury, forthcoming.
• Sonic Flux: Sound, Art, and Metaphysics. University of Chicago Press, 2018. (Watch the trailer here!)
• Realism Materialism Art, ed. Christoph Cox, Jenny Jaskey, and Suhail Malik. Berlin: Sternberg Press, 2015.
• Audio Culture: Readings in Modern Music, ed. Christoph Cox and Daniel Warner. New York: Continuum, 2004; revised edition Bloomsbury, 2017.
• Nietzsche: Naturalism and Interpretation. Berkeley: University of California Press, 1999. (Online version here.)

Selected Essays

• "Christoph Cox in conversation with Valerie Mindlin," November magazine #42 (August 2022).
• "Sound Art and Time". In The Oxford Handbook of Sound Art, ed. Jane Grant, John Matthias, and David Prior. New York: Oxford University Press, 2021.
• "The Politics of Sound: Flows, Codes and Capture," Resonance: The Journal of Sound and Culture, 1, no. 3 (2020)
• "Capture and Release: Capitalism and the Flows of Sound" in Audiosphere: Sound Experimentation, 1980–2020. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2020.
• "The Author as Selector: Tony Cokes's Iconoclasm," in Tony Cokes: If UR Reading This It's 2 Late (London: Goldsmiths Press, 2019), published in conjunction with exhibitions at Goldsmiths Centre for Contemporary Art, the Carpenter Center for the Visual Arts, and ARGOS Center for Art and Media, Brussels, 2019–20. (Spanish translation here. Transcript of my conversation with Cokes at the Carpenter Center for the Visual Arts, Harvard University, here.)
• “Sound Art in America: Cage and Beyond" In Sound Art, ed. Peter Weibel and Linnea Semmerling. Cambridge, MA: MIT Press/ZKM, 2019
• “Sonic Realism and Auditory Culture: A Reply to Marie Thompson and Annie Goh”, parallax 24, no. 2 (2018): 234–42.
• “Phonography: Samson Young's Sonic Art”, Songs for Disaster Relief: A Mixtape, a publication accompanying the exhibition "Samson Young: Songs for Disaster Relief," Hong Kong in Venice, May–November 2017.
• “Aura Satz in Conversation with Christoph Cox, April/May 2017,” Moving Image Review & Art Journal 7, no. 1 (April 2018): 134–46.
• “The Cosmic Drone”, Spiral Magazine, in conjunction with the exhibition “The World is Sound”, curated by Risha Lee, Rubin Museum, New York City, June 16, 2017–January 8, 2018.
• “On Matter and Materialisms” (with Suhail Malik), October 155 (Winter 2016).
• “Listening as Agon in the Society of Control.” In What Now? The Politics of Listening, ed. Anne Barlow, Lindsey Berfond, and Kristen Chappa. London: Black Dog, 2015
• “Seeing is Not Hearing: Synaesthesia, Anaesthesia and the Audio-Visual.” In Art or Sound, ed. Germano Celant. Venice: Fondazione Prada, 2014, pp. 93-98. (An italian translation of this text was recorded for a Fondazione Prada podcast. Listen here.)
• “Afro-Futurism, Afro-Pessimism and the Politics of Abstraction: An Interview with Kodwo Eshun.”
• “Haroon Mirza: The Electrical Flux.” In Are Jee Be?: Haroon Mirza. Dublin: Irish Museum of Modern Art, 2014, 14-15.
• "Sonic Philosophy". Artpulse, No. 16, Vol. 4 (2013). Spanish translation in the online journal LUCA here
• "Moving Images, Autonomous Sounds: Heike Baranowsky's Brief History of Cinema.” In Heike Baranowsky: Time Traps. Nürnberg: Verlag für moderne Kunst, 2013, pp. 16-20.
• "Art Critics' Reading List: Christoph Cox", Artpulse, No. 15, Vol. 4 (2013)
• "Abstraction 1910-1925: Eight Statements (Christoph Cox).”October, 143 (Winter 2013)
• "Music, Noise, and Abstraction." In Inventing Abstraction, 1910-1925, ed. Leah Dickerman. New York: Museum of Modern Art, 2012.
• “The Alien Voice: Alvin Lucier’s North American Time Capsule 1967.” In Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, ed. Hannah Higgins and Douglas Kahn. Berkeley: University of California Press, 2012.
• "Beyond Representation and Signification: Toward a Sonic Materialism,” Journal of Visual Culture Vol.10(2) (2011): 145-161.
• "State of Independence," The Book of Guilty Pleasures, ed. Song Ming Ang and Kim Cascone (Singapore: Circadian Songs, 2011), pp. 46-47.
• "The Breaks," Christian Marclay: Festival, Issue 3 (New York/New Haven: Whitney Museum of American Art/Yale University Press, 2010), pp. 6-15.
• "Sound Cinema: Luke Fowler in Conversation with Christoph Cox.” In X-Initiative Yearbook, ed. Cecilia Alemani. New York: Mousse Publishing, 2010, pp. 71-78.
• “Space, Time, and Sonic Utopia.” Immediacy and Non-Simultaneity: Utopia of Sound, ed. Diedrich Diederichsen and Constanze Ruhm. Vienna: Publications of the Academy of Fine Arts, 2010, pp. 43-63. Recorded and reprinted in 2021 for the Swiss art platform Joyfully Waiting.
• “Installing Duration: Time in the Sound Works of Max Neuhaus.” In Max Neuhaus, ed. Lynne Cooke. New Haven: Yale University Press/Dia Art Foundation, 2009, pp. 112-132.
• "Passages: Max Neuhaus," Artforum (May 2009): 49–52.
• "Sound Art and the Sonic Unconscious," Organised Sound, vol. 14, no. 1 (April 2009): 19–26. (Spanish translation in Revista Experimenta 10 [December 2011]).
• "Every Sound You Can Imagine," catalog essay for Every Sound You Can Imagine, an exhibition curated by Christoph Cox at the Contemporary Arts Museum Houston, October 3–December 7, 2008, and New Langton Arts, San Francisco, February 5–March 28, 2009.
• "About Time", review of Alan Licht, Sound Art: Between Categories, and Brandon LaBelle, Background Noise: Perspectives on Sound Art, Artforum (November 2007).
• "Von Musik zum Klang: Sein als Zeit in der Klangkunst" ("From Music to Sound: Being as Time in the Sonic Arts”). Sonambiente Berlin 2006: Klang Kunst Sound Art, ed. Helga de la Motte-Haber, Matthias Osterwold, Georg Weckwerth (Heidelberg: Kehrer Verlag, 2006), pp. 214–23. (Excerpt in English in Sound, ed. Caleb Kelly [Cambridge, MA: MIT Press, 2011]).
• “Invisible Cities: An Interview with Christina Kubisch,” Cabinet 21 (Spring 2006): 93-96.
• “A La Recherche d’une Musique Féminine,” In Her Noise, ed. Anne Hilde Neset and Lina Dzuverovic-Russell (London: Forma, 2005): 7–13.
• "Of Humans, Animals, and Monsters," Becoming Animal: Contemporary Art in the Animal Kingdom, ed. Nato Thompson (Cambridge, MA: MIT Press, 2005), pp. 18-25.
• “Nietzsche, Dionysus, and the Ontology of Music,” A Companion to Nietzsche, ed. Keith Ansell Pearson (Malden, MA: Blackwell, 2005), pp. 495–513.
• “Lost in Translation: Sound in the Discourse of Synaesthesia,” Artforum (October 2005): 236–41.
• “On Time: The Loop and the Line.” Catalog essay for Group Loop, an exhibition guest-curated by Christoph Cox at G Fine Art, Washington D.C., March 26–April 26, 2005.
• “Edison's Warrors,” Cabinet 13 (Spring 2004): 19–22.
• Audio Files: Sound Art Now—An Online Symposium, moderated by Christoph Cox, with contributions by Anthony Huberman, Carl Michael von Hausswolff, Branden Joseph, Steve Roden, Marina Rosenfeld, David Toop, and Stephen Vitiello, Artforum.com, 2004.
• "Versions, Dubs, and Remixes: Realism and Rightness in Aesthetic Interpretation", in Interpretation and Its Objects, ed. Andreea Deciu Ritvoi (Amsterdam: Rodopi, 2003), 285–92.
• “Wie wird Musik zu einem organlosen Körper? Gilles Deleuze und experimentale Elektronika” ("How Do You Make Music a Body without Organs? Gilles Deleuze and Experimental Electronica"), in Soundcultures: Über digitale und elektronische Musik, ed. Marcus S. Kleiner and Achim Szepanski (Frankfurt: Suhrkamp Verlag, 2003), 162–93. Chinese translation here. And an associated radio program produced for Radio Enemy Beijing can be streamed here.
• “Return to Form: Neo-Modernism in Sound Art,” Artforum (November 2003): 67.
• “Thinking Like a Plant: Prolegomena to a Philosophy of Vegetables,” Cabinet 6 (Spring 2002): 95–98.
• "On Evil: An Interview with Alain Badiou" (with Molly Whalen), Cabinet 5 (Winter 2001-2002): 69-74.
• "Seeing Sounds, Hearing Images". Catalog essay for the exhibition "Audible Imagery: Sound and Photography" at the Museum of Contemporary Photography, Chicago, October 26-December 21, 2001.
• “Abstract Concrete: Francisco López and the Ontology of Sound,"Cabinet 2 (Spring 2001): 42-5.