Christoph Cox

Writing

Books

• Christoph Cox and Daniel Warner, eds., Audio Culture: Readings in Modern Music (New York: Continuum, 2004)
• Christoph Cox, Nietzsche: Naturalism and Interpretation (Berkeley: University of California Press, 1999)

Selected Essays

• "Beyond Representation and Signification: Toward a Sonic Materialism," Journal of Visual Culture Vol.10(2): 145-161.
• “Alien Voices: Alvin Lucier’s North American Time Capsule,” Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, ed. Hannah Higgins and Douglas Kahn (Berkeley: University of California Press, forthcoming).
• "State of Independence," The Book of Guilty Pleasures (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," 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.
• “Installing Duration: Time in the Sound Works of Max Neuhaus,” Max Neuhaus, ed. Lynne Cooke (New Haven: Yale University Press/Dia Art Foundation, 2009), pp. 112-132.
• "Enduring Work: 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" (free login required), 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.
• "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” (free login required), 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.
• 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.
• “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.
• “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.
• “Abstract Concrete: Francisco López and the Ontology of Sound, Cabinet 2 (Spring 2001): 42-5.