Sonic Flux by Christoph Cox;

Author:Christoph Cox; [Cox, Christoph]
Language: eng
Format: epub
Publisher: University of Chicago Press

Installing Duration: Postminimalism in the Visual Arts

Cage was content to call this sonic flux “music” and remained more or less satisfied with the role of “composer,” even as he vastly expanded music to include all sound and relinquished a great deal of compositional authority. Yet Cage’s work had a profound effect on artists interested in exploring sound beyond the musical context. Max Neuhaus’s first foray into nonmusical sound work, LISTEN (1966; fig. 5.3), carried Cage’s 4′33″ beyond the concert hall and neatly figured his own exit from the world of music. Neuhaus invited friends and acquaintances to gather at a musical venue, stamped their hands with the word “LISTEN,” and promptly led them outside on a tour of local power plants, highway underpasses, and neighborhoods that were to be experienced aesthetically as sound environments. At the same time, Neuhaus extended Cage’s work with radios and simultaneity. Public Supply I (1966) used WBAI’s radio studio as a kind of proto-Internet to stage a massive participatory sound clash, inviting listeners to call in to the station with their sonic contributions—chatter, yelps, saxophone squonks, power-tool noises, car-horn honks, TV dialogue, and so on—which Neuhaus mixed live on the air.

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