Immanence and Immersion: On the Acoustic Condition in Contemporary Art

Contents

• List of Figures List of Tables Preface Acknowledgements
• 0. Introduction
• 0.1. Immersion is the New Orthodoxy
• 0.2. The Ideology of Immersion
• 0.3. Immersion and Correlationism
• 0.4. Immanence and Immersion
• 0.5. Exteriority and the Outside
• 0.6. Exiting Immersion
• 1. Decentralisation
• 1.1. Get Out of the Defensive Position
• 1.2. Transcendental Empiricism: Approaching the Edge of the Circle
• 1.3. Negative Duration
• 1.4. Prodigious Simplification
• 2. Infraesthetics
• 2.1. Extreme Audition
• 2.2. Rolf Julius
• 2.3. Stephen Vitiello
• 2.4. Nina Canell
• 3. Writing Out Sound
• 3.1. Writing and Exteriority
• 3.2. Exteriority and the Real
• 3.3. Sound Recording and Writing Sound
• 3.4. Sound is Always-Already Written Out
• 4. Immersive Phenomenology
• 4.1. Husserl
• 4.1. 1 Intentionality and Direct Realism
• 4.1. 2 Realism and Reduction
• 4.2. Merleau-Ponty
• 4.2. 1 Immersive Phenomenology
• 4.2. 2 Return to the Depth of the Pre-Objective
• 5. Sonic Materialism
• 5.1. Affective Matter
• 5.2. Material Phenomenology
• 5.3. Sonic-Material Phenomenology
• 5.4. Sonic Realism
• 6. The Scientific Image
• 6.1. Ryoichi Kurokawa: Abstraction and the Lifeworld
• 6.2. Towards a Corruption of Aesthetic Sufficiency
• 7. Repurposing Conceptualism
• 7.1. Immanence and Representation
• 7.2. Extinction Abounds: Katie Paterson
• 8. The Stratification of Immanence
• 8.1. Immanence Contra Immersion
• 8.2. Beyond the Circle
• 8.3. Immanence and an Ethics of Exteriority References