![Sample our Humanities journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5939/TOC-Subject-Sample-2021-Humanities.jpg"})
Notes
1 Cage, Silence, 8.
2 Cage, A Year from Monday, 31.
3 Cage, Silence, 10.
4 See for example Cox, “Beyond Representation and Signification,” Goodman, Sonic Warfare, or Hainge, Noise Matters.
5 See Goodman, Sonic Warfare, 9-10, or Cox, “Beyond Representation and Signification,” 146.
6 Ibid., 148.
7 Massumi, Parables of the Virtual.
8 For a close evaluation of the ‘sonic affect’, see Scrimshaw, “Non-cochlear sound.”
9 Kane, “Sound studies without auditory culture,” 3.
10 Ibid., 16
11 Ibid., 9.
12 Ibid., 10.
13 Ibid., 4.
14 Ibid., 11.
15 Ibid., 12; and Quine, “On What There Is.”
16 Kane, “Sound studies without auditory culture,” 11-12.
17 Ibid., 13.
18 On this topic the discussion of logic in Deleuze and Guattari, What is Philosophy?, chapter 6, is crucial.
19 Deleuze, “The Method of Dramatization,” 96.
20 Deleuze, Difference and Repetition, 195-96.
21 Goodman, Languages of Art, 188.
22 Carroll, “Cage and Philosophy,” 95.
23 Cage, For the Birds, 129.
24 Deleuze and Guattari, A Thousand Plateaus, 266.
25 Ibid.
26 Ibid., 267.
27 Cage, Silence, 5.
28 Ibid., 9.
29 Our discussion here contrasts with that of Christoph Cox, who seeks to evacuate all that is Kantian from Deleuze, insofar as Cox’s understanding of sound contains no remainder of the subject-object split. See Cox, “Beyond Representation and Signification,” 153.
30 Kant, Critique of Pure Reason, A646f/B674f.
31 Deleuze, The Logic of Sense, 105.
32 Deleuze, Difference and Repetition, 68.
33 Ibid.
34 Maimon, Essay on Transcendental Philosophy, 100.
35 Deleuze, Difference and Repetition, 173.
36 Leibniz, “Discourse on Metaphysics,” §33.
37 Deleuze, Difference and Repetition, 173.
38 Ibid., 203.
39 Ibid., 24.
40 Ibid., 209.
41 Ibid., 170
42 See Smith, “Mathematics and the Theory of Multiplicities,” and for a broader contextualization, Bell, Deleuze and Guattari’s What is Philosophy?
43 Frege, “On Concept and Object.”
44 Quine, “On What There Is,” 202.
45 Deleuze, Difference and Repetition, 162.
46 Ibid., 192.
47 Ibid., 192.
48 Ibid., 206.
49 Deleuze, “Bergson’s Conception of Difference,” 43.
50 Ibid.
51 Deleuze, Difference and Repetition, 206.
52 Ibid., 46. “Cage himself drew on the work of Bergson. For a detailed and nuanced reading of the Bergson-Cage-Deleuze conjunction, see Joseph, Experimentations, 133–172.”
53 Deleuze, “How Do We Recognize Structuralism?” 191.
54 Deleuze, The Logic of Sense, 157.
55 Guattari, “Machine and Structure,” 111.
56 Deleuze and Guattari, A Thousand Plateaus, 237.
57 Cage, Silence, 36
58 Ibid., 28.
59 See Altshuler, “The Cage Class.”
60 Fetterman, John Cage’s Theatre Pieces, 233.
61 See Kim, “The Formalization of Indeterminacy.”
62 Cage, Silence, 28.
63 Young, An Anthology of Chance Operations.
64 Ono, Grapefruit.
65 See Panzner, The Process That Is the World, 155.
66 Pritchett, “David Tudor as Composer/Performer.”
67 Quoted in Piekut, Experimentalism Otherwise, 149-150.
68 Ibid., 158.
69 Cage, “On the Work of Nam June Paik,” 21.
70 Deleuze, Difference and Repetition, 158.
71 Ibid., 11.
72 Ansell-Pearson, Germinal Life, 204.
73 Dosse, Gilles Deleuze & Félix Guattari, 14-15.
74 Guattari, Chaosmosis, 37.
75 Ibid., 39.
76 Ibid., 40.
77 Deleuze, “Postscript on Control Societies,” 178.
78 Deleuze and Guattari, What is Philosophy?, 10.
79 See Toscano, “In Praise of Negativism.”
80 Deleuze and Guattari, A Thousand Plateaus, 160.
Additional information
Notes on contributors
Iain Campbell
Iain Campbell is an independent researcher who has written on topics across philosophy, music, sound studies, and art theory for publications including A/V: Journal of Practical and Creative Philosophy and Sound Studies. He received a PhD from the Centre for Research in Modern European Philosophy, Kingston University London, in 2016, with a thesis exploring experimental practices of music and philosophy in the work of John Cage and Gilles Deleuze. Email: [email protected]