Notes
1. In using this term Kane is perhaps grouping these Deleuzian approaches more broadly under speculative realist approaches, including those of object-oriented philosophy (see Bryant, Srnicek, and Harman Citation2011). If so his later interest in the thought of Bruno Latour (Kane Citation2015, 12), a key source for object-oriented approaches, could again provide a useful bridge between the divergent strands of sound studies.
3. Michael Denning’s (Citation2015) exploration of early recorded music’s development across colonial ports and its relation to decolonisation provides an example of this kind of enquiry.
4. For instance in the recent volume edited by Kolozova and Joy (Citation2016).
Kane, Brian. 2015. “Sound Studies without Auditory Culture: A Critique of the Ontological Turn.” Sound Studies 1 (1): 2–21. doi:10.1080/20551940.2015.1079063. Kim-Cohen, Seth. 2009. In the Blink of an Ear: Towards a Non-Cochlear Sound Art. London: Bloomsbury. Cox, Christoph. 2003. “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, edited by Marcus S. Kleiner and Achim Szepanski. Frankfurt: Suhrkamp Verlag. http://faculty.hampshire.edu/ccox/Cox-Soundcultures.pdf Denning, Michael. 2015. Noise Uprising: The Audiopolitics of a World Musical Revolution. London; New York: Verso. Kolozova, Katerina, and Eileen A. Joy, eds. 2016. After the “Speculative Turn”: Realism, Philosophy, and Feminism. Brooklyn: Punctum Books.
![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"})
