Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

This is the first volume to mobilize encounters between the work of Gilles Deleuze and Félix Guattari and the rich developments in cultural studies of music and sound. The book takes seriously the intellectual and political challenge that the process philosophy of Deleuze and Guattari poses for previous understandings of music as permanent objects and primarily discursive texts. By elaborating on the concepts of Deleuze and Guattari in innovative ways, the chapters of the book demonstrate how musical and sonic practices and expressions can be reconsidered as instances of becoming, actors in assemblages, and actualizations of virtual tendencies. The collection pushes notions of music and sound beyond such long-term paradigms as identity thinking, the privileging of signification, and the centrality of the human subject. The chapters of the volume bring a range of new topics and methodological approaches in contact with Deleuze and Guattari. These span from movement improvisation, jazz and western art music studies, sound and performance art and reality TV talent shows to deaf musicians and indigenous music. The book also highlights such fresh ways of doing analysis and shaping the methodological tools of music and sound studies that are enabled by Deleuze and Guattari's philosophy. Their philosophy, too, gains renewed capacities and potential when responding to ethnographic, cultural, ethnomusicological, participatory, aesthetic, new materialist, feminist and queer perspectives to music and sound.

Deleuze's fondness for geography has long been recognised as central to his thought. This is the first book to introduce researchers to the breadth of his engagements with space, place and movement. Focusing on pressing global issues such as urbanization, war, migration, and climate change, Arun Saldanha presents a detailed Deleuzian rejoinder to a number of theoretical and political questions about globalization in a variety of disciplines. This systematic overview of moments in Deleuze's corpus where space is implicitly or explicitly theorized shows why he can be called the twentieth century's most interesting thinker of space. Anyone with an interest in refining such concepts as territory, assemblage, body, event and Anthropocene will learn much from the “geophilosophy” which Deleuze and Guattari proposed for our critical times.

Architectural Affects after Deleuze and Guattari is the first sustained survey into ways of theorising affect in architecture. It reflects on the legacy and influence of Gilles Deleuze and Félix Guattari in the uptake of affect in architectural discourse and practice, and stresses the importance of the political in discussions of affect. It is a timely antidote to an enduring fixation on architectural phenomenology in the field. The contributors offer a variety of approaches to the challenges presented in discussing the relation between affect and architecture, and how this is contextualised in the broader field of affect studies. Ranging from evaluations of architectural and urban productions and practices, to inquiries into architectural experience, to modes of affective inquiry in education, to experimental affective writing, each contribution to this seminal volume suggests ways of developing a more sustained approach to a crucial thematic domain. The volume will be of use to students at both undergraduate and postgraduate levels; researchers, theorists and historians of architecture and related urban and spatial disciplines; the fields of social science and cultural theory; and to philosophy, in particular the studies of Deleuze and Guattari, and Baruch Spinoza.

In this detailed and comprehensive study of concepts from Gilles Deleuze’s philosophy of time, Tromans undertakes a series of practice as research projects that reformulate Deleuze’s work via what Tromans calls a “musical-philosophical” practice. Tromans interweaves his own solo-piano improvisation and composition with analyses of his and others’ works in improvisation and experimental musics, leading to the creation of new, interdisciplinary concept or conceptual practice that he calls Rhythmicity: a way to rethink the temporal in respect of how we model its movements and relationships. Through the models of temporal interaction devised via each project, Deleuze’s concepts are transformed via their incorporation into the musical-philosophical mix. In addition, music improvisation and composition are shown to be utilisable for more than the making of music alone, with the thesis providing fresh insight for the fields of practice as research in music, Deleuze studies, experimental music, and Performance Philosophy in respect of its uniqueness of process and output.

Becoming-animal is a key concept for Deleuze and Guattari; the ambiguous idea of the animal as human and nonhuman life infiltrates all of Deleuze's work. These 16 essays apply Deleuze's work to analysing television, film, music, art, drunkenness, mourning, virtual technology, protest, activism, animal rights and abolition. Each chapter questions the premise of the animal and critiques the centrality of the human. This collection creates new questions about what the age of the Anthropocene means by 'animal' and analyses and explores examples of the unclear boundaries between human and animal.

Media pervade and saturate the world around us. From the proliferation of social media, to crowdsourcing, big data, games, and more traditional media such as television, radio, and print, media provide the framework for our engagement with the world and each other. By recasting the traditional concerns of media studies through the lens of the work of Deleuze and Guattari this book provides an innovative new toolkit for understanding how media shape our world. Taking as their central question what it is that media do, Harper and Savat offer a new and insightful approach to this exciting area of study.

This book is an original exploration of Deleuze's dynamic philosophies of space, time and language, bringing Deleuze and futurism together for the first time. Helen Palmer investigates both the potential for creative novelty and the pitfalls of formalism within both futurist and Deleuzian linguistic practices. Through creative and rigorous analyses of Russian and Italian futurist manifestos, the 'futurist' aspects of Deleuze's language and thought are drawn out. The genre of the futurist manifesto is a literary and linguistic model which can be applied to Deleuze's work, not only at times when he writes explicitly in the style of a manifesto but also in his earlier writings such as Difference and Repetition (1968) and The Logic of Sense (1969). The way in which avant-garde manifestos often attempt to perform and demand their aims simultaneously, and the problems which arise due to this, is an operation which can be perceived in Deleuze's writing. With a particular focus on Russian zaum, the book negotiates the philosophy behind futurist 'nonsense' language and how Deleuze propounds analogous goals in The Logic of Sense. This book critically engages with Deleuze's poetics, ultimately suggesting that multiple linguistic models operate synecdochically within his philosophy.

What can you do with philosophy? The essays in this collection, written by prominent theorists in cultural studies, demonstrate that the work of philosophers Gilles Deleuze and Félix Guattari can dramatically enrich our understanding of everyday life. Each contributor, using a variety of concepts from the writings of Deleuze and Guattari, animates (engages, enlivens, and illuminates) some aspect of cultural life. The range is surprising and includes animations of Cajun dancing, breastfeeding, adolescence, nation, home, poet Breyten Breytenbach, love in the classroom, and the place of affect in everyday life.