Parallax 23 (3):361-378 (2017)

Authors
Iain Campbell
Dundee University
Abstract
In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation.
Keywords Gilles Deleuze  John Cage  sound studies  experimental music  ontology of sound
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References found in this work BETA

Discourse on Metaphysics.Gottfried Wilhelm Leibniz - 2007 - In Aloysius Martinich, Fritz Allhoff & Anand Vaidya (eds.), Philosophy. Blackwell. pp. 81-84.
On What There Is.P. T. Geach, A. J. Ayer & W. V. Quine - 1951 - Aristotelian Society Supplementary Volume 25:125-160.
On What There Is1.Willard V. Quine - 2009 - In Michael C. Rea (ed.), Arguing About Metaphysics. Routledge. pp. 11.
On Concept and Object.Gottlob Frege - 1892 - Mind 60 (238):168-180.

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