Logic of Experimentation

Preface: A Transdisciplinary Conjuncture

Introduction: Experimentation versus Interpretation

Part 1. Assemblage Theory for Music

Chapter 1: Virtual Works—Actual Things

Rasch — The limits of music philosophy and the role of artistic

research — Music ontologies: some problems — Beyond

transcendence: approaching a Deleuzian ontology — Virtual

works, actual things: towards a new image of musical work —

Strata — Rasch25: . . . vers la nuit

Chapter 2: Assemblage, Strata, Diagram

Musical works as assemblages — Agencement, logic of assemblage,

assemblage theory — Intermezzo: a note on translation —

From structure to assemblage — Strata — Diagram — Logic of

assemblage

Part 2: Experimental Systems in Music

Chapter 3: Experimental Systems and Artistic Research

An epistemology for artistic research? — A methodology for

artistic research — Hans-Jörg Rheinberger’s experimental systems

— Thought collective and ensembles of experimental systems:

MusicExperiment21 — Series of experiments and modules of

research

Chapter 4: Epistemic Complexity in Music Performance

Complexity and epistemic complexity — Epistemic complexity

in biology — Epistemic complexity in technology — Epistemic

complexity in music — Experimentation in music performance:

how to make the future?

Part 3. Beyond Interpretation: Bodies-in-Action

Chapter 5: Transduction and the Body as a Transducer

Transduction in music performance: relaying f lows of intensities;

— Gilbert Simondon’s various definitions of transduction —

Discharge (potentiality); — Passage (time and temporality);

— Energy (thermodynamics): potential, scales, entropy

— Information theory: structural germs and singularities

(structuration) — Haecceity: from haecceitas (Duns Scotus) to

eccéité (Simondon) to heccéité (Deleuze and Guattari) to microhaecceity

— Topology: in-formation — Corporeality: somatic

transduction — Permanent transduction: being-in-the-world and

fluctuatio animi; 11. Conclusion

Chapter 6: Rasch26: The Somatheme

The somatheme — Roland Barthes at the piano: musica practica —

The impact of Julia Kristeva: phenotext and genotext —

New musical concepts: geno-song, pheno-song, somatheme —

Intermezzo: fourteen somathemes — The impact of Jacques

Lacan: signifier and jouissance — Lacan’s desire — Situating the

somatheme within Lacan’s graphs of desire — Conclusion: artistic

research and transdisciplinarity

Part 4. A New Ethics of Performance

Chapter 7: The Emancipated Performer:

Musical Renderings and Power Relations

Music performance and power relations — The dominant image

of work and the problem of interpretation — The tacit authorities:

Deleuze’s “Postscript on the Societies of Control” — Nietzsche’s

three modes of relation to history: monumental, antiquarian,

critical — A new image of work — The emancipated performer

Chapter 8. . . . at the borders of time that surround our presence . . .

What is the contemporary? — Agamben’s contemporary: Barthes

reading Nietzsche — Nietzsche’s untimely: lost in translation —

. . . at the border of time that surrounds our presence . . . — Artistic

research as the carrier of the contemporary

Appendix 1: Beyond Urtext: A Dynamic Conception of Musical Editing

On notation and time — The urtext era — Urtext editions: an

epistemological obstacle — Critical editing of music and different

types of editions — Music editing and performance practice: a

dynamic conception

Appendix 2: The Conditions of Creation and the Haecceity of Musical Material: Philosophical-Aesthetic Convergences between Helmut Lachenmann and Gilles Deleuze

Helmut Lachenmann and Gilles Deleuze: an unconnected

connection — Helmut Lachenmann: toward an aestheticostructural

methodology — Helmut Lachenmann’s three “theses”

on composing — Gilles Deleuze’s diagnostic function of art, capture

of forces, and body without organs: first convergences with Helmut

Lachenmann — Helmut Lachenmann’s four conditions of the

musical material — Gilles Deleuze’s opinion, corporeity, fold, and

latitude: further convergences with Helmut Lachenmann — The

conditions of creation and the haecceity of musical material: a

philosophical-aesthetic Erewhon

Acknowledgements

Index