In response to the call for this special issue to begin our inquiries with concepts rather than methods, the DeleuzeoGuattarian notion of the diagram is taken up in this article as part of a musical experiment with educational inquiry. In doing so, two musical sound creatures are created through the use of music as a molecular and imperceptible image of thought that is different from language and its semiotic modes of representation. This article asks how music might be plugged into the world and what a musical onto-epistemology could produce as a result. Perhaps educational inquiry would open up to new explorations and different configurations, discursive and non-semantic, through music as diagram.
DeleuzeG. (2007). Two regimes of madness. New York, NY: Semiotext(e).
17.
DeleuzeG.GuattariF. (1983). Anti-Oedipus: Capitalism and schizophrenia (HurleyR.SeemM.LaneH. R., Trans.). Minneapolis: University of Minnesota Press.
18.
DeleuzeG.GuattariF. (1987). A thousand plateaus: Capitalism and schizophrenia (MassumiB., Trans.). Minneapolis: University of Minnesota Press.
19.
DeleuzeG.GuattariF. (1991). What is philosophy? (TomlinsonH.BurchellG., Trans.). New York, NY: Columbia University Press.
20.
DeleuzeG.ParnetC. (2002). Dialogues II (TomlinsonH.HabberjamB., Trans.). London, England: Continuum.
21.
EliotT. S. (1933). The use of poetry and the use of criticism: Studies in the relation of criticism to poetry in England. London, England: Faber and Faber.
22.
HulseB. (2010). Thinking musical difference: Music theory as minor science. In HulseB.NesbittN. (Eds.), Sounding the virtual: Gilles Deleuze and the theory and philosophy of music (pp. 23-50). Surrey, UK: Ashgate.
23.
HulseB.NesbittN. (2010). Introduction. In HulseB.NesbittN. (Eds.), Sounding the virtual: Gilles Deleuze and the theory and philosophy of music (pp. xv-xvii). Surrey, UK: Ashgate.
24.
Kielian-GilbertM. (2010). Music and the difference in becoming. In HulseB.NesbittN. (Eds.), Sounding the virtual: Gilles Deleuze and the theory and philosophy of music (pp. 199-225). Surrey, UK: Ashgate.
25.
LatherP.St. PierreE. A. (2013). Post-qualtitative research. International Journal of Qualitative Studies in Education, 26, 629-633. doi:10.1080/09518398.2013.788752
26.
ManningE.MassumiB. (2014). Thought in the act: Passages in the ecology of experience. Minneapolis: University of Minnesota Press.
27.
MassumiB. (1987). Translator’s foreword: Pleasures of philosophy. In A thousand plateaus: Capitalism and schizophrenia (pp. Ix-Xv). Minneapolis: University of Minnesota Press.
28.
MertensW. (1983). American minimal music (HautekietJ., Trans.). London, England: Kahn & Averill.
29.
NancyJ. L. (2007). Listening (MandellC., Trans.). New York, NY: Fordham University Press.
30.
NesbittN. (2010). Critique and clinique: From sounding bodies to the musical event. In HulseB.NesbittN. (Eds.), Sounding the virtual: Deleuze and musicology (pp. 159-179). Farnham, UK: Ashgate.
31.
RiddleS. (2013a). Looking for madness in the method: Rhizo-becoming in educational research. In MidgleyW.TrimmerK.DaviesA. (Eds.), Metaphors for, in and of Education Research (pp. 131-144). Cambridge, UK: Cambridge Scholars Publishing.
32.
RiddleS. (2013b). Youth as rhizome: Music, machines, and multiplicities. Social Alternatives, 32, 45-48.
33.
RiddleS. (2014). Musicking as literacy: Possibilities and pragmatisms. In BartonG. (Ed.), Literacy in the arts: Retheorising learning and teaching (pp. 235-249). Cham, Switzerland: Springer.
34.
St. PierreE. A. (2011). Post-qualitative research: The critique and the coming after. In DenzinN. K.LincolnY. S. (Eds.), The SAGE handbook of qualitative research (4th ed., pp. 611-625). Thousand Oaks, CA: SAGE.
35.
St. PierreE. A. (2013). The posts continue: Becoming. International Journal of Qualitative Studies in Education, 26, 646-657. doi:10.1080/09518398.2013.788754
36.
SzekelyM. (2003). Becoming-still: Perspectives on musical ontology after Deleuze and Guattari. Social Semiotics, 13, 113-128.
37.
TuretzkyP. (2002). Rhythm: Assemblage and event. Strategies: Journal of Theory, Culture & Politics, 15, 121-138. doi:10.1080/10402130220127889
38.
VarèseE. (1966). The liberation of sound. Perspectives of New Music, 5, 11-19.
39.
YoungM. (2015). Singing the body electric: The human voice and sound technology. Surrey, UK: Ashgate.
