This article sketches a new image of musical works, situated beyond the «work concept», critically rethinking existing music ontologies, and grounded on Gilles Deleuze’s central ontological commitments. After situating the problem, the paper discusses current issues in music ontology, explores specific Deleuzian and Deleuzo-Guattarian ontological concepts, and argues for a new image of musical works, which are more aptly described as assemblages, as highly complex, historically constructed multiplicities defined by virtual structures, intensive processes, and actual things.

Michel Serres’s philosophy of entropy takes what he famously calls the ‘Northwest Passage’ between the sciences and the humanities. By contextualizing his approach to entropy and affirming the role of a philosophy of difference, this paper explores Serres’s approach by means of ‘entropic differences’. It claims that entropy – or rather, entropies – provide Serres with a paradigmatic case for critical translations between different domains of knowledge. From his early Hermès series, through to The Birth of Physics and later writings (...) on social and ethical themes, he keeps thermodynamical and informational – or ‘hard’ and ‘soft’ – understandings of entropy apart, while simultaneously exploring their relation. By focusing on the systematic significance of Serres’s ‘entropic difference’, this paper shows how it unfolds not necessarily as an ontological difference but as an operative function between the history and philosophy of science, epistemology, and a theory of negentropic (inter)subjectivity. (shrink)