This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work, in fact, challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal.

中文翻译：

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声音的问题：“德勒兹声音研究”和声音唯物主义的问题

本文通过回到吉尔·德勒兹（Gilles Deleuze）这一考克斯的关键理论资源，评估了最近围绕克里斯托弗·考克斯的“声音唯物主义”现实主义项目争论的理论和实践基础。它认为，与德勒兹的作品密切接触，实际上挑战了考克斯的声音唯物主义的许多戒律，并建议在音乐的背景下重新思考唯物主义。谈到被考克斯忽视的德勒兹工作的某些方面，考克斯肯定的“现实主义”本体论探究受到德勒兹和费利克斯·加塔里在他们的千高原中发展的“本体行为学”的挑战，这种不同的建设性关系理论通过音乐来解释John Cage 和 Pauline Oliveros 的例子。总而言之，这篇文章表明德勒兹确实可以被理解为支持唯物主义，