| Summary: | Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space (espace troué) from the smooth space of the nomadic war
machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari
only discuss the concept briefly, holey space provides a useful means of framing their remarks on
music in general. Music’s holey space is a quasi-territory determined by processes of following
sonic movement-matter. Its instruments differ from nomadic weapons and sedentary tools, being
characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the
tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’
Inuksuit as performed on the U.S.-Mexico border in 2018.
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