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‘Transversality’ is a key term in the work of Félix Guattari. As a conceptual and pragmatic motor for the generation of heterogeneity, it extends throughout all of his work, including the writing he undertook with Deleuze. It promotes the rupture and redistribution of hierarchical structures, the mobilisation of operations of deterritorialisation across the social and cultural field, and it gains a ‘chaosmic’ dimension in the later writings. Its ‘origins’, however, are to be found in Guattari's early work at the Clinique de la Borde and in militant Marxist movements in the 1950s and early 1960s. This is an initial and necessarily provisional effort to embed the concept in a social and therapeutic pragmatics and thus counter a debateable tendency towards a dilution or diffusion of transversality in theoretical abstraction, where it risks becoming a synonym for a generalised sense of creative differentiation.

Emerging in the wake of the broad paradigm of semiotics in discourses in the human sciences in France in the 1960s, and from other developments and emergent tendencies in philosophy and critical theory, a cluster of works in French thought of the 1970s, by Gilles Deleuze and Félix Guattari, Jean-François Lyotard, and Roland Barthes, investigate the liminal spaces and dynamic relations between sense, sound, and noise. Depending on the angle adopted, these investigations bear upon the relations between articulated sound and noise; language and sound, the formed and the unformed, the coded and the non-coded, sound and music, sound and silence, and other formulations of acoustic liminality. This article brings to light how noise is an operative concept across this material; I argue for its pertinence to the question of the “mental state of noise” as elaborated by Steven Sands and John Ratey in their seminal piece “The Concept of Noise,” and then critically assessed by Cécile Malaspina in The Epistemology of Noise.

We argue in this article that Gilles Deleuze’s Proust et les signes, itself consisting of three chronologically separate instalments, should be seen in tandem with a later analysis of Marcel Proust’s À la recherche du temps perdu in Félix Guattari’s L’Inconscient machinique, and that, taken as a complex assemblage, these interventions cohere around a radical exit from the reign of the linguistic signifier and thus from a semiotics based on the primacy of language. Proustian semiotics, as rendered by Deleuze and Guattari, is “antilogos”, both in its shattering of any single signsystem, and in the proposition of the dimension of pathos, which accompanies and undermines discursive surety.