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Analysing the work of Spanish composer Francisco López and the Belgian film maker Thierry Knauff's 2000 production, Wild Blue: notes à quelques voix, this paper aims to go beyond the Deleuzean methodology that it employs. Deleuze argues, in Difference and Repetition, that artistic production deploys an active form of repetition that creates difference in itself and not a banal Platonic form of repetition based on an originary identity. Finding this process at work in the texts studied, we argue that of vital importance in these works and (although it is not explicitly stated) in Deleuze's own theory here is a reflection on the concept of texture. In deploying an artistic form of repetition that is infused with a deep sense of texture, both López and Knauff distance their works from the documentary realm in which they appear to be grounded. This, however, only increases their potential political efficacy which, rather than working according to extensive and limited, therefore, principles, is transmitted via an intensive mode.