On Ambience(s), Decolonising Catastrophes and the Timbre of Bodies, 2019

FOOTNOTES

[1] Eno, B., 1978. Music for Airports Liner Notes, the Hyperreal Music Archive (accessed 10.10.19). <http://music.hyperreal.org/artists/brian_eno/MFA-txt.html>.

[2] Bergson, H., 1998. Creative Evolution, Dover, Mineola, N.Y. p. 374.
 

[3] Povinelli, E.A., 2017. “Geontologies: The Concept and Its Territories” e-flux. no.81, para. 4. <https://www.e-flux.com/journal/81/123372/geontologies-the-concept-and-its-territories/>
 

[4] To haunt is to materialize the shimmering traces of things thought to be expired. It’s not the haunting itself that is spooky but the realization that nothing ever leaves it is only translated or reproduced. Most ecology, dark or otherwise, is itself a type of haunting. The lingering ‘inter’ of flickering connections. 
 

[5] Morton describes Heidegger’s “already-thereness” as a ‘givenness without explicit content, vivid and intense, not blank’. Dark ecology: for a logic of future coexistence. Columbia University Press, New York. 2016, p.78. 
 

[6] Szabo, V., 2017. “Seth Kim-Cohen , Against Ambience and Other Essays”. New York: Bloomsbury Academic, 2016, ISBN 978-1-50131-031-7 (hb), 978-1-50131-032-4 (pb). Twentieth-Century Music 14, 481–486. <https://doi.org/10.1017/S1478572217000378>.
 

[7] Kim-Cohen, S., 2013. Against Ambience. p.61. 
 

[8] Design Earth, 2018. Geostories, Broken Nature, (accessed 11.10.19). <http://www.brokennature.org/geostories/>. 
 

[9] Definition of 'ambient’, the Collins English Dictionary, 2009. (accessed 11.10.19).<https://www.collinsdictionary.com/dictionary/english/ambient>.
 

[10] Sagan, C., 2013. Cosmos, Ballantine Books Trade Paperbacks, Ballantine, New York.
 

[11] Morton, T., 2002. “Why Ambient Poetics? Outline for a Depthless Ecology.'' The Wordsworth Circle 33.1, 52–56.
 

[12] Morton, T., 2016, p. 69.
 

[13] Howell, E., 2018, Cosmic Microwave Background: Remnant of the Big Bang, Future US Inc. (accessed 11.10.19) <https://www.space.com/33892-cosmic-microwave-background.html>.
 

[14] Hollis, B., 2017. Physics of Sound.The Method Behind The Music. (accessed 11.10.19) <https://method-behind-the-music.com/mechanics/physics/> .
 

[15] Povinelli, EA., 2017. para, 5. 
 

[16] Morton, T., 2016, p.69.
 

[17] Todd, 2015, pp. 241–254.
 

[18] Pereira, P.P.G., 2019. Reflecting on Decolonial Queer. GLQ: A Journal of Lesbian and Gay Studies 25, 403–429. (accessed 02.10.19)<https://doi.org/10.1215/10642684-7551112>. 
 

[19] Small, Z., 2019. “Joseph Pierce on Why Academics Must Decolonize Queerness”. Hyperallergic: Art Movements.(accessed 05.10.19) <https://hyperallergic.com/512789/joseph-pierce-on-why-academics-must-decolonize-queerness/> 
 

[20] Hall, L., 2015. “My Mother’s Garden: Aesthetics, Indigenous Renewal, and Creativity”, Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies. pp. 283-292. 
 

[21] Povinelli, EA., 2017. 
 

[22] Morton, T., 2002. p. 52.
 

[23] Morton, T., 2002. p.52. 
 

24] Elizabeth A. Povinelli on the Four Axioms of Critical Theory, 2019.  (accessed 11.10.19).  <https://www.e-flux.com/podcasts/> ​