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Notes
1 Drobnick, Aural Cultures, 10.
2 Kieffer, “Sound art: Artists of the new wave.”
3 Hilmes, “Is There a Field Called Sound Culture Studies? And Does It Matter?,” 249.
4 Eshun, More Brilliant Than the Sun.
5 Kahn, Noise, Water, Meat, 3.
6 Back and Bull, Auditory Culture Reader, 1.
7 Pinch and Bijsterveld, The Oxford Handbook of Sound Studies, 10.
8 Dyson, Sounding New Media.
9 Erlmann, Reason and Resonance, 17–18.
10 Eshun, More Brilliant, 6.
11 Eshun, “Drexciya,” 138.
12 Ibid.
13 Goodman, Sonic Warfare, 2.
14 Ccru Writings 1997–2003, 9.
15 Eshun, More Brilliant, 5.
16 Eshun refers to ‘MythScience’ often in More Brilliant and cites a relevant quote by Virilio: ‘Science and technology develop the unknown, not knowledge. Science develops what is not rational.’ In Eshun, More Brilliant, 4.
17 Virginia Woolf shares a similar sentiment whilst pondering ‘women and fiction’, ‘what I am about to describe has no existence; […] I is only a convenient term for somebody who has no real being’. Woolf, A Room of One’s Own, 4.
18 Ligotti, Songs of a Dead Dreamer, 142.
19 AUDINT, Martial Hauntology; Guattari, The Three Ecologies, 12. Guattari is not the only one to have drawn attention to the prophetic potential of the aesthetic. One might also think of Jacques Attali here, whose maxim that music has the capacity to predict the future (in relation to social forms of organization for him), have also been significant for challenging traditional ways of thinking theory. Attali, in particular, has been significant to the work of theorists such as Eshun and Goodman.
20 See Parisi “Preface: Weird Formalism.” in Contagious Architecture, ix.
21 Gibson, 39.
22 In The Ecstasy of Communication, Baudrillard writes, ‘The impossibility of reconciling theory with the real is a consequence of the impossibility of reconciling the subject with its own ends. All attempts at reconciliation are illusory and doomed to failure.’ See also Nevitt, Abc Of Prophecy, 82–84. Nevitt is one of the main successors to McLuhan’s artistic strategy, summed up in a letter to the latter’s mother that read, ‘The Mechanical Bride is really a new form of science fiction, with ads and comics cast as characters. Since my object is to show the community in action rather than *prove* anything, it can indeed be regarded as a new kind of novel’. McLuhan, Letters, 217.
23 Birke, Butter, and Köppe, Counterfactual Thinking/Counterfactual Writing, 6.
24 Foucault, Archaeology, 56.
25 Foucault, Foucault Live: Collected Interviews, 24.
26 Deleuze, Foucault, 12.
27 Foucault, Volume 2: Aesthetics, Method, and Epistemology, 149.
28 Eshun, Aquatopia, 138.
29 Rancière, Dissensus: On Politics and Aesthetics, 141.
30 Birke, Butter, and Köppe (eds), Counterfactual Thinking/ Counterfactual Writing, 2.
31 Birke et al, Counterfactual, 6
32 For an interesting discussion see de Courtenay’s article “The epistemological virtues of assumptions: towards a coming of age of Boltzmann and Meinong’s objections to ‘the prejudice in favour of the actual’?” Also relevant here are the polemics between sciences and humanities resulting in the ‘Science Wars’ of the nineties, and the infamous incident of Alan Sokal’s journal publishing experiment and attack on the humanities and social sciences, which became his book, with Jean Bricmont, Fashionable Nonsense.
33 Cogburn and Ohm, Speculations V, 224. For a summary of theories of object see Graham Harman, “On the Undermining of Objects: Grant, Bruno, and Radical Philosophy,” 22–24.
34 Priest, Boring Formless Nonsense, 247.
35 Nietzsche, Daybreak: Thoughts on the Prejudices of Morality, 156.
36 Lewis, “Postscripts to ‘Truth in Fiction’,” 278.
37 de Courtenay, “The epistemological virtues of assumptions,” 56.
38 For a relevant discussion see “Speculative Before the Turn,” Asberg, Thiele and van der Tuin.
39 de Courtenay, 43.
40 Hoban in Gaiman, “Orpheus Underground.”
41 Lem, Solaris, 134.
42 Haraway, “Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene.”
43 Ibid.
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Eleni Ikoniadou
Eleni Ikoniadou is a writer, researcher and practitioner specializing in sound, art, and digital culture. She is Senior Lecturer in Media and Communication at Kingston University in London and Director of the Audio Culture Research Unit (ACRU). She is author of The Rhythmic Event (2014), co-editor of Media After Kittler (2015) and co-editor of the Media Philosophy series. Her current research interests investigate the intersections between sound and –AI, –death, –art, –science fiction. Email: [email protected]