
[1] String Figures 10:07
[2] Tentacular Thinking 10:05
[3] Symbiogenesis 10:02
[4] Making Kin 10:13
Al Margolis – viola [1,2], violin [3,4], contact mics
Walter Wright – Board Weevil, contact mics, objects, drums & percussion
Mixed by Walter Wright in Audacity.
“Chthonic ones are beings of the earth, both ancient and up-to-the-minute. I imagine chthonic ones as replete with tentacles, feelers, digits, cords, whiptails, spider legs, and very unruly hair. Chthonic ones romp in multicritter humus but have no truck with sky-gazing Homo. Chthonic ones are monsters in the best sense; they demonstrate and perform the material meaningfulness of earth processes and critters. They also demonstrate and perform consequences. Chthonic ones are not safe; they have no truck with ideologues; they belong to no one; they writhe and luxuriate in manifold forms and manifold names in all the airs, waters, and places of earth. They make and unmake; they are made and unmade. They are who are. No wonder the world’s great monotheisms in both religious and secular guises have tried again and again to exterminate the chthonic ones. The scandals of times called the Anthropocene and the Capitalocene are the latest and most dangerous of these exterminating forces.”
~ Donna J Haraway, Staying With The Trouble: Making Kin in the Chthlucene.
Donna J Haraway is an American Professor Emerita in the History of Consciousness Department and Feminist Studies Department at the University of California, Santa Cruz, United States.
Haraway majored in Zoology, with minors in Philosophy and English at the Colorado College, on the full-tuition Boettcher Scholarship. Haraway moved to Paris and studied evolutionary philosophy and theology at the Fondation Teilhard de Chardin on a Fulbright scholarship. She completed her Ph.D. in Biology at Yale in 1972 writing a dissertation about the use of metaphor in shaping experiments in experimental biology.
Speculative fabulation is a concept which is included in many of Haraway’s works. It includes all of the wild facts that won’t hold stil. In She defines speculative fabulation as “a mode of attention, theory of history, and a practice of worlding,” and she finds it an integral part of scholarly writing and everyday life. In Haraway’s work she addresses a feminist speculative fabulation and its focusing on making kin.
Track titles are the titles of the first four chapters of the book.