This article emerges out of an ongoing project that asks: What kinds of temporal attention spans and logics are proposed in a time of climate crisis and ecological collapse? What are the temporal dimensions of the uncanny, of post-human or almost-human forms of representation resonant in our bio-technocratic age? How can an understanding of these ecological ‘time effects’ generate new forms of musical thinking? The form of the article is itself an attempt to mirror the multiplicity of perspectives that I consider to be an ‘affect’ of our time of ecological crisis. Underpinned by Timothy Morton’s notion that all forms of knowing whether scientific or artistic are ‘aesthetic’ in nature, both the approach to writing this text and the specific work under discussion, Extinction Events and Dawn Chorus (2018) make use of poetic assemblage and metaphor as the basis for an ontology of thought. A broad ecological framework is invoked to describe situations of discrepancy and slippage particularly in relation to temporal experience, and forms of repetition and looping are tied to themes of degradation and loss.

中文翻译：

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灭绝事件和黎明合唱中时间痕迹的生态学

这篇文章出自一个正在进行的项目，该项目询问：在气候危机和生态崩溃的时代，提出了什么样的时间注意力跨度和逻辑？在我们的生物技术统治时代，不可思议的、后人类的或几乎人类的表征形式的时间维度是什么？对这些生态“时间效应”的理解如何产生新的音乐思维形式？文章的形式本身就是试图反映我认为是我们生态危机时代“影响”的多种观点。蒂莫西·莫顿 (Timothy Morton) 认为，无论是科学还是艺术，所有形式的认识本质上都是“美学”的，无论是撰写本文的方法还是讨论的具体工作，Extinction Events and Dawn Chorus (2018) 利用诗意的组合和隐喻作为思想本体的基础。一个广泛的生态框架被用来描述差异和滑点的情况，特别是与时间经验相关的情况，重复和循环的形式与退化和损失的主题相关联。