Index

An invitation to listen — not an explanation.

CHAPTER VIII — BIBLIOGRAPHY

Works that listened with me.

The works cited and consulted throughout SoilScapes: writing on soil, environmental history; ecology and more-than-human kinship; sound studies and acoustic ecology; research-creation methodology and media theory; along with the recordings, performances, artist projects and open soil archives. The list remains open, as this bibliography is only a record of company kept so far.

WORKS CITED & CONSULTED

41 entries
  1. 01

    Abram, David. The Spell of the Sensuous: Perception and Language in a More-than-Human World. 20th anniversary ed., with a new afterword. New York: Vintage Books, 2017.

  2. 02

    Agriculture and Agri-Food Canada. Canadian Soil Information Service (CanSIS). Government of Canada. Accessed July 25, 2026. https://sis.agr.gc.ca/cansis/.

  3. 03

    Agriculture and Agri-Food Canada. “About the Central Experimental Farm.” Last modified June 25, 2021. Accessed July 25, 2026. https://agriculture.canada.ca/en/contact-agriculture-and-agri-food-canada/central-experimental-farm/about-central-experimental-farm.

  4. 04

    Aït-Touati, Frédérique, Alexandra Arènes, and Axelle Grégoire. Terra Forma: A Book of Speculative Maps. Cambridge, MA: MIT Press, 2022.

  5. 05

    Braidotti, Rosi. The Posthuman. Cambridge: Polity Press, 2013.

  6. 06

    Buell, Lawrence. The Future of Environmental Criticism: Environmental Crisis and Literary Imagination. Malden, MA: Blackwell, 2005.

  7. 07

    Campbell, Claire Elizabeth. Shaped by the West Wind: Nature and History in Georgian Bay. Vancouver: University of British Columbia Press, 2002.

  8. 08

    Carson, Anne. Decreation: Poetry, Essays, Opera. New York: Vintage Canada, 2006.

  9. 09

    Chapman, Owen, and Kim Sawchuk. “Research-Creation: Intervention, Analysis and ‘Family Resemblances.’” Canadian Journal of Communication 37, no. 1 (2012): 5–26. https://doi.org/10.22230/cjc.2012v37n1a2489.

  10. 10

    Crawford, Kate. Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence. New Haven, CT: Yale University Press, 2021.

  11. 11

    Cronon, William. Nature’s Metropolis: Chicago and the Great West. New York: W. W. Norton & Company, 1991.

  12. 12

    Fuller, R. Buckminster. Operating Manual for Spaceship Earth. Carbondale: Southern Illinois University Press, 1969.

  13. 13

    Goodall, Jane. In the Shadow of Man. Boston: Houghton Mifflin, 1971.

  14. 14

    Haraway, Donna J. Manifestly Haraway. Minneapolis: University of Minnesota Press, 2016.

  15. 15

    Heap, Imogen. “Imogen Heap: NPR Music Tiny Desk Concert.” YouTube video, 3:56. Posted May 17, 2017. Accessed July 25, 2026. https://youtu.be/3QtklTXbKUQ.

  16. 16

    Helmreich, Stefan. Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond. Princeton, NJ: Princeton University Press, 2015. https://doi.org/10.1515/9781400873869.

  17. 17

    Ingenium. Canada’s Museums of Science and Innovation. Government of Canada. Accessed July 25, 2026. https://ingeniumcanada.org/.

  18. 18

    Jadallah, Christina C. “Positionality, Relationality, Place, and Land: Considerations for Ethical Research with Communities.” Qualitative Research 25, no. 1 (2025): 227–242.

  19. 19

    John Cage Trust. “John Cage Official Website.” Accessed July 25, 2026. https://johncage.org/.

  20. 20

    Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants. Minneapolis: Milkweed Editions, 2013.

  21. 21

    Kunard, Andrea, et al. Anthropocene: Burtynsky, Baichwal, de Pencier. Toronto: Art Gallery of Ontario, 2018.

  22. 22

    Laozi. Tao Te Ching. Translated by Gia-fu Feng and Jane English. New York: Vintage Books, 1972.

  23. 23

    Martínez-Torres, María Elena, and Peter M. Rosset. “La Vía Campesina: The Birth and Evolution of a Transnational Social Movement.” Journal of Peasant Studies 37, no. 1 (2010): 149–175.

  24. 24

    MiMU Gloves. “MiMU Gloves: Official Site.” Accessed July 25, 2026. https://mimugloves.com/.

  25. 25

    Morton, Timothy. The Stuff of Life. London: Bloomsbury Academic, 2022.

  26. 26

    Parikka, Jussi. A Geology of Media. Vol. 46. Minneapolis: University of Minnesota Press, 2015.

  27. 27

    Pinch, Trevor, and Karin Bijsterveld, eds. The Oxford Handbook of Sound Studies. New York: Oxford University Press, 2013.

  28. 28

    Ratté, Sabrina. Inscape. Presented at the International Symposium on Electronic Art, 2021. https://www.isea-symposium-archives.org/art-events/inscape-by-sabrina-ratte/.

  29. 29

    Rubin, Rick. The Creative Act: A Way of Being. New York: Penguin Publishing Group, 2023.

  30. 30

    Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books, 1994. Originally published 1977.

  31. 31

    Shiva, Vandana. “Soil, Not Oil.” In The Vandana Shiva Reader, 239. Lexington: University Press of Kentucky, 2015.

  32. 32

    Simard, Suzanne. Finding the Mother Tree: Discovering the Wisdom and Intelligence of the Forest. London: Allen Lane, 2021.

  33. 33

    “Soilscape Project.” Soilscape. Last modified August 1, 2025. Accessed July 25, 2026. https://soilscape.eu/.

  34. 34

    Sterne, Jonathan. MP3: The Meaning of a Format. Durham, NC: Duke University Press, 2012.

  35. 35

    Sterne, Jonathan, ed. The Sound Studies Reader. New York: Routledge, 2012.

  36. 36

    Supper, Alexandra. “The Search for the ‘Killer Application’: Drawing the Boundaries around the Sonification of Scientific Data.” In The Oxford Handbook of Sound Studies, edited by Trevor Pinch and Karin Bijsterveld, 249–270. Oxford: Oxford University Press, 2011. https://doi.org/10.1093/oxfordhb/9780195388947.013.0064.

  37. 37

    Timmerman, Peter, and Peter G. Brown, eds. Ecological Economics for the Anthropocene: An Emerging Paradigm. New York: Columbia University Press, 2015.

  38. 38

    Toadvine, Ted. Merleau-Ponty’s Philosophy of Nature. Evanston, IL: Northwestern University Press, 2009.

  39. 39

    Vones, Katharina. “Material Knowledge and Alchemical Practice.” In Dialogues Between Artistic Research and Science and Technology Studies, edited by Henk Borgdorff, Trevor Pinch, and Peter Peters, 155–166. New York: Routledge, 2020.

  40. 40

    Weil, Ray R. The Nature and Properties of Soils. 15th ed. Columbus, OH: Pearson, 2016.

  41. 41

    Wiseman, Bob. Music Lessons. Toronto: ECW Press, 2020.

FINAL CONTENTS OF THE PORTFOLIO

The volume, as assembled.

  1. I

    About SoilScapes

    Five chapters of project history: the soil beds built by Michelle Josef, their move from Toronto to Bass Lake, and the turn from measurement to listening.

    →
  2. II

    SoilWaves Live

    A continuous live feed from the soil beds at Bass Lake, with an archive of past transmissions.

    →
  3. III

    Listening Room

    Eight published field recordings, presented as captured, with notes from the field.

    →
  4. IV

    Research Journal

    Dated observations, sketches, photographs and field notes.

    →
  5. V

    Reflections

    Short reflective essays and plates, including Newfoundland Soil and Self Portrait in the Soil.

    →
  6. VI

    Bibliography & Final Contents

    Works cited and consulted, and this closing inventory of the volume.

    present
  7. VII

    Weather Archive

    A daily ledger of air, rain, wind and wildfire smoke over the beds since March 1, 2026.

    →

COLOPHON

SoilScapes, Volume I. Recorded at the field station near Bass Lake, Ontario — 44°36'45" N · 79°30'39" W. Eight-channel monolith array: contact, piezo, dynamic and ambient microphones. Developed within the Master of Environmental Studies program, York University, Toronto, Canada.

Correspondence: jen@soilscapes.ca

ACKNOWLEDGEMENT OF ARTIFICIAL INTELLIGENCE (AI)

Artificial intelligence tools were used in the preparation of this portfolio. Lovable assisted with the technical development of the SoilScapes website, and OpenAI's ChatGPT was used to support editing for grammar. All research, creative work, analysis, interpretations and final editorial decisions are my own. I take full responsibility for the content of this portfolio.

Return to the Listening Room →