![Modified image of tree in front of Divinity Hall Harvard](/sites/g/files/omnuum4346/files/styles/hwp_21_9__1920x825/public/2025-07/tr_1.jpg?h=a0303567&itok=XPHSg7aK) # Phantom Tree: Dryad Tales and Storytelling Through the Looking Glass July 07, 2025 [ Elitza Koeva ](/people/elitza-koeva) *A previous version of the text was published as: “Divinity Tree: Dryad tales and storytelling through the looking glass” in Remediations, Hors-Sujet, Zurich, CH, 2023* Since Plato’s allegory of the cave, vision and the visual have held a central place in Western thought, fundamentally shaping our experience of spatial environments. Vision has historically been revered as a symbolic conduit for the separation of the observer from the observed, a detachment that has been honed through the history of science. This disengagement has frequently served the interests of militarism, capitalism, colonialism, and patriarchy, enabling the exercise of unrestrained power. Such separation implies a conceptual understanding of objectivity that is detached and disembodied, often disregarding the context and influence of the observer.[\[1\]](#_ftn1) In post-industrial societies, however, the dominance of the visual has abated, giving way to more haptic and relational experiences, as much of what determines our lives has become invisible.[\[2\]](#_ftn2) Other neglected forms of knowing are brought to the fore: aural, olfactory, and visceral. Addressing these shifts, Steven Feld’s framework of “acoustemology” (a fusion of acoustic and epistemology) emerges as a method of sound inquiry, positing the listener as emplaced within space, relationally entangled through interspecies and natureculture[\[3\]](#_ftn3) interactions. Acoustemological approaches emphasize the interconnectedness of experiences, grounding them in the notion that “life is shared with others-in-relation, with numerous sources of action.”[\[4\]](#_ftn4) Tim Ingold expands the acoustemological discourse, arguing that sound and light are not mere objects of perception but the very medium we perceive in. As phenomena, sound and light are inextricably linked, oscillating between light and darkness, sound and silence, with their origins woven into the weather itself.[\[5\]](#_ftn5) To comprehend these elements, Ingold suggests we must look “skywards,” where the sky reveals “pure luminosity,” while our auditory experience is characterized by “sonority.”[\[6\]](#_ftn6) Meteorological metaphors, he proposes, can aptly describe these phenomena, “wind, sunshine, and rain, experienced as feeling, light, and sound, underwrite our capacities, respectively, to touch, to see, and to hear.”[\[7\]](#_ftn7) What is sound, then?—the medium “we hear in,” an infusion of the medium movement takes place in. Alternatively, composer and researcher David Dunn proposes a framework that enables the understanding of sound in linguistic terms, “language of vibration is one of the best means we have for thinking about this fabric of mind that resides everywhere. Sound as a vibrant plenum reminds us of the profound physical interconnectedness that is our true environment.”[\[8\]](#_ftn8) Indeed, ecology resonates with its inherent sounds—geophony (non-biological sounds) and biophony, where each living organism contributes a distinct acoustic footprint. Yet, ecological discourse has traditionally been confined to the biotic, primarily focusing on the alarming rate of wild habitat extinction while neglecting abiotic elements. Douglas Kahn, however, draws our attention to the fact that the sounds of the natural world are familiar, while its signals are not.[\[9\]](#_ftn9) Enter the *Phonocene*, a term introduced by Donna Haraway to describe the sonic dimension of the Anthropocene[\[10\]](#_ftn10)—sounds of climate crises, pandemics, extinction, etc. Haraway and Vinciane Despret pose a critical question: *How can we listen to the phonocene in ways that matter?*[\[11\]](#_ftn11) The question that emerges is: Matters to whom?[\[12\]](#_ftn12) ## LISTENING | SOUNDING | EMERGING In this atmospheric framework, I am attracted to the phantom of an old tree, perhaps two centuries old, rooted in the yard of Harvard Divinity School. Six years ago, this magnificent tree had to be removed in order to make room for the renovation and extension of Andover Hall, now Swartz Hall. I recalled that when I was a student at the University of Tokyo, an old tree was removed so that the UTokyo Library could be extended. To my “European” astonishment, the tree’s trunk and root system were packaged with care, and the tree was replanted in a safe area. What happened to the Divinity Tree? Was it carefully replanted as well? I had to know more…... The plot: Andover Hall had to be modernized, and its greenhouse emissions reduced; therefore, the tree, a more than 150-year-old red oak, had to be cut down. Some of Harvard Divinity School’s students, faculty, and nearby residents tried to stop the process by ensuring the tree’s legacy status, but Divinity School hired Bartlett Tree Experts, who deemed the tree a safety hazard and in “irreversible decline,”[\[13\]](#_ftn13) clearing the way to its eternal removal. ![two trees being removed](/sites/g/files/omnuum4346/files/styles/hwp_1_1__960x960_scale/public/2025-07/UT_0.png?itok=EulaIIXJ) Workers moving a tree to make room for the extension of the University of Tokyo Library, July 2012. (Credit: Elitza Koeva)\* I am sitting under a tree, which is not one but two. Its joint canopy is fully dressed, hissing in the wind……………………………………I am sitting under a tree, which is not one but two. Its joint canopy is ochre-hued sonically trembling in an async dance, the wind is stealing leafy offerings ………………. I am sitting under a tree, which is not one but two. Its joint canopy has nearly vanished….…….. It’s been only a few weeks between those instances, but how much has the scenery changed for the nonhuman visitors and inhabitants and for me? How little perceptible time has passed for the trees in the Divinity yard? A breath? An instance? What is the temporality of a tree, and how does it relate to those it shares its life with—the insects, the birds, the fungi, the humans…? The wind has my attention, playfully chasing the leaves, but the way this pursuit sounds has also changed. The volume and the intensity are lesser. There are fewer leaves on the trees’ branches. The wind has more room to play. It’s not only a sonic ceiling anymore. The wind stirs a leafy carpet underneath my feet, ensounding and animating sweeping “leafwaves.” A constant commotion. The fallen leaves act as folly sounds sonifying footsteps, not only humans, squirrels are quite sonorous steppers as well. …And there is the sound of me flipping the pages of my readings. The opening and closing of doors punctures the air. Gone are the sudden crashes of falling acorns and the turkey families feasting on these nutrient-rich offerings. Life of a tree. An expanded symbiotic entanglement. Emanuele Coccia posits that to “think of plants means to think of a being in the world that is *immediately cosmogonic*.”[\[14\]](#_ftn14) Immersed in their interconnected realm, where material distinctions between human and nonhuman dissolve, plants force us to rethink relations between the world and the living. Trees stand as living proof of Scott F. Gilbert’s assertion that nature may select relationships rather than individuals or genomes, illustrating that what we consider an individual may actually be a multispecies set.[\[15\]](#_ftn15) Steven Feld’s words reverberate in my mind: — “How to hear through the trees? How to hear the relationship of forest height to depth? Where is sound located when you can’t see more than three feet ahead? Why does looking up into the forest simply take one’s senses into the impenetrable density of the canopy?”[\[16\]](#_ftn16) The sounds of tree leaves enwinded act as an expanded self, an expansion of my perceptual apparatus, enacting Tim Ingold’s notion of sound “ensounding”[\[17\]](#_ftn17) the body, rather than sound being embodied. With the canopy diminished, I am anchored to the earth, no longer able to fly with the trees and the wind. Anna Tsing and colleagues suggest that the *wind* embodies uncanniness—winds are elusive, hard to pin down, but nevertheless material.[\[18\]](#_ftn18) Absent, too, are the signals of photosynthesis. Without the canopy’s sonorous presence, these signals have vanished. Photosynthesis—literally “putting together with light,”[\[19\]](#_ftn19) is a “cosmic process of fluidification of the universe,” which allows the “world to breathe and keeps it in a state of dynamic tension.”[\[20\]](#_ftn20) The trees seem to retreat inward, indifferent to the world around them. Slowing down below our perceptual threshold, they conserve nutrients and water. Tree bark. Soil. Life unfolds within the tree, within the soil. I long to transduce[\[21\]](#_ftn21) these signals. …nearby, unexpected sounds draw me toward a small leafy enclosure—a labyrinth I haven’t discovered until now. A plaque informs me that walking as a sacred purpose is universal. The path to the labyrinth’s center follows the longest possible route, allowing walkers to connect with their thoughts….since there’s only one route, I can’t get lost. Or, can I? ![Modified image of tree in front of Divinity Hall Harvard](/sites/g/files/omnuum4346/files/styles/hwp_1_1__960x960_scale/public/2025-07/tr_1.jpg?itok=tB12Xz0U) \* ## A LISTENING WITHIN LISTENING AM Kanngieser and Zoe Todd[\[22\]](#_ftn22) are my listening companions. The two red oak trees whispered the story of the tree that is no longer. I can’t stop looking in the direction of the glass façade of Swartz Hall. People blissfully passing, unaware they are trespassing on sacred ground.[\[23\]](#_ftn23) The glass façade is a portal. A space made sacred through rituals to commemorate the spirits of lost trees and then interred beneath the Swartz Hall terrace. When is a tree not itself? Did the tree know its fate? That it was sentenced to death? Did it pass a portion of its DNA to the nearby trees and the other *quercus rubra*[\[24\]](#_ftn24)? Did it release its carbon to nurture the younger, more fragile trees through the mycorrhizal networks?[\[25\]](#_ftn25)Is there a trace of those networks still? What was actually happening beneath the tree? Rus Gant has suggested that tunnels traverse Harvard’s campus. Perhaps there are tunnels beneath the Divinity tree, too? I am sitting in my office listening to the percolating sounds of the radiator and looking online at another “unscholarly”[\[26\]](#_ftn26) and “unassuming”[\[27\]](#_ftn27) quercus rubra dubbed the *witness tree,* rooted in a different Harvard property, but this time, a forest. Interestingly, there are two quercus rubra witnesses still standing at the Divinity yard. This “fortunate” social celebrity *witness tree* is measured and quantified, its vital stats carefully documented and analyzed. Vital stats, such as total above-ground surface area, height, combined branch length, total tree volume, trunk and branch volume, etc. The *witness tree* is monitored with PhenoCam, Environmental data, and light detection, and it even has a three-dimensional model.[\[28\]](#_ftn28) A tree commodified. A social mask. A persona. Yet, trees have been emitting signals all along…. The Divinity tree was also scanned with a tree radar only to reveal rot and quantify it, a “sudden peril.” David Eggers, an arborist and Divinity School alumnus with a 35-year professional practice, remarks, **“**As for rot, a hundred-year-old tree that has none is a statistical improbability.”[\[29\]](#_ftn29) Eggers deemed the tree healthy; it was the Divinity School that was in grave moral danger. The day Eggers went to see the red oak tree, his son performed a divination ritual by randomly flipping the pages of a dictionary. The word he put his finger on was*—dryad*. Britannica describes a *dryad* in Greek mythology as “a nymph or nature spirit who lives in trees and takes the form of a beautiful young woman. Dryads were originally the spirits of oak trees (*drys*: “oak”), but the name was later applied to all tree nymphs. It was believed that they lived only as long as the trees they inhabited.”[\[30\]](#_ftn30) But let’s return to sound. Sound is the medium that connects us to cosmic vibrations and involves the extraction of vibratory rhythm out of chaos.[\[31\]](#_ftn31) Sound is perceptual and participatory, and also a language of vibration that offers a way to approach and apprehend a concept of mind that is dispersed and resides everywhere.[\[32\]](#_ftn32) Sound, in unfolding relations, is also a political medium that mediates our relationship to the environment and brings us into intimate proximity with events and phenomena far beyond the reach of our immediate surroundings.[\[33\]](#_ftn33) Sound is about becoming aware of registers that are unfamiliar, inaccessible, and indifferent to the human condition. Affordances[\[34\]](#_ftn34) of sound can engender new perspectives from which to challenge and question dominating forms of subjectivation and help us think more intersubjectively, relationally, and sonically.[\[35\]](#_ftn35) Sound presents us with the possibility to attune to other-than-human forms of life and matter into a spatiotemporal continuum. In this story, the dryad is a *geolinguist*[\[36\]](#_ftn36) translating between humans and oak trees, embodying the haunting presence of *monsters* as the prophets of the sublime, beyond good and evil, and human rational. Monsters are liminal entities revealing our fears and what is wrong in the societies we inhabit. In order to survive and adapt to the Anthropocene, we need to take into consideration the temporalities of different species, inanimate actants, and the Earth itself, and the roles they play in the co-creation of meaningful worlds. Other organisms expand and enrich our consciousness, too. Life as a tree! ![Recording equipment against an oak tree](/sites/g/files/omnuum4346/files/styles/hwp_1_1__960x960_scale/public/2025-07/IMG_7780.jpg?itok=1GA7eBKb) The author listens to the witness trees. (Photo courtesy Elitza Koeva)--- Elitza Koeva presented her artwork at "Phantom Tree," an exhibition at 92 Seattle Street in Allston, MA as part of the Thinking with Plants and Fungi Conference. The exhibition and the conference explored how plants and fungi help us rethink the nature of mind and matter and humans’ relationship to the more-than-human world. Phantom Tree is supported by the CSWR’s Thinking with Plants and Fungi Initiative, Harvard’s Critical Media Practice program, Harvard Mellon Urban Initiative, ArtLab, Constellation Project, Shelemay Sound Lab, and the Department of Art, Film, and Visual Studies. --- [\[1\]](#_ftnref1) See Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” *Feminist Studies* 14, no. 3 (1988): 575–99, . [\[2\]](#_ftnref2) Communication networks, capital flows, financial power, etc., are unperceived by the human eye. [\[3\]](#_ftnref3) For Haraway, the nature/culture relations need to be redefined in the context of a techno-scientific world that has replaced the traditional natural order with a “natureculture” continuum. See Donna Jeanne Haraway, *The Companion Species Manifesto: Dogs, People, and Significant Otherness*, Paradigm (Chicago, Ill.) 8 (Chicago, Ill.: Prickly Paradigm, 2003). [\[4\]](#_ftnref4) Steven Feld, “Acoustemology,” in *Keywords in Sound*, ed. David Novak and Matt Sakakeeny (Duke University Press, 2015), 15, . [\[5\]](#_ftnref5) This atmospheric understanding of sound has resonated through the centuries. The Greek philosopher Pythagoras believed the universe could be comprehended through musical harmonies and mathematical ratios. He is said to have perceived the “music of the spheres,” where celestial bodies chant in cosmic harmony as they traverse the sky. The Aeolian harp, an enchanting atmospheric instrument named after Aeolus, the Greek god of wind, embodies this concept. The Aeolian harp produces harmonic sounds as a gentle breeze caresses its strings; the playful touch of the wind, coupled with unfettered imagination, transforms human perception. The first European Aeolian harp was documented by Athanasius Kircher, a German Jesuit scholar, in his “Musurgia Universalis” (1650). Similarly, Henry David Thoreau found resonance with this idea when he listened to the “harp” of the telegraph, identifying an earth sound that originates on a planetary scale. John Cage embraced a comparable sense of freedom by adopting the concept of indeterminacy, allowing sound compositions to emerge spontaneously through chance operations. [\[6\]](#_ftnref6) Tim Ingold, “Against Soundscape,” in *Autumn Leaves: Sound and the Environment in Artistic Practice*, ed. Angus Carlyle (Paris: Association Double-Entendre, 2007), 10–13. [\[7\]](#_ftnref7) Ingold, “Against Soundscape,” 12. [\[8\]](#_ftnref8)David Dunn, “Nature, Sound Art and the Sacred,” 1997, 4, . [\[9\]](#_ftnref9) Douglas Kahn, *Earth Sound Earth Signal Energies and Earth Magnitude in the Arts*, 2013. [\[10\]](#_ftnref10) The term “Anthropocene” is highly contested and often deemed “poorly named” due to its human-centric focus, deriving from the Greek word for human (Anthropos). Although geologists recently voted against its formal adoption, Anna Tsing suggests that the term is useful as it facilitates interdisciplinary dialogue (Tsing 2024). The exact starting point of the Anthropocene remains debated: some propose 1800, coinciding with the invention of the steam engine; others suggest 1945 with the rise of fossil fuels, or even earlier, linked to Europe’s colonial ventures. In response, a variety of alternative terms have emerged: “Anthropomeme” (Macfarlane 2016), “Capitalocene” (Moore 2015), “Plasticene,” “Plantationocene” (Tsing 2015), and “Chthulucene” (Haraway 2016), among others. [\[11\]](#_ftnref11) *Donna Haraway and Vinciane Despret. Phonocene*, 2020, . [\[12\]](#_ftnref12) I have explored these issues in detail elsewhere, particularly in the context of biosemiotic relationships between humans and birds. See Elitza Koeva, “Acoustemological Resonances: Brewster’s Archive And The Emergence Of Ethical Observational Science,” Doctoral dissertation (Harvard Graduate School of Design, 2024). [\[13\]](#_ftnref13) The Crimson Editorial Board, “A Farewell to the Divinity School Oak Tree,” *The Harvard Crimson*, February 19, 2019, [https://www.thecrimson.com/article/2019/2/19/editorial-farewell-oak-tre…](https://www.thecrimson.com/article/2019/2/19/editorial-farewell-oak-tree/). [\[14\]](#_ftnref14) Emanuele Coccia, *The Life of Plants: A Metaphysics of Mixture*, English edition. (Medford, MA: Polity, 2019), 39. [\[15\]](#_ftnref15) Scott F. Gilbert, Jan Sapp, and Alfred I. Tauber, “A Symbiotic View of Life: We Have Never Been Individuals,” *The Quarterly Review of Biology* 87, no. 4 (2012): 325–41, . [\[16\]](#_ftnref16) Steven Feld, “Acoustemology,” 17. [\[17\]](#_ftnref17) “Sound, like breath, is experienced as a movement of coming and going, inspiration and expiration. lf that is so, then we should say of the body, as it sings, hums, whistles or speaks, that it is ensounded. It is like setting sail, launching the body *into* sound like a boat on the waves or, perhaps more appropriately like a kite in the sky.” Ingold, “Against Soundscape,” 12. [\[18\]](#_ftnref18) See the Introduction of Anna Lowenhaupt Tsing et al., *Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene* (University of Minnesota Press, 2017), . [\[19\]](#_ftnref19) David Macauley, *Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas*, SUNY Series in Environmental Philosophy and Ethics (Albany: State University of New York Press, 2010), 245. [\[20\]](#_ftnref20) Coccia, *The Life of Plants*, 37. [\[21\]](#_ftnref21) Transduction is simply understood as a movement from one energy state to another. See Stefan Helmreich, “Transduction,” in *Keywords in Sound*, ed. David Novak and Matt Sakakeeny (United States: Duke University Press, 2015), 222–31. [\[22\]](#_ftnref22) “listening is critical. More than just an aural hearing, listening is a practice of sensing, attunement, and noticing. Attunement means to bring into tune, to find resonances or moments of intersection. It is a laborious, humbling, and self-reflexive process.” See ANJA KANNGIESER and ZOE TODD, “3. FROM ENVIRONMENTAL CASE STUDY TO ENVIRONMENTAL KIN STUDY,” *History and Theory :Studies in the Philosophy of History* 59, no. 3 (2020): 385–93, . [\[23\]](#_ftnref23) Divinity School allowed for a mourning ritual to be held by the community that wanted to protect the tree— “acorn communion” cookies were distributed, and professor of Buddhist Studies Janet Gyatso praised and apologized to the tree, among other rituals. See Matteo N. Wong, “After Months of Student Protest, Harvard Divinity School Tree Chopped Down,” The Crimson, April 1, 2019. [https://www.thecrimson.com/article/2019/4/1/div-school-tree-chopped-dow…](https://www.thecrimson.com/article/2019/4/1/div-school-tree-chopped-down/) [\[24\]](#_ftnref24) A name imbued with the taxonomic project of the Enlightenment, as it was first given by Carl Linnaeus in his *Species Plantarum* in 1753. [\[25\]](#_ftnref25) Networks of symbiotic roots, fungi, and microbes facilitating communication within different plant species and distributing resources, some of the most complex societies on Earth. See Ferris Jabr, “The Social Life of Forests.” *New York Times*, December 12, 2020. [https://www.nytimes.com/interactive/2020/12/02/magazine/tree-communication-mycorrhiza.html?fbclid=IwAR2XAVSxInQTMIiVd\_jrexYyO3W4K-rODDp5BIs3k7yk158xp\_rySiIM\_Ss](https://www.nytimes.com/interactive/2020/12/02/magazine/tree-communication-mycorrhiza.html?fbclid=IwAR2XAVSxInQTMIiVd_jrexYyO3W4K-rODDp5BIs3k7yk158xp_rySiIM_Ss) [\[26\]](#_ftnref26) When the Harvard “yard’s elms were suffering at the turn of the 20th century, decisionmakers considered planting red oaks, but considering them ‘not sufficiently scholarly.’ Now these towering trees compose much of the Yard’s canopy” See “Widener's Canopy” - ArcGIS StoryMaps ArcGIS StoryMaps › stories Sep 30, 2022 by Celia Eckert. [\[27\]](#_ftnref27) The witness tree was chosen “specifically because it is not unusual.” See *Witness tree Social Media Project:* [\[28\]](#_ftnref28) *Ibid.* [\[29\]](#_ftnref29) See or The Tree at the Center of Harvard Divinity School Facebook page [\[30\]](#_ftnref30) Britannica [\[31\]](#_ftnref31) See Elizabeth Grosz. *Chaos, Territory, Art: Deleuze and the Framing of the Earth*. Wellek Library Lectures at the University of California, Irvine. New York: Columbia University Press, 2008. [\[32\]](#_ftnref32) See David Dunn, “Nature, Sound Art and the Sacred,” 1997. [\[33\]](#_ftnref33) Salomé Voegelin, *The Political Possibility of Sound: Fragments of Listening* (New York: Bloomsbury Academic, 2019). [\[34\]](#_ftnref34) The opportunities for action made available by the environment (William Gibson). [\[35\]](#_ftnref35) See Anja Kanngieser, “Geopolitics and the Anthropocene: Five Propositions for Sound” *GeoHumanities 1:1* (2015): 80-85. [\[36\]](#_ftnref36) Ursula Le Guin called for *geolinguistics* to expand language into matter. See Le Guin, U. Keynote address. Presented at the Arts of Living on a Damaged Planet Conference, Aarhus University, Denmark, 2014. Barad, Karen Michelle. *Meeting the Universe Halfway: Quantum Physics and the Entanglement* of Matter and Meaning. E-Duke Books Scholarly Collection. Durham: Duke University Press, 2007. Coccia, Emanuele. The Life of Plants: A Metaphysics of Mixture. English edition. Medford, MA: Polity, 2019. *Donna Haraway and Vinciane Despret. Phonocene*, 2020. . Dunn, David. “Nature, Sound Art and the Sacred,” 1997. . Gilbert, Scott F., Jan Sapp, and Alfred I. Tauber. “A Symbiotic View of Life: We Have Never Been Individuals.” *TheQuarterly Review of Biology* 87, no. 4 (2012): 325–41. . Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” *Feminist Studies* 14, no. 3 (1988): 575–99. . Haraway, Donna Jeanne. *The Companion Species Manifesto: Dogs, People, and Significant Otherness*. Paradigm (Chicago, Ill.) 8. Chicago, Ill.: Prickly Paradigm, 2003. Helmreich, Stefan. “Transduction.” In *Keywords in Sound*, edited by David Novak and Matt Sakakeeny, 222–31. United States: Duke University Press, 2015. Ingold, Tim. “Against Soundscape.” In *Autumn Leaves: Sound and the Environment in Artistic Practice*, edited by Angus Carlyle, 10–13. Paris: Association Double-Entendre, 2007. KANNGIESER, ANJA, and ZOE TODD. “3. FROM ENVIRONMENTAL CASE STUDY TO ENVIRONMENTAL KIN STUDY.” *History and Theory :Studies in the Philosophy of History* 59, no. 3 (2020): 385–93. . Koeva, Elitza. “Acoustemological Resonances: Brewster’s Archive And The Emergence Of Ethical Observational Science.” Harvard University, 2024. Macauley, David. *Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas*. SUNY Series in Environmental Philosophy and Ethics. Albany: State University of New York Press, 2010. Steven Feld. “Acoustemology.” In *Keywords in Sound*, edited by David Novak and Matt Sakakeeny, 12–21. Duke University Press, 2015. . The Crimson Editorial Board. “A Farewell to the Divinity School Oak Tree.” *The Harvard Crimson*, February 19, 2019. [https://www.thecrimson.com/article/2019/2/19/editorial-farewell-oak-tre…](https://www.thecrimson.com/article/2019/2/19/editorial-farewell-oak-tree/). Tsing, Anna Lowenhaupt, Nils Bubandt, Elaine Gan, and Heather Anne Swanson. *Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene*. University of Minnesota Press, 2017. . Voegelin, Salomé. *The Political Possibility of Sound: Fragments of Listening*. New York: Bloomsbury Academic, 2019. See also:- [ Thinking with Plants and Fungi ](/programming-threads/thinking-plants-and-fungi) - [ TWPF Blog Page ](/programming-threads/twpf-blog-page)