sources
Many of the notions and concerns pursued here grew out of wide ranging conversations with
0, 30, 38: John Gray: Straw Dogs: Thoughts on Humans and Other Animals. (Granta, London, 2002) 6: Russell Albans quoted in Afua Osei-Bonsu: Voices in the Stone: The Work of M. Scott Johnson. (Afrique Newsmagazine, Volume 14, no. 2, Chicago, February 2004) 8, 22, 47, 63, 92: M. Scott Johnson quoted in Afua Osei-Bonsu. (see 6) 15, 28: Nicholas Mukomberanwa: M. Scott Johnson. 18, 67, 81: Personal conversation with M. Scott Johnson. 34: Maria-José quoted in Serge Brambly: Macumba: The Teachings of Maria-José, Mother of the Gods. (St. Martin’s Press, New York, 1977) 35: The portrait of Ogun is paraphrased from Wole Soyinka: Myth, Literature and the African World. (Cambridge University Press, Cambridge, 1976) 36, 39, 40, 102: Antonio Damasio: Descartes’ Error: Emotion, Reason and the Human Brain. (G.P. Putnam, New York, 1994) 43: Paraphrased from David McNeill: Hand and Mind: What Gestures Reveal about Thought. (University of Chicago Press, Chicago, 1992) 52: John Keats in a letter to George and Thomas Keats dated Sunday, December 28, 1817. Duncan Wu: Romanticism: an Anthology (Blackwell, Oxford,2005) 54: Cecil Taylor quoted in Nat Hentoff’s liner notes to Cecil Taylor: In Transition. (Blue Note 458-H2, 1975) 56: Robert Farris Thompson: African Art in Motion: Icon and Act. (University of California Press, Los Angeles, 1974) 62: For more about Jus Grew, consult Ishmael Reed: Mumbo Jumbo. (Simon & Schuster, New York, 1996). The relationship between Juba and the trap kit comes from personal conversations with David Pleasant. 65: Albert Murray: The Hero and the Blues. (University of Missouri Press, Columbia, 1973) 66: The story of High John the Conqueror is paraphrased from James Haskins: Witchcraft, Mysticism and Magic in the Black World. (Doubleday, Garden City, 1974) 72, 76: Edward T. Hall: The Dance of Life: The Other Dimension of Time. (Anchor Press/Doubleday, Garden City, 1983) 74, 87: M. Scott Johnson: Television interview with Al Harris on Making Great Strides, Brooklyn Cable Television, December 13, 2007. 78: David Pleasant: Events. (unpublished essay, ©2006) 77: The term “Afrological” is from George Lewis: Improvised Music after 1950: Afrological and Eurological Perspectives, in Audio Culture: Readings in Modern Music, edited by Christoph Cox and Daniel Warner. (Continuum, New York, 2004) 84: For more on the Black Atlantic, see Paul Gilroy: The Black Atlantic: Modernism and Double Consciousness. (Harvard University Press, Cambridge, 1993) Derrick May quoted in Simon Reynolds: Generation Ecstasy: Into the World of Techno and Rave Culture. (Routledge, New York, 1999) 87: M. Scott Johnson quoted in Afua Osei-Bonsu. (see 6) 89, 94: Gaston Bachelard: The Poetics of Space. (Beacon Press, Boston, 1994) 95: Iannis Xenakis discusses the importance of disorder to the life of a sound in his chapter, New Proposals in Microsound Structure, in Formalized Music; Thought and Mathematics in Composition. (Indiana University Press, Bloomington, 1971) 97: The phrase "ideological mirage" is from Fredric Jameson: Postmodernism, or, The Cultural Logic of Late Capitalism. (Duke University Press, Durham,1991) 98: John Miller Chernoff: African Rhythm and African Sensibility: Aesthetics and Social Action in African Music. (University of Chicago Press, Chicago, 1974) 103: Willem De Kooning quoted by Thomas B. Hess: De Kooning; Recent Paintings. (Walker and Company, New York, 1967) 105: More than eight decades younger than Brancusi, Moore, Noguchi and Hepworth. Nearly all important younger sculptors have relied primarily on additive procedures. 106: Alongside Damasio and many others, consider the work of George Lakoff and Mark Johnson, especially: Philosophy in the Flesh: The Embodied Mind and its Challenge to Western Thought. (Basic Books, New York, 1999)
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