Correction: Campbell (2019). Extractive Poetics: Marine Energies in Scottish Literature. Humanities 8: 16

• Text Correction 

In the Introduction, paragraph 3, the original text (Campbell 2019) is as follows:

The article examines a range of works that have recently emerged in response to Scotland’s renewable energy seascapes, including the collaborative poetry project by Alec Finlay and Laura Watts Ebban an Flowan (Finlay et al. 2015); the collaborative poetry and soundscape project ‘Minnmouth’ (Finlay et al. 2016) by Alec Finlay, Hanna Tuulikki and Lucy Duncombe; and the poetry/sculpture project by Lila Matsumoto and Hannah Imlach ‘Blàthan Briste|Broken Flowers’ (Taigh Chearsabhagh Museum and Arts Centre 2017).

The correction should be as follows:

This article examines a range of works that have recently emerged in response to Scotland’s renewable energy seascapes, including the collaborative poetry project by Alec Finlay and Laura Watts Ebban an Flowan (Finlay et al. 2015); the collaborative poetry and soundscape project ‘Minnmouth’ (Finlay et al. 2016) by Alec Finlay, Hanna Tuulikki and Lucy Duncombe; and collaborative poetry sculpture projects by Lila Matsumoto and Hannah Imlach ‘Tide Quern’ (2017) and ‘Nautilus Turbine’ (2016).

In Section 3, paragraph 11, the original text is as follows:

Responding to the question of energy sovereignty, the recent collaborative project ‘Blàthan Briste|Broken Flowers’ from the poet Lila Matsumoto and the sculptor Hannah Imlach further interrogates the links between oceanic technologies, creative practice, and energy autonomy. Across two residencies, one on the Isle of Eigg and another in the Monach Islands, Imlach and Matsumoto produced a series of works in response to the fluid interplay between natural ecosystems and island technologies that exist within the Hebridean environment. Through a series of site-specific artworks and poems ‘Blàthan Briste|Broken Flowers’ draws from the kinetic and cultural energy of the islands in order to interrogate ‘the relationship between localism and technology’ (Taigh Chearsabhagh Museum and Arts Centre 2017). Their respective works incorporate local responses to both ancient and modern technologies ranging from Neolithic quern stones (hand mills) and marine renewable technologies, to the military rocket ranges on Uist and St Kilda. Where the poetic works of Watts and Finlay look to the mythological and linguistic histories of the ocean as a means of mapping new relationships with renewable technologies, the work of Imlach and Matsumoto is more concerned with comprehending renewable technologies through community histories and direct sensorial encounters with the marine environment.

The correction should be as follows:

In 2017, the collaborative exhibition ‘Blàthan Briste|Broken Flowers’ co-commissioned by Taigh Chearsabhagh and Alec Finlay displayed several artworks responding to questions of energy sovereignty in the Western Isles. The poetry and sculpture collaboration ‘Tide Quern’ produced by Lila Matsumoto and Hannah Imlach takes up Finlay’s call to interrogate the links between new oceanic technologies and folk technologies with a distinct focus on contemporary energy autonomy in the Western Isles. Across two residencies, one on the Isle of Eigg and another in the Monach Islands, Imlach and Matsumoto produced a series of works response to Finlay’s initial interrogations of the fluid interplay between natural ecosystems and island technologies that exist within the Hebridean environment. By incorporating a variety of kinetic and cultural energies within their respective poetic and sculptural forms Imlach and Matsumoto extend Finlay’s original concern with ‘the relationship between localism and technology’ in Minnmouth towards contemporary issues of military dispossession and technological development in the Hebrides (Taigh Chearsabhagh Museum and Arts Centre 2017). By incorporating local responses to both ancient and modern technologies ranging from Neolithic quern stones (hand mills) and marine renewable technologies to the military rocket ranges on Uist and St Kilda, Imlach and Matsumoto’s collaboration identifies troubling linkages between sustainability narratives and military–industrial expansion. Where the poetic works of Watts and Finlay look to the mythological and linguistic histories of the ocean as a means of mapping new relationships with renewable technologies, the work of Imlach and Matsumoto is more concerned with comprehending renewable technologies through community histories and direct sensorial encounters with the marine environment.

The authors state that the scientific conclusions are unaffected. These corrections were approved by the Academic Editor. The original publication has also been updated.