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Throughout her solo career, Björk has displayed strong cosmopolitan tendencies: her use of English, the diverse musical traditions she borrows from, the multiple backgrounds of the musicians who contribute to her albums. These collaborations and references to non-Western cultural traditions are most often combined with the embracing of a pagan tradition from her own Icelandic culture, which rejects anthropomorphic perspectives (by criticizing the hierarchy between humans, nature and technology) while also proposing a folk-less folklore. In doing so, Björk achieves a temporal synthesis, as she refers both to a pre-civilisational state and formulates the futuristic utopia of a human tribe achieving unity through a common rhythm. Not only does she invite her predominantly Western and urbanised audience to shift the focus from the centre to the periphery, or blur boundaries and fuse musical languages, Björk also takes a step further, akin to Timothy Morton’s ecology, which both abandons oppositions between human beings, and adopts a different perspective on the ecologies that oppose the human to the living, the living to technology, and purity to hybridity.