Specters of Jin started as a sonic exploration of revolutions' melodies and sprang from our interest in queer-feminist counter-analysis to hauntological concepts of time and identity within antiauthoritarian struggles. Hauntology as introduced by Jacques Derrida in Specters of Marx was used to describe the phenomenon of the apparent "death" of communism, and how capitalist powers that were responsible for its demise inadvertently immortalized the idea of communism by making it a specter that cannot die. Derrida posits that the spectre's presence signifies a disjunction in time, suggesting that "time is disarticulated, dislocated, and deranged, both out of order and mad". It is important to note that the spectre is not merely a relic of the past, but also holds the potential to embody a spirit of the "future-to-come" (Munford, 2014). Later Mark Fisher furthers his theories on the meaning of hauntology and the cancellation of the future by applying these concepts to various media with a particular focus on music.