Abstract
This case study on the work of interspecies musician David Rothenberg explores how engaging with the songs and rhythms of other species continues to challenge his musical practice and aesthetic. Technology, science and art come together in an artistic and research practice, which is grounded in the belief that technologies can bring us closer to nature. The article outlines how Umwelt theory, enactive music cognition, biosemiotics and the phenomenology of human-technology relations are engaged in the perception and creation of musical experiences. It also looks at how interdisciplinary research practices that traverse zoomusicology, the visual and performing arts, and data visualisation contribute to interspecies music theory and practice. The article concludes by presenting four interspecies auditory dispositives as a guide to how knowledge, tools and practice are entangled in concrete examples from Rothenberg’s musical collaborations with nightingales, humpback whales, periodical cicadas and pond life.
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