Sound and More-than-Human Sociality in Catherine Clover’s Oh! Ah ah pree trra trra

Abstract

This article transposes questions about socially engaged sound practices into a more-than-human register, turning an ear to the sounds of interspecies encounters. It takes its impetus from a workshop aimed at forming a ‘cross-species choir’ by the artist Catherine Clover, in which participants tried to sing like, with and to birds in a London woodland. I describe how Clover’s speculative choir was informed by theoretical models drawn both from sound studies and from environmental humanities, as well as a down-to-earth, humorous sensitivity towards the limitations and absurdities of artistic practice. Where much theory associated with sound art and experimental music sees sound as what Ochoa Gautier has critiqued as an ontological suture for repairing the fractured relationship between humans and nature, Clover’s practice offers a more ambivalent and, I argue, therefore more generative means of conceptualising the role of sound within more-than-human social worlds. In particular, it uses sound to draw attention to the apprehension of humans by other creatures and to various dynamics of evasion, non-encounter and undecidability in our relationships with the more-than-human world. By amplifying this alternative way of understanding sound and listening, this article seeks to recast projects of social engagement through sound in more speculative and expansive terms.