The Ear That Speaks

Abstract

This chapter focuses on examples of biological and technological processes of cellular growth and vibration through the organ of the ear and its associated capacities in contemporary performance. Specifically, we examine human and non-human elements in Stelarc’s Extra Ear project (1997–), The Delta Project’s Under My Skin and the movements of air, of breath, of particles that are embedded in the function of the inner ear, acoustic technologies, cochlear implants, zoom lags, hearing loops, signed-performance, and Indigenous Australian Songspirals. We elaborate on the notion of “performing climates” as a dramaturgy of atmospheres, actors and affects that reconstitute relations between biologic..