Cold War hydrophone recordings of humpback vocalizations became a mass-cultural artifact whose framing as “song” and domestic headphone intimacy simultaneously mobilized environmental stewardship and reproduced anthropocentric, commodifying, and colonial epistemologies of capturing, classifying, and consuming nonhuman life. Through transduction/mediation critique, feminist historiographic correction, and Deleuze–Guattari/Haraway-inflected “minor listening,” the text argues for reflexive, decolonial listening practices that resist both anthropomorphism and exoticizing Otherness while reconfiguring who gets to speak/listen in human–animal relations.

Improvised Sprechstimme over canonical piano miniatures stages a live collision between scripted tradition and contingent speech, using regression, dreamwork, and camp confession to test how aesthetic form can metabolize political rupture and personal shame. Queer theory’s anti-futurity, the ethics of perversity (Sade–Genet–Foucault), and critiques of fetishism/imperialism are refracted through salon music and lounge address, turning attention, pedagogy, and the museum-conference setting into a performative inquiry into what remains usable—desire, repetition, and lyricism—after cultural catastrophe.