The authors describe a cross-disciplinary collaboration in which they apply both a qualitative/quantitative and a choreographic analysis to the gestures immunologists use when lecturing on immunity. They identify particular spatiotemporal features by which immunologists have mapped, embodied and blended the conceptual spaces of the molecular and cellular. The immunologists’ difficulties in integrating the differing spatiotemporal modes of observing and embodying revealed hidden policies in their concepts of immunity. The variety of modes, blending and cinematic techniques applied invite a closer cross-disciplinary look at the vivid visual scenario of gesturing in science and consideration of its potential for creating corporeal models of art and science.

This immersive performance explores speech as a biological environment for oral microbiota, merging art and science to promote ecological awareness. Using scientific data, recursive echo, and tactile feedback, it encourages visitors to engage directly with microbial processes through vocalizations and vibrations, blurring boundaries between human and non-human elements. Here an art-science collaboration turns laboratory research into a public, sensory experience that supports reflection on our shared biological environments, fostering sensory, evocative, and scientific engagement with microbiome ecology.

Human language continuously generates patterned mechanical vibrations, yet the cellular consequences of such structured sound remain largely unexplored. Here, we investigate whether acoustic vibration with different degrees of temporal and spectral organization modulates actin cable architecture and polarity in the non auditory eukaryote Saccharomyces cerevisiae. Using a direct contact stimulation setup, yeast cells expressing ABP140- GFP were exposed to sustained tonal sound, broadband white noise, or brief consonant like acoustic bursts designed to isolate speech relevant temporal structures without semantic content. Sustained tonal stimulation, characterized by rhythmic continuity and harmonic coherence similar to vowel like components of speech, increased ABP140- GFP signal intensity,actin branching and actin length and significantly enhanced shmoo formation. In contrast, broadband noise disrupted actin organization and suppressed shmooing, while transient consonant like bursts produced no measurable structural effects. These results indicate that language related acoustic structure, specifically sustained and coherent mechanical vibration, can modulate cytoskeletal organization in yeast, supporting the view of sound and speech as biologically active mechanical inputs rather than purely communicative signals.

What if vocal language were not only a medium for human communication but a vibrational force that leaves structural traces in living cells? This study explores how audible sound, particularly the structured elements of human speech, affects the cytoskeleton of Saccharomyces cerevisiae . Using a direct-contact acoustic system, we exposed yeast to distinct sound types: tonal vibrations, broadband noise, and consonant phonemes. Fluorescence microscopy revealed that tonal stimuli with coherent low-frequency patterns enhanced actin polymerization and shmoo formation, both markers of polarity and mating. In contrast, broadband noise disrupted actin integrity, while consonants produced no measurable effects. These results suggest that rhythmic continuity and spectral coherence, key features of speech, can modulate cytoskeletal organization in non-auditory cells. By reframing vocal language as mechanical input rather than semantic content, this study bridges microbial cell biology with acoustic ecology and proposes a new lens for exploring how human-generated soundscapes physically influence living systems.

In our performanceEntangled Speech, we connect the integration of microbial agency into a new complex ‘common good’ with the shared values of language. Drawing on a posthuman commons we aim for a hybrid language that not only processes formal symbols but also interacts with the microbes in the speaker’s mouth. We argue that the metaphors historically used to frame the relationship between microbiomes and speech cannot account for the co-creative material relationship between human speech and posthuman microbial, environmental and biotechnological needs. In our performances, first we harvest sensitized microbes from a speaker’s mouth who had repeated those phonemes, which lead to a deviation of pH of saliva. This makes the microbes sensitive for the further processing: via a spectrogram, phonemes repetitively spoken by the audience drive pumps, which add pheromones to the microbes, the pheromones, which then are faded out. In the microbes, for some replication cycles, an ecological adaptation to the individual phonemes persists, which – in our definition – affirms some phonemes as ecological and others to be deleted, thereby changing the alphabetical order of the input word. Although parts of the process are digitally animated, the major parts develop in real time. We propose ‘microbial speech’ as a category beyond semantic meaning, with ecological qualities such as a transcorporeal mattering between words and the body. We aim at a language becoming a biological state in order to protect its own ecology. We propose a more entangled mode of microbes existing in common with language, affirming posthumanist transversal relations of all living and non-living matter.