The backdrop for our performance is the entanglement of humans and their microbes. In detail we explore the relation between human-centered language and microbes, aiming to give their relationship more meaning and structure. The performance itself unfolds as an entanglement between the researcher, the research objects and the method of investigation. Oral microbes transgress the boundaries between themselves and human speakers. They react to individual phonemes with specific changes in their ecology, their needs authoring human voicescapes, disembodying and decoupling the voice from the rational and essentialist humanist subject. Both voice and microbes are agentially cut together-apart: what looks like a separation through the technical apparatus we use to enfold the intra-actions actually proves the mutual entanglement of both entities. With this cut, language loses its subject, its owner and sovereign, with phonemes and microbes becoming two co-hosts that contribute to the voicescape equally. The material apparatuses in our performances, which enhance and visualize non/human reactions, produce material phenomena through specific causal intra-actions. In its intra-activity, the matter is not a passive object to be observed and analyzed but the microbes becoming co-agents, taking part in the discursive practice. They are already material-discursive and that is, according to Barad, what it means to matter. Diffraction becomes a matter of differential entanglements, which do not intertwine or other the voice and microbes as separate entities, but prove their inseparability by becoming materially connected. Microbial entangled speech may be more important than has been assumed and has so far been overlooked as a connecting layer between the human body and its non-human inhabitants.

我们表演的背景是人类及其微生物的纠缠。我们详细探讨了以人为中心的语言与微生物之间的关系，旨在赋予它们更多的意义和结构。表演本身表现为研究者、研究对象和调查方法之间的纠缠。口腔微生物超越了它们与人类说话者之间的界限。他们对具有特定生态变化的个体音素做出反应，他们的需求创造了人类的声音景观，将声音与理性和本质主义的人文主义主题脱身和分离。声音和微生物都被人为地分割开来：通过我们用来包裹内部动作的技术装置看起来像是分离，实际上证明了两个实体的相互纠缠。通过这种剪裁，语言失去了它的主体、它的所有者和主权者，音素和微生物成为两个共同宿主，平等地为语音景观做出贡献。我们表演中的物质装置增强和可视化非/人类的反应，通过特定的因果内部作用产生物质现象。在其内部活动中，物质不是被观察和分析的被动对象，而是微生物成为共同代理，参与话语实践。它们已经是物质性的，根据巴拉德的说法，这就是物质的意义。衍射变成了不同纠缠的问题，它们不会将声音和微生物作为单独的实体交织或其他，而是通过成为物质上的联系来证明它们的不可分离性。