The act of animal killing affects the human psyche in manners that are culturally contingent. Throughout history, societal attitudes towards the taking of animal lives have mostly been based on deference and/or dominion. Postdomestic societies have evolved in fundamentally different ways. Meat production is abundant yet concealed, animals are categorized and stereotyped, and slaughter has become a highly disquieting activity. Increased awareness of postdomestic meat production systems raises a moral polemic and provokes disgust in some consumer segments. Overall, a heterogeneous (...) set of solutions has emerged to deal with the societal upset and cognitive dissonance caused by animal slaughter. This includes the so-called carnism approach, a rise in animal welfare programs, a market demand for reassuring narratives, a rehabilitation of the metier of farmers and butchers, crowd butchering, neo-ritualism and home slaughter, the biotechnological exploration of “cultured meat” and “pain-free meat”, entomophagy, “meatless meat”, and the increasing proliferation of vegan and vegetarian lifestyles. (shrink)

David Rothenberg, a philosophy professor and Jazz musician, has been improvising with nonhuman animals for years, among his playing partners are birds and whales, known to be territorial animals. As Deleuze and Guattari propose that the origin of art is precisely the territorialising animal and more a function of nature than a specifically human cultural achievement, their concept of territory and rhythm offers a non-anthropocentric way of looking at these encounters. Rothenberg’s sonic experiments in resonance and interspecies interaction do not (...) rely on language, thus I argue that the human and the nonhuman animals form a temporary joint territory via sonic rhythms and engage in a mutual becoming by forming a rhizome. His sound thinking practice thus also helps in decentralising further anthropocentric models of music and art. (shrink)