Luz, Nuno da2026-04-142026-04-142026-04-01978972541198885015018-e893-4381-92b3-f59832673dc2http://hdl.handle.net/10400.14/57487This article argues for a deeper understanding of how collective and participatory improvisation rehearses modes of political and ecological resistance to the manifold forms of violence and dispossession felt today. Taking cues from previous research conducted on populations of feral parakeets in Europe, the project Feral Songbook compiles a series of scores for collective and participatory improvisations that take these parakeets’ “territories of chant” as modes for polyphonic cooperation. For philosopher Vinciane Despret, “[bird] territories draw networks of sonic territorialities.” Such territorialities propose alternative, affective cartographies that counter Modernity’s bird's eye-view with the relationality of being within bird's earshot. Indebted to collective and participatory improvisations such as those proposed by composer Cornelius Cardew and the freeform collective Scratch Orchestra (1969–1974), this article describes how such practices may help restore our relationship with the nature culture continuum via rites of attention and mutual responsibility.engAffectRelationalityListeningParticipatory practiceCollective improvisationbook part10.34632/9789725411988_5