A Melody that Sings Itself: Phenomenology of the Umwelt

In his lectures on the philosophy of nature, Maurice Merlea interprets Jakob von Uexküll’s notion of Umwelt as akin to a melody. This essay outlines von Uexküll’s perspective on the feasibility of translating non‑acoustic elements (optical: colours, shapes, and figures; haptic: tactile textures, flavours, tastes, and scents) into sounds or musical notes to compose a melody. It poses several inquiries: Does the link between melody and nature render natural entities as musical notes? Do the components of an entity constitute anatomical notes in the melody that defines the entity itself? Is it conceivable to distil every moment in life into a “note” symbol on a musical scale, characterised by specific duration, pitch, and volume? Melody, rhythm, and harmony are considered sophisticated “structures” that articulate and convey the essence of nature’s existence. Moreover, every human, every living creature, be it animal or plant, possesses a subjective “biological” interiority. The inner realm of each living subject, along with the objects in the external world, are enveloped within an atmosphere—a musical Umwelt. Humans exist within this musical milieu or atmosphere.