This paper investigates sound and music interactions arising from the use of electromyography (EMG) to instrumentalise signals from muscle exertion of the human body. We situate EMG within a family of embodied interaction modalities, where it occupies a middle ground, considered as a “signal from the inside” compared with external observations of the body (e.g., motion capture), but also seen as more volitional than neurological states recorded by brain electroencephalogram (EEG). To understand the messiness of gestural interaction afforded by EMG, we revisit the phenomenological turn in HCI, reading Paul Dourish’s work on the transparency of “ready-to-hand” technologies against the grain of recent posthumanist theories, which offer a performative interpretation of musical entanglements between bodies, signals, and representations. We take music performance as a use case, reporting on the opportunities and constraints posed by EMG in workshop-based studies of vocal, instrumental, and electronic practices. We observe that across our diverse range of musical subjects, they consistently challenged notions of EMG as a transparent tool that directly registered the state of the body, reporting instead that it took on “present-at-hand” qualities, defamiliarising the performer’s own sense of themselves and reconfiguring their embodied practice.

If, as several recent papers claim, we have entered a new wave of “Entanglement HCI,” then we are still at a liminal stage prior to consensus around which sources underpin this paradigm shift or how they might inform actionable approaches to design practice. Now is the time to interpret technosocial mediation from a range of disciplinary perspectives, rather than settling on a narrow canon of literature. To this end, our paper enacts a diffractive dialogue between researchers from different disciplines, focusing on digital musical instruments to examine how technical knowledge from design and engineering can be read against the grain of critical theories from music, media, and cultural studies. Drawing on two object lessons—keyboards and step sequencers, plus their remediations in recent musical interaction research—we highlight interdependencies of theory, design, and practice, and we show how the idea of entanglement is itself entangled in a cross-disciplinary web.