The soil is an unthought: perceived as a surface, its inner life is ignored (Selosse 2021). Yet the mycelium, a vegetative underground organism (Francis 2020), long thought to be inert (Sheldrake 2021), forms networks of complex inter-species interactions that are essential to life (Selosse 2000). This non-human, non-plant network connects and entangles non-human animals, plants, and humans in vital, dynamic, and communicative assemblages (Tsing 2017). Researchers have very recently uncovered, through multi-channel analysis, the complexity of electrical signal transmission systems in these networks. Uncovering these signals requires very fine technical calibration. The extreme diversity of these communications can be compared to the complexity of human languages, surpassing it (Dehshibi and Adamatzky 2021). In an artistic project of attention for the living (Nova 2022), how to make sensitive and audible the invisible and imperceptible dimensions, the very otherness (Maris 2018) of these micro or even infra-phenomenologies of organic beings perceived as inert? We will relate a research-creation experience that attempts to make this network audible and sensitive in a process of musical composition with mycelium. Forming an interdisciplinary team of musicians, designers, engineers, architects and artists, we pool our skills and approaches to cultivate a mycelium, develop a device to capture the action potentials of this organism and design a diffractive machine learning model (Karen Barad et al. 2021) aiming at automatically listening to the spectrum of its electrical communications. It is through the prism of this dynamic entanglement between humans, mycelium and machines that we attempt to compose an interspecific sound installation, as a diffractive interface (Barad 2007) between artificial and natural intelligences (Scurto et al. 2021), and micro- and macro-scale performativities. The analysis of the creation of these objects will serve to rethink interspecies communication, conceived not as a process based on a common culture and intentionality but as a form of co-production of meaning through "adjustment of differences" (Guillo 2019). We will question the aesthetic stakes of forms generated automatically or, in this case, guided by non-human processes, showing the fragmentation and dissolution of intentionality in this type of productions, which synthesize and explore unexplored niches of our cultural spaces.