Creative Commons
Deleted scenes
We dig up some unreleased fragments of our conversation with maverick composer Jennifer Walshe, that we were unable to include the first time around.
Deleted scenes
We dig up some unreleased fragments of our conversation with the collective Laagencia, embodied here by the voices of Mariana Murcia, Diego García and Santiago Pinyol, that we were unable to include the first time around.
Deleted scenes
We dig up some unreleased fragments of our conversation with choreographer and performer Alma Söderberg that we were unable to include the first time around. Alma discusses her influences, teachers and schools and two collective projects of different sorts: Manyone and John The Houseband.
Deleted scenes
We dig up some unreleased fragments of our conversation with video artist, activist and researcher Marina Gržinić, which we were unable to include the first time around. Marina reflects on her trajectory, together with Aina Šmid, in the field of video art and new media, from the eighties to the present day, from a feminist and socialist perspective.
Jennifer Walshe
Jennifer Walshe studied composition and often performs as a vocalist, but her practice and a whopping list of works over the past twenty years put her in a twilight zone where music, performance art, theatre and stage writing intersect and converge. Walshe’s approach to texts, scripts and musical scores is based on a recursive process, a kind of feedback loop which includes and acknowledges all sorts of information about the text itself – the context and paratext. In this podcast, we talk to Jennifer Walshe about writing, annotating, teaching, collecting, eavesdropping, performing, faking, and a touch of machine learning.