Podcast appearances and mentions of jennifer walshe

Image credit: Paul Hillier's final concert as AD of Chamber Choir Ireland (In Illo Tempore, October 2024), filmed by Dominik Kosicki.Conductor Paul Hillier, who up to 2024 was Artistic Director of Chamber Choir Ireland, speaks to Evonne Ferguson about some of the Irish composers and works commissioned and performed during his time with the choir. The conversation was recorded in October 2024 and features works by Gerald Barry, Siobhán Cleary, Rhona Clarke, David Fennessy, Andrew Hamilton, Stephen McNeff and Jennifer Walshe. Show NotesChamber Choir Ireland: Paul HillierChamber Choir IrelandComposers featured in this episode:Gerald BarryCMC Composer PageSiobhán ClearyCMC Composer PageRhona ClarkeCMC Composer PageDavid FennessyCMC Composer PageAndrew HamiltonCMC Composer PageStephen McNeffCMC Composer PageJennifer WalsheCMC Composer PageMusicIn order of appearance in the episode:chOirland - David FennessyLetter to Michael - David FennessyTheophilus Thistle and the Myth of Miss Muffett - Siobhán Cleary (Live Recording)Everything is Ridiculous - Andrew HamiltonSchott and Sons Mainz - Gerald BarryLong Time - Gerald BarryThe White Noisery - Jennifer Walshe (Live Recording)Dives and Lazurus - Stephen McNeff (Live Recording)Pie Jesu from Requiem - Rhona Clarke (Live Recording)All music featured in this episode was performed by Chamber Choir Ireland under the direction of Paul Hillier.

Künstliche Intelligenz kann mittlerweile vieles. Aber kann sie auch komponieren? Und wenn ja, kann sie es besser als wir Menschen? Die Meinungen gehen auseinander. Und die klingenden Antworten sind denkbar vielfältig: von Beethovens «Zehnter» bis hin zu Chatbots, die personalisierte Songs kreieren. Jeder kennt das: Man gibt einen anderssprachigen Text in ein Übersetzungsprogramm im Internet ein. Heraus kommt eine Übersetzung, die zwar verständlich ist, aber vielleicht ungelenk formuliert oder sogar fehlerhaft. Trotzdem sind genau das die spannenden Momente. Denn wenn die Maschine überfordert ist, entsteht oft wunderbar aparte Poesie: Sätze oder Wortfolgen, die keinen Sinn ergeben, missinterpretierte Zusammenhänge oder bizarre Sprachbilder. Solche «Lücken» intelligenter Systeme lassen sich kreativ nutzen – nicht nur für Texte, sondern auch in der Musikproduktion. Auf denkbar unterschiedliche Weise arbeiten Komponistinnen und Komponisten der Gegenwart mit Künstlicher Intelli-genz. Jennifer Walshe trainiert digitale neuronale Netze mit ihrer eigenen Stimme, Genoël von Lilienstern programmiert seine KI-Modelle gleich selbst und das «Intelligent Instruments Lab» in Island stattet traditionelle akustische Instrumente mit Computertechnologie aus. Mit - Genoël von Lilienstern, Komponist - Jennifer Walshe, Komponistin - Thor Magnusson, Gründer des Intelligent Instruments Lab Reykjavik - Alexander Schubert, Komponist/Informatiker Erstausstrahlung: 15.02.2023

Dublin-born Jennifer Walshe is one of the world's most bold and imaginative contemporary classical composers, and holds the prestigious post of professor of composition at Oxford University. Whether it is Barbie dolls or recipe books, the mundane and strange materials of life are central to Walshe's work. Now, for the Irish National Opera, she is developing a major new work set on Mars. Walshe's opera will respond to astrophysics data, Martian meteorites, trashy sci-fi, eco-anxiety in young people, and tech billionaires' obsession with conquering space. Broadcaster Katie Derham tracks Walshe as she launches into the project, with months of immersive intergalactic research.

Eine Spezialdiskothek im Rahmen des SRF-Schwerpunktthemas «KI und wir». Was hat Künstliche Intelligenz in der Musik zu suchen? Viel und Vielfältiges. Das zeigt die Diskothek mit KI-Experte und Musikwissenschaftler Michael Harenberg (Hochschule der Künste Bern) und Tonmeister Andreas Werner. Wir hören in der Sendung Produkten aus einfachen Anwendungen zu, die jeder bei sich auf den Computer laden kann. Musik per Knopfdruck? Nein, so einfach ist es dann doch nicht. In einem zweiten Teil tauchen wir in die erstaunlich lange Geschichte ein von Musik und Automation. Sie geht zurück bis ins Mittelalter. Teil drei nimmt sodann Werke unter die Lupe, die mit KI entstanden sind und wo KI in einen Dialog tritt mit menschlichen Künstler*innen auf oder hinter der Bühne. Musik von Jennifer Walshe, Holly Herndon, George E. Lewis oder Brian Eno. Gespielte Musik: · Tomek Kolczynski: Blue Serenade, 2024. Eigenverlag. · · Lejaren Hiller und Leonard Isaacson: Illiac-Suite, 1957. Quelle: Youtube · · Wolfgang Amadé Mozart: Musikalisches Würfelspiel. Aufnahme von Neville Marriner, Cembalo. Philips, 1991 · · David Cope/Experiments in musical intelligence: Bach-Invention Nr. 1, Chopin-Mazurka. Centaur Records, 1994. · · Holly Herndon: Proto. Album bei 4AD, 2019. · · George E Lewis: The reincarnation of blind Tom. SWR Symphonieorchester, Leitung Susanne Blumenthal. Aufnahme des SWR, 2024. · · Jennifer Walshe: Late Anthology of Early Music. Tetbind Records, 2020. · · Maxime Mantovani: Improvisation 23/03/2022, Forum IRCAM. Quelle: Youtube. · · Brian Eno, Peter Chilvers: Reflection. Apple-Download, 2017.

From giving the Velvet Underground their name (and part of their sound) to teaching maths on public access television, the late American composer Tony Conrad was influential and unpredictable. Composer and improvisor Jennifer Walshe, who collaborated on Conrad's final album, steers us through the sounds, ideas and joys of a unique artist.

Jennifer Walshe on 1960s Manhattan's other definition of minimalism, and its chief exponent; Parisian patisseries put away the butter for a kinder croissant; an accidental photo-history of Donegal; and a very specific definition of "quiet" via Cork's Quiet Music Ensemble.

The rich, complicated legacy of late pioneering musician and artist, Tony Conrad, seen through the eyes of his champion and former collaborator, Jennifer Walshe. (An extended version of this program airs August 3rd in the Culture File Weekly)

A cooling sip from a holy well in Dublin's Phoenix Park, served up by artist Carmen Quigley; Jennifer Walshe on what the music industry is misunderstanding about generative AI; Orit Gat on everything the artist knows about the family; and E The Artist's escape from the terrors of quantization.

BBL Drizzy: A current court case pits the record industry against AI music firms. But does the skirmish overlook something crucial, asks Jennifer Walshe?

AI & Relational Art: How is AI like a 1990s art movement?

Making work out of bones, Bach in intergalactic excess, pre-admin ABC karaoke. The composer and improviser discusses three important albums.Jennifer's picks:Meredith Monk – Our Lady Of LateVoyager – The Golden RecordABC – The Lexicon Of LoveJennifer's collaboration with Tony Conrad, In The Merry Month Of May, is out now on Drag City affiliate label Blue Chopsticks. Check it out on Bandcamp. Jennifer's website is here and she's on X as @JenniferWalshe.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

Paddy Woodworth re-litigates whether Kropotkin was a crackpot in The Naturalist's Bookshelf; Tadhg O'Sullivan floats in with his Cloud of Unknowing; Jennifer Walshe's Things Know Things follows the electronic trail of a neighbourhood cat; and the voices behind a performance of Stockhausen's Stimmung on the composer's baby his cosmic vocal workout.

The Neighbourhood C(h)at: Even the cutest, friendliest of pets cannot escape the reaches of surveillance capitalism.

Fashion Model Show: The gowns at the Met Gala come under AI attack. (Picture: DALL·E image of a flat, cardboard cut-out of Lana del Rey at the Met Gala, with an amazingly ornate seafood-inspired gown attached to it.)

Jennifer Walshe on the internet's "invisible literatures", as well as new music from the composer, enlisting generative AI to rethink Kurt Schwitters' Ursonate; Tadhg O'Sullivan consults a "black map" in his latest Cloud of Unknowing; and we listen to the cow who likes butter in Sarah Browne's latest work, Buttercup.

Timothy Morton, who teaches English at Rice, has become a bit of a rock star interpreter of our hellishly hot planetary times. And his eclectic work has even gotten the stamp of approval of real rock stars - like Laurie Anderson & Björk as well as the Big Lebowski himself, Jeff Bridges. So it was really fun to have him on KEEN ON to talk about HELL: In Search of a Christian Ecology, his new theological guide to how to live in catastrophic times. “This is hell, but not the end of the world,” Timothy Morton says of the world. And so it requires a retro Biblical figure like Morton, a self-styled “angelic demon”, to lead us out of our current hell and recover our human agency. Timothy Morton is Rita Shea Guffey Chair in English at Rice University. He has collaborated with Björk, Laurie Anderson, Jennifer Walshe, Hrafnhildur Arnadottir, Sabrina Scott, Adam McKay, Jeff Bridges, Justin Guariglia, Olafur Eliasson, and Pharrell Williams. Morton co-wrote and appears in Living in the Future's Past, a 2018 film about global warming with Jeff Bridges. He is the author of the libretto for the opera Time Time Time by Jennifer Walshe. He is the author of Being Ecological (Penguin, 2018), Humankind: Solidarity with Nonhuman People (Verso, 2017), Dark Ecology: For a Logic of Future Coexistence (Columbia, 2016), Nothing: Three Inquiries in Buddhism (Chicago, 2015), Hyperobjects: Philosophy and Ecology after the End of the World (Minnesota, 2013), Realist Magic: Objects, Ontology, Causality (Open Humanities, 2013), The Ecological Thought (Harvard, 2010), Ecology without Nature (Harvard, 2007), eight other books and 250 essays on philosophy, ecology, literature, music, art, architecture, design and food. Morton's work has been translated into 10 languages. In 2014, Morton gave the Wellek Lectures in Theory.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Invisible Literatures: Jennifer Walshe on what we do when we listen to ai-created music and sound.

Jennifer Walshe's data springwatch, Joseph Young brings the ancestors black to life in the garden at Kilruddery, a world of bleeps and bips in the experimental electronic music studio, Ruth Clinton sings her latest songbook.

Spring is Here: The evolution of alarm clocks brings a new understanding of Springtime in composer and artist Jennifer Walshe's latest audio epistle.

Episode 687: April 14, 2024 playlist: Soft Kill, "Englewood" (Escape Forever) 2024 Cercle Social KRM and KMRU, "Differ" (Disconnect) 2024 Phantom Limb +/-, "Borrowed Time" (Further Afield) 2024 Ernest Jenning Tony Conrad and Jennifer Walshe, "In the Merry Month of May" (In the Merry Month of May) 2024 Blue Chopsticks Raoul Eden, "Red Sun of a Moonless Morning" (Incarnation) 2023 [self-released] Fiesta En El Vacio, "Mom (Avec Ji Min Park)" (Fiesta En El Vacio) 2023 Mascarpone Low End Activist, "Airdrop 03 (Mayhem On Barton Hill)" (Airdrop) 2024 Peak Oil Cindy Lee, "Kingdom Come" (Diamond Jubilee) 2024 Realistik Studios Guests, "A Veneer, A Promise, Whatever" (I wish I was special) 2024 World of Echo Guest, Birthmark, "Freeze In The Aisle (Original Mix)" (Always + Forever) 2023 Do You Have Peace? Princ€ss, "Sliabh" (Princ€ss) 2024 wherethetimegoes Joy Guidry, "I Will Always Miss You" (Amen) 2024 Whited Sepulchre Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Old Ireland In Colour: Jennifer Walsh on what the best-selling books of colourised photos of the country's past can reveal about the nature of remembering, human and artificial.

Jennifer Walshe is one of the coolest people we know. Her artistic work and thought has broken our brains for years, leaving us shipwrecked in its torrential waves of reference and irony and joy and conceptual viscera.We talk about her recent piece for the Unsound Dispatch, 13 Ways of Looking at AI, Art & Music — a series of vignettes that in their totality assemble into one of the most coherent accountings of what it is we're all experiencing.Some references from the ep:Listen to Things Know Things on RTÉ Lyric FM. Hopefully you're aware of the music duo Matmos — Jennifer references this record in the context of discussing conceptual work. Jennifer also speaks often of her close collaborator Jon Leidecker (Wobbly), who has a few absolutely killer sets with Matmos, including this one.You can interact with Walshe's Text Score Dataset here.We continue to enjoy references to Holly Herndon and Mat Dryhurst's Have I Been Trained (https://haveibeentrained.com/), a way to search for your (or anyone's) work in large, public, AI training datasets.Two movies everyone should see: Catfish the Movie and HER. (We'd also recommend Catfish the TV show, of course).Jennifer mentions the computer scientist Kate Devlin's work, especially “Turned On: Science, Sex and Robots.”If you haven't googled a picture of Paro the Therapy Seal, do it.Jennifer's record “A Late Anthology of Early Music Vol. 1: Ancient to Renaissance” is a top lifetime record as far as we both are concerned. Check out track 16 for that Palestrina. It's CRAZY. To wrap it up, check out Ted Gioia's Substack and Bruce Sterling's writing (the concept Walshe references is "Dark Euphoria").

The Wager: A book by American journalist, David Grann, leads Jennifer Walshe into an unexpected cranny of the internet.

Isadora Epstein's Voyage turns the travels of St Brendan into performance art, Samuel Lawrence Cunnane turns a van into a travelling darkroom, Kerry Guinan's new exhibition converts a would-be nuclear shelter into a metaphor, and Jennifer Walshe's mission to explore the outer limits of AI arrives at Prompt Transformation.

Prompt Transformation: Jennifer Walshe on what we might learn about the latest LLMs from the writings of Lester Bangs.

Snaps shot of creativity around the island, and the world, with Cyborg Soloist, with Zubin Kanga; Star Wars tunes from Leo Pearson; poet Adam Wyeth words on his there will be no silence collaboration, and Jennifer Walshe on the largeness of LLMs.

Natural History Museum (Berlin Edition): Everything you can learn about AI by looking at dinosaurs (and beetles).

Why the grain of the human voice is as important as ever in a world of AI music; the musical multiverse of British composer, Basil Kirchin; surprise celebrity in the world of autism tiktok; and improv improv at the Irish World Academy of Music and Dance 30th birthday celebrations.

AI is the Grain of the Voice: In her latest exploration of the impacts of AI technologies, Jennifer Walshe AI encounters the potentials of voice cloning.

Anthropologist Veronica Strang on water beings, the slippery creatures who have been helping humans to understand their planet for millenia. Jennifer Walshe on the sincerity of ChatGTP; and into deep space in the music of jazz composer, Meilana Gillard.

Künstliche Intelligenz kann zuhören: Von der Tonhöhenkorrektur bis zum Emotionsmanagement prägt sie zunehmend unseren akustischen Alltag. Jennifer Walshe und Jon Leidecker musizieren mit den neuesten Tools aus dem Silicon Valley. Von Jennifer Walshe und Jon Leideckerwww.deutschlandfunkkultur.de, Klangkunst

Unaccustomed as it is to public speaking, ChatGPT has been making inroads at our most important social events and moments. Jennifer Walshe wonders if we really should be surprised.

Here's the audio version of the Choreomata book launch with Foreign Objekt, featuring Anil Bawa-Cavia, Jonathan Impett, Mattin, Reza Negarestani, Keith Tilford, and Jennifer Walshe.MANY thanks to Sepideh Majidi.The full video is here. You can find Choreomata anywhere, especially here.

Birdcast: A summer running route brings an encounter with birds and wires for Jennifer Walsh, recorded in her latest postcard from the technological edge.

Fat Bear Week: Even if the change of seasons are quite manifesting as they should, Jennifer Walshe takes consolation in some thicc bears.

A naggin of the spirit of the times, from the philosophy of making your own clothes to the music of datacenters, with a new exhibition space for the Bloomsbury gang's base at Charleston, the alluring folk horror of artist, Jonathan Baldock, and a touring show on invisible worlds from Jennifer Walshe.

Composer, Jennifer Walshe, along with Elizabeth Hilliard, Nick Roth and Panos Ghikas, plus students from schools around Ireland, collaborate on a new work, Oscailt.

AI as Companion Species: to conclude her exploration of the things AI is a little bit like, Jennifer Walshe thinks imagine AI as critters with which we might have to learn to live.

AI is Conceptual Art: In the latest of her essays attempting to uncover things that might help us to think through AI, Jennifer Walshe settles upon Conceptual Art.

Audio excursions into the realms of both slime mould with Jennifer Walshe, and the dung beetle with Deirdre O'Mahony, as well as for a telling dip in the swimming pools of Dublin with Chinedum Muotto.

AI is Gunk Mould: Jennifer Walshe adds slime/gunk mould to her catalogue of RL things which AI might resemble.

This week, composer Caroline Shaw on the joys of Tiktok and ABBA; Jennifer Walshe's Things Know Things explores the relationship between AI and EVP; the progressive politics of witches celebrated in Junk Ensemble's Ritual, and Aisling Kelliher on what the movies have lead us to expect from Apple's Visio Pro headset.

AI is EVP: In the latest of her attempts to uncover all the things that AI is like, Jennifer Walshe strikes upon the uncanny business of Electronic Voice Phenomenon.

Jennifer Walshe on possibly the best way to pronounce AI; composer Dave Flynn on the sounds that fill the air of Aotearoa/New Zealand, and Prof Jennifer Edmond on the benefits of having machines read novels for us - at least some of the time.

AI is "A.I." Jennifer Walshe on the stories we can't stop telling ourselves about AI.

A spectral reimagining of the music of Seán Ó Riada, Marco D'Agostin's tribute to the late English dance artist, Nigel Charnok, a visit to "the longest stage in the world" and Jennifer Walshe on all the many ways that AI is like an energy drink.

AI Is An Energy Drink: Jennifer Walshe on how generative AI has much in common with your favourite can of caffeinated pop.

An extended interview with contemporary dance innovator and voguing aficionado, Trajal Harrell; composer, Ellen Reid on adding a headphones soundtrack to Stephen's Green in Dublin; and Jennifer Walshe on AI music as fan fiction.

Music As Fan Fiction: Jennifer Walshe on how generative AI is reshaping how we understand music.

It's the final show of the season and after a storming performance from Kit de Waal, world-renowned composer and vocalist Jennifer Walshe is the only contender with a shot at knocking her off top stop and claiming the title of Greatest Non-Sportsperson Sportsperson 2022.