La Pesch plays excerpts of her composition, shows images of the journey, and talks about her findings while translating a piece of classical music from the 19th century to an explorative, cross-species contemporary approach. She focuses on 3 turns since Smetana: 

1. What had to happen to allow more open approaches as well as the inclusion of other-than-human beings in composition. She explores the role of animals in music since the 1st dog spontaneously joined a performance of John Cage in 1952, and talks about the way her dog changed her composition.

2. She demonstrates the differences of composing for orchestral instruments with a programmatic agenda and composing with field recordings by comparing her composition to Smetana’s original.

3. She suggests a due narrative turn in Musique Concrète, Acoustic Ecology, and field recording, because the necessarily biased artist is always present in any approach to any environment and this specific perspective should be made transparent in order to be questioned. 

Carina Pesch (La Pesch) works as a sound and voice artist, author, director and curator in the fields of radio, composition, installation, performance and the walking arts. Her works oscillate between narration and sound.