First and foremost, this project is a tribute to transmission; a way to speak up about internalized voices gathered through readings and films, then projected onto a space: here Sweden, precisely the city of Malmö. Hélène Cixous explains the importance of women writing in Laugh of the Medusa. She says: “I shall speak about women’s writing: about what it will do. Woman must write her self: must write about women and bring women to writing, from which they have been away as violently from their bodies—for the same reasons, by the same law, with the same fatal goal.” (347) Even though a lot of the words written in my journal are from different writers, I do reflect on them. The act of writing becomes a way to perpetuate women’s voice and develop a language that represents taking possession of your own body and your own memories. To silence oneself is to tame intuition, as Terry Tempest Williams says, and “when one woman doesn’t speak, other women get hurt.” (122) If the ability to speak up has been violently taken away from women, they need to re-appropriate their bodies in order to influence each other.