Complete list of Body Podcasts - Listen & Review on Goodpods

Helping people make peace with food since 2013. Registered dietitian nutritionist, certified intuitive eating counselor, and journalist Christy Harrison, MPH, RD, CEDS talks with guests and answers listener questions about making peace with food, healing from disordered eating, learning body acceptance, practicing intuitive eating, escaping harmful wellness culture, and more--all from a body-positive, anti-diet perspective. Along the way, Christy shares her own journey from disordered eater and dieter to food writer and anti-diet dietitian. This podcast challenges diet culture in all its forms--including the restrictive behaviors that often masquerade as wellness and fitness. Food Psych® is designed to offer safe and non-triggering support for listeners in recovery from eating disorders, weight stigma, and body shame. Subscribe for new anti-diet inspiration every week! Learn more and get full show notes and transcripts at christyharrison.com/foodpsych (Disclaimer: All content in this podcast, including medical opinion and any other health-related information, is for informational purposes only and should not be considered to be a specific diagnosis or treatment plan for any individual situation. Use of the information contained in this podcast does not constitute a doctor-patient relationship.)

A podcast committed to healing from codependency, narcissistic abuse, with a heavy emphasis on raising consciousness for the benefit of healing mind, body, and soul.

A loose cannon podcast featuring casual conversations with whomever we deem interesting, often on the fringe, Like Coast to Coast, but on demand. Like a less compromised Joe Rogan Experience. Interviews on Spirituality, Alternative History, UFO's, and More

Only Human is a show about health that we all can relate to. Because every body has a story.

A twice-weekly conversational offering for coaches, embodiment teachers and anyone who sees the body as more than a hunk of meat. Embodiment Unlimited hosts Mark Walsh, Karin Van Maan and Christina Dohr interview leaders and innovators from embodied disciplines. Mindfulness, trauma therapy, martial arts, meditation, somatics, yoga, and movement practices generally, are all discussed, with educators, academics and experts from around the world. The flavour is usually light-hearted and practical. www.embodimentunlimited.com https://www.youtube.com/channel/UCfgLCTiNzVpIeL_j7Icxh8w https://www.instagram.com/warkmalsh/ Embodied Facilitator Course : https://embodimentunlimited.com/efc/

15 Minutes to Freedom is an unfiltered daily dive into the life lessons and mistakes of Ryan. Using his life experiences as an unfiltered guide, Ryan puts his experiences in perspective to help you expand your own life. Topics range from the importance of owning your truth, tapping into your own spirituality, and much more. The sole purpose of this daily show is to offer relatable guidance, provide information, and inspire you to re-align and take action!

Learn and be your best and strongest self with Elite Body Transformation Coach and President of STRONG Fitness Magazine Jennifer Van Barneveld-Pe (aka Coach JVB). Each week Jenny will give you an inspirational guest, a story or a “pep-talk” of how to build stronger bodies, stronger minds, and stronger relationships. Since becoming a personal trainer almost twenty years ago, Jenny has overcome an eating disorder, job loss, financial desperation, entrepreneurial growing pains and multiple miscarriages. Experiences that have profoundly shaped her and her path to success. Before confidently settling into her role as a sought-after business leader/mom of two, Jenny found her strength through struggle. In the process, she’s inspired countless women to do the same this led Jenny to develop her unparalleled Team Strong Girls online coaching programs a decade ago. She has since helped thousands of women across the world find their STRONG and be the very best versions of themselves never looking back. Tune in for inspiration, motivation and some nerdy fitness talk so you can get out of a funk and be the strong and confident woman you are. Oh and please make sure you to share the episode that speaks to you and leave us a review!

Create Your Now brings moms, mompreneurs, and entrepreneurs tools and strategies to become their best selfie in areas of lifestyle, business, spirituality, nutrition, fitness, parenting, relationships, motherhood, mindset and balanced daily living. We promise according to our hopes; And perform according to our fears! This DAILY podcast will empower and encourage you to rediscover, rejuvenate and renew who you are in mind, body, and spirit. Topics include healthy living, work life balance, weight loss, exercise videos, overcoming adversity, burnout, inspiration, motivation, cooking and recipes, mind mapping, goal setting, marriage and relationships, and Christian values. Kristianne, your host, is a contributor to the Huffington Post. Let's train for life and love your journey. Be Present. Be Incredible. Be YOU!!! Enjoy Create Your Now ARCHIVE 1 through ARCHIVE 5 Podcast on iTunes for the earlier episodes. Send your questions/comments to [email protected].

Lifelong dancers discuss their journeys and challenge social norms around age, dance bodies, fitness, health, and vitality.

The Dr. John Berardi Show is a podcast that seeks important lessons in a seemingly unlikely place, amid competing points of view. In each episode, we look at fascinating—sometimes controversial—topics through the minds of divergent thinkers, searching for common ground, uncommon wisdom, and insight into how to live a better life.

The Aware Show is dedicated to communicating information to inspire positive growth and change. Our goal is an increased awareness and healing on an individual and planetary level. Based on our commitment to the renewal of the human spirit, and combined with our pure faith in the power of love, we are answering a call to action for a more conscious world. The first step toward change is Awareness, and listening or watching interviews with the top minds in a wide range of fields will provide a daily oasis for you to immerse yourself in life-changing information. Listening to these shows will shift you from any space you are in to one of inspiration, while learning information, practical tools and experiential exercises to change your state and keep it that way. Press ‘Play’ and Enjoy

The Her Spirit Podcast is hosted by former BBC Breakfast presenter, journalist and adventure seeker Louise Minchin. This brand-new season follows real-time the stories of Donna and Amy as they go on a 12-week health and fitness journey with Louise and Her Spirit Co-Founders Mel and Holly. Donna and Amy are two women who, like so many of us, have faced tough challenges to their health and enormous demands on their time over the last couple of years. Both wanted some help and support in changing their lives and feeling stronger, fitter and healthier. For the next 12 weeks, we'll follow them on their journeys - the highs and lows, the successes and the challenges - and we want you to come along too, and set some goals alongside theirs so that we can help and support each other along the way.Her Spirit is a global community of like-minded women all getting fitter, stronger and healthier together. We believe your mind, body and fuel are intrinsically linked and taking small achievable steps will lead to big changes.Regardless of your ability, location or stage of life Her Spirit has something for everyone. We are an inclusive bunch of women who believe that being fit and healthy shouldn't be a chore but something you love to do. Our mantra is 'Together We've Got This' and together we support each other to live life to the full and achieve mind, body and fuel goals we never thought possible.Please find out more and come and join our community at https://herspirit.co.uk/Download the Her Spirit App Apple - https://apps.apple.com/gb/app/her-spirit/id1455642844Google Play - https://play.google.com/store/apps/details?id=uk.co.disciplemedia.herspiritJoin us on Facebook - https://www.facebook.com/herspiritukTwitter - https://twitter.com/herspiritukInstagram - https://www.instagram.com/herspirituk/

Mind Body Talk is where you get the opportunity to learn more about your mind and body and the surprising ways in which they interact.

The Real. Raw. Truth. Podcast was started to engage in insightful, relevant conversations with Keri Spring and Robbie Raugh about the Mind. Body. Soul. Spirit. Each episode will focus on living life intentionally and intersecting God's Word in the real hard places that are a struggle for many. Our featured guests, spanning all areas of life, will provide valuable tools, tips or training within their area of specialty. We hope that a regardless of background, fears, age or stage of life, it's something you look forward to listening to each week!

Co-effectuation: Maja Delak and Luka Prinčič alias Wanda & Nova deViator (text by: Tea Hvala) The collaboration between Maja Delak and Luka Prinčič began last year with the performance Ways of Love and continued with Frozen Images – the latter was credited to pseudonyms Wanda and Nova deViator. Maja Delak is this year’s recipient of the Prešeren Foundation Award, a choreographer and dancer, who has behind her a considerable number of collaborations with different musicians, dancers, actors, and choreographers. The same goes for the musician, DJ, and intermedia artist Luka Prinčič, who first appeared as a performer precisely in the joint projects with Maja Delak, while in this exchange, Wanda picked up the microphone for the first time, wrote the lyrics for their trippy electro tracks, and also sang them. Their projects intertwine many – often colliding – languages: rhythm, voice, music, noise; video, photography, theory; manifestoes, poetry. It seems that their reparatory investigation, this courageous picking up from all over, wagered on the possibility of their own surprise over the outcomes of their collaborative process and over what may emerge from their overlapping, dissonances, resonances, slips, and congruencies. It seems that their wager is won – as they have offered to the home audiences a new aesthetics and politics; well, at least to that part of the audience who had missed or overlooked the Ljubljana-based queer dissidents from the 80s. Maja Delak and Luka Prinčič's performative events scream with punk ethics and kitchy porn chic aesthetics, which come together also in Western grassroots or DIY feminism of the “third wave”. I was reminded of the fact that this feminism skirted the borders of our country precisely at their appearance at the International Feminist and Queer Festival Red Dawns, where Frozen Images resonated as a genuine manifesto! It was a moment of relief and joy and empowerment, because the authors intentionally and unbendingly, passionately and sexily, approached the themes that are rarely dealt with in our space, certainly not at the same time: lust for enjoyment, anxiety, hypersexualisation and pornification of our bodies, violence, idealisation of love, and of course – the motor of everything – consumerism. Ways of Love meander between the sampled, or temporarily “frozen”, scenes of two types of gender roles: those marked with violence and those founded on consensual submission and dominance. The insight into how to become aware of the power relations in relationships and how to break the vicious circle of violent love is disclosed in the performance precisely with the emptying of form – which could not be other than violent and painful. The second performance event, Frozen Images, raised a possibility of stirring up and overcoming the violence we exert over ourselves under the pressure of buy-and-sell images of Sex Appeal, Beauty, Health, Youth, and Success – with laughter. With lust. With objectifying to our own taste. With our own perverseness and again – with love. This sumptuous and made-for-all-senses multimedia work by Maja Delak and Luka Prinčič is a genuine cut’n’paste, a swift image and sound collage that allows for many readings and listenings, many feelings and reflections. But only after one tears away from the fleeting images and voicings; only after one dances to the wild riot grrrl version of You Don’t Own Me, with Wanda and deViator jumping all over the stage. And this may very well be the most beautiful achievement or co-effectuation Maja Delak and Luka Prinčič’s collaboration: their accessibility and clarity – despite the work’s decentredness – makes their work is inspiring and empowering. Ultimately also because the “you” from You Don’t Own Me does not refer to a man made of flesh and blood but rather to Martell or some other corporation that imposes patriarchal patterns of behaviour for everyday use.

The world of digital technologies, of electronic sounds and images, seems to be the natural surrounding for son:DA. In their work, though, they are not fascinated with the endless possibilities of new technologies. rather, they are critical and ironical towards such fascinations. The constant multiplication of new technologies and their effects turns into noise, just as the actual physical space gets crowded with electric wires, cables, and piles of hardware that used to be brand new, cutting edge technologie. The works of son:DA are often deliberately simple and restrained, sometimes using very basic technical possibilities that stress an "underground" feeling. - - - written by: Igor Zabel _ aperto slovenia _ flash art magazine _ january-february 2004) - - - The tandem son:DA belongs to that area of art characterised by the linking of various technologies and media, as well as a new approach to group work. son:DA is active in the areas of installations, computer drawing and audiovisual performance. Characteristic motifs of this group are electrical cables and the rest of the electrical menagerie, such as outlets, telephones, a computer; in short, elements that represent connection and the communication methods of modern society. The tandem son:DA creates art with partners who change according to the needs of the project. They are replacing traditional authorship with various forms of participation. Impurity and hybridisation are characteristic both in their individual processes as well as at the level of content. son:DA uses a fresh approach to reinvigorate the irony of modern society as seen, for example, in the films of Jacques Tati. Similar to how the main character in the film ‘Mon Oncle’ becomes tangled in an enormous number of plastic hoses, son:DA would intertwine a figure with cables in their computer-generated drawings. All of this serves as criticism of the absurdity of technologised modern society and its alienation. - - - written by: Zdenka Badovinac _ cityspaces _ arco 06 - - -

Highly Successful Paintless Dent Removal business owners Keith Cosentino (creator of the industry's best glue pulling tabs , blackplague PDR tabs, and TabWeld PDR Glue) and Shane Jacks ( Intl Dent Olympic WINNER 2013 + creator of the industy's best blending hammer and Edge Jack Tool System) give you an inside look at running a dent repair co. Marketing, selling, tools, techniques and technology all specifically designed for PDR and battle tested in the trenches by Keith, Shane, and their teams. These are proven strategies that will increase your bottom line!

TAO G. Vrhovec Sambolec, (text by: Luka Zagoričnik) A composer of contemporary music, clarinettist and electronica musician, sound artist and maker of multimedia environments Tao G. Vrhovec Sambolec creates in all of the mentioned areas, while retaining his individuality and recognisability in each of the fields. This does not only unveil his acute sonic sensibility and a careful consideration of its traits but also an ear for a sound environment through which meanings are disclosed on different levels – social, artistic, architectural, and political. These elements are intertwined in a clear and distilled but never rigid concept. Tao first graduated at the Trondeheim Conservatory of Music in Norway as an instrumentalist, clarinettist, and then continued his studies at the Royal Conservatory in The Hague, the Netherlands, where he received another BA from music composition and an MA from ArtScience programme at the Interfaculty Image and Sound. As a composer, he has produced a series of works for smaller chamber, percussion, and other ensembles, which were performed at home and abroad. In his early period, he collaborated a lot with Marko Peljhan; later his works were performed in renowned international contemporary music festivals, such as Contemporanea in Italy, Gaudeamus Music Week, the Netherlands, and Forum Nueur Music in Germany. Tao G. Vrhovec Sambolec is active also in the field of free improvised music. In 2003, Vrhovec and the contrabassist Tomaž Grom established the duo Tilt, although a project with this name had been detected already in 1999 with the album ‘The Double’ in collaboration with the poet Primož Čučnik. Even prior to this, the project was called Muskafiber and featured the composer and accordionist Drago Ivanuša. The music of this period relied heavily on structural elements through the form of poem, poetry, singing, and speech, and often drifted into spontaneous, improvised soundscapes. Today, Tilt touches upon contemporary sonority in a digital milieu, drawing its expressivity from a liminal space between acoustic and electronically processed sounds. This space in-between is also the locus of spontaneous communication. But even though it is grounded in free improvisation, the improvising nevertheless suggests a composing sensibility that addresses through a wide spectrum of sounds, timbres, and real-time digitally processed sounds. Tilt released an album under the Slovene L’innomable label and received many good reviews in the national and international press, among other also in the British music monthly The Wire. The duo was successfully performing in different European capitals, as well as collaborated with numerous internationally acclaimed musicians. In the field of mixed media art practices, Tao gained further recognition with, for example, a series of installations, space interventions titled ‘Virtual Hole’ and ‘Virtual Mirror’. Recently, he is enjoying a growing international reputation also in the field of sound art, especially through his collaborations with the American musician and theoretician Brandon LaBell, author of ‘Background Noise – Perspectives on Sound Art’, one of the more influential discussions of sound art. Their last collaboration was the book and a CD ‘Manual for the Construction of a Sound as a Device to Elaborate Social Connection’ for the project ‘Virtual Mirror – Sound’. In this context, Tao this year received a ‘Hybrid Arts Honourable Mention’ at Ars Electronica in Linz for the work ‘Virtual Mirror – Rain’. A fusion of music, improvisation, and his interactive installation research can be seen in his work ‘Inside Out’, which he co-created with the acclaimed Austrian composer and trombonist Radu Malfatti. Tao has presented his works in Mexico, the Netherlands, Germany, Great Britain, Spain, Turkey, and elsewhere. Tao G. Vrhovec Sambolec is not only one of the most visible contemporary Slovene artists but – with his cycle of lectures, sound events, and concerts Bitshift t

If you don't want another unsustainable diet or fitness routine, if you're tired of a one-size-fits-all approach to health and wellness, this is the podcast for you. Real, sustainable transformation.

Are you interested in what you could learn from the careers of physiologists? Join our host Eleanor Newton as she puts a physiologist and an expert guest together to talk about career challenges, how to overcome them and what tactics to use to unlock potential and advance a career.

Ilari Valbonesi - The Paradigm of Listening (Sound, Voice, Body, Audience, Radio Art Sound is attractive. It catches the ear, enchants, disturbs, and scares. But it is also imperative. Sound is both a means and an end. The decisive interest devoted to the "strange" reflexivity of sound became a paradoxical instance of art, music and philosophy in the twentieth century. Further, it has encouraged the emergence of a genuine "paradigm of listening" from which I take steps to trace the event of a conceptual category of plastic art so called Sound Art : Art of Sound, that reflecting on itself, defines its own historical context. Sound hits us where our disposition is already a move towards the "given" sound, for that hearing which accords and affords us whatever there really is to hear. Which means there is an "eventual" sound, which happens in-between me and the things in-between me and others: Sound originates "elsewhere" even though we are implicated. The sound of the voice is also erotic. It's like an intercourse in between own and alien. It's magnetic and it orients us in space, it defines boundaries and mixes the real and the imagined. We can experience the public nature of the audience, the spatiality of sound in its symbolic occurrences in buildings that accommodate the aesthetic experience of sound: the theatre, concert hall, the square from the gallery, and the auditorium of the woods. But this is not the proper meaning of sound in space, nor qualifies its access to a space. Sound is more of a timeless space. The body itself is an instrument that records its environment while reconfiguring existing environments. In 2004 I coined the phrase ‘Acusmatic ethics’ to describe the interspecific character of sound and its synthetic temporality. If we understand that listening to something is to record it, recording itself is also a kind of ‘answering’ behavior. Obviously, radio, tapes, samplers are able to isolate, alter and focus the processes of distribution and use of sound. But in this direction, "synthetic" claims is more of a "critique" of instruments and traditional research, including electronic, plastic art that belongs to music "educated" and that "popular" and doesn’t seem to characterize a specific field. This brought me to think of Radio as ethical space of sound and special environment of trading cultures and languages of contemporary art. written by: Ilari Valbonesi

Miha Ciglar - (text by Luka Zagoričnik) Miha Ciglar, a sound engineer and sound artist, has in the recent years devoted his musical efforts to the sound research of feedback and to environment creation, into which he positions, besides the technology and objects, also his own body. Often producing ‘sound objects’ out of everyday objects, Ciglar places into the electric circuit a round glass container, for example, filled with water or soapsuds, or a television screen, while modulating the constituting sound field of the feedback with the movement of his hands, with a washing sponge or the body, thus carefully tailoring a highly expressive sound landscape of noises, high and low frequencies, pulsations, and interferences. The material, the space, the medium and the interface, and especially movement are essential. Because Ciglar so frequently relies on the latter, his performances can also be seen to belong to the field of sound performance art, in which he over the years developed an exceptional sense for the whole, be it in his work in the field of performance art and multimedia environments or in the gap between art and science, in a field which can be defined as many-sided, ambiguous even, as an extraordinary reduction of sound to basic elements and the examination of the act of performance itself, role of the performer and contemporary technology. Ciglar has been for a number of years adopting a rather unique position in the field between music and sound, which can be delineated through the field of sound art, a field which Miha Ciglar significantly co-creates with his nongovernmental institute IRZU – Institute for Sonic Art Research through an on-going organisation of theoretical reflections, workshops, discussions, lectures, round tables, and ultimately, with the festival Earzoom, which is with numerous collaborations with similar nongovernmental producers of similar contents becoming the central festival of sound art in Slovenia. Ciglar’s effort, engagement, and his insistent demand to introduce electronic music, sound art, and ultimately the ‘concept’ itself into the general music discourse in Slovenia is exceptionally adamant and at the same time contagious, creating in a strong platform which may finally make a rupture in the headstrong membrane of the prevailing music discourse in the institutional milieu so that it may at last open up also to this kind of contents. Ciglar performs and gives lectures on such initiatives throughout the world, in prominent institutions, such as the Dutch STEIM or the French IRCAM, as well as in established international festivals in France, Japan, North and South America, Asia, Europe, and Australia. As a student of guitar and saxophone, Ciglar graduated from the Austrian IEM in 2009, while establishing himself as a strong author in the field of contemporary composition, both for various, often re-worked instruments as well as in the field of electroacoustic and computer music. In his work, Ciglar has always knocked against the boundaries of the merely musical and increasingly appeared in the field of the interdisciplinary, where different expressions of audiovisual installations, interactive dance performances, etc. are traversed. In the between spaces of science, technology, and art, Ciglar understands the body not only as an interface but as a space of spontaneous action, as a space of pain even, which functions as a constitutive moment for the overall context and structure of individual creations. And it is precisely through space and the collision of elements in it that this kind of works, unique instances of music research, can be interpreted also as compositions. However, here Ciglar strikes not only against the physical phenomenon of sound and its meaning, but also against the multiplicity of meanings and the critique of complex relations between technology, man, and the structure of society at large at the same time. Given that the research dimension of his creativity is ine

Imagine there were scientifically proven ways to help boost your immunity by simply making small changes to the way you think ... would you do it? Learn more here on the first episode of 'Thought For Food'.

Goth, Electro, Dark, Industriel et Expérimental... Ce podcast est le reflet de l'émission "Le Nid De L'Insecte", tous les dimanche soir, sur RJR. Rejoignez nous sur http://noizecast.free.fr/nid/

Love is our business! Once a week sex & relationship coach, intuitive advisor Allie Theiss will cover love, romance, relationships (family, friends and romantic) and sex. Go to http://AllieTheiss.com to submit your question today!

Michelle Herzog hosts the Beyond Burning Fat Podcast, discussing nutrition, exercise, and mindset - with practical, actionable, real-world help. Hang out long enough and you'll likely discover that getting fit is much more than just burning fat. It's a gateway to a better you, not just physically, but emotionally as well. Whether you are new and don't know where to start or you're a gym junkie, you'll find something here that will help you transform your body, mind, and life.

"Behind the Beauty," is a weekly podcast series hosted by Social Media Personality Serein Wu. Have you ever had questions about something and REALLY wanted someone to do a deep dive into it? From finance to fitness and politics to pregnancy. Serein goes deep into a vast array of topics with research and interviews to find out the answers to your questions.

This podcast is about life experiences and everything that can happen from the saddest moments to the most amazing times. Life is definitely a struggle but that does not mean we cannot have a good time as well! Here are stories, events and situations at will make you laugh, cry and realize that at the end of the day there is always a reason to keep pushing forward.

This is a Blooger for Podcasts from www.jadebalden.com

Edutainment for the body, mind, spirit and your life! Transformation with Skip Jennings and guest.

TAO G. Vrhovec Sambolec, (text by: Luka Zagoričnik) A composer of contemporary music, clarinettist and electronica musician, sound artist and maker of multimedia environments Tao G. Vrhovec Sambolec creates in all of the mentioned areas, while retaining his individuality and recognisability in each of the fields. This does not only unveil his acute sonic sensibility and a careful consideration of its traits but also an ear for a sound environment through which meanings are disclosed on different levels – social, artistic, architectural, and political. These elements are intertwined in a clear and distilled but never rigid concept. Tao first graduated at the Trondeheim Conservatory of Music in Norway as an instrumentalist, clarinettist, and then continued his studies at the Royal Conservatory in The Hague, the Netherlands, where he received another BA from music composition and an MA from ArtScience programme at the Interfaculty Image and Sound. As a composer, he has produced a series of works for smaller chamber, percussion, and other ensembles, which were performed at home and abroad. In his early period, he collaborated a lot with Marko Peljhan; later his works were performed in renowned international contemporary music festivals, such as Contemporanea in Italy, Gaudeamus Music Week, the Netherlands, and Forum Nueur Music in Germany. Tao G. Vrhovec Sambolec is active also in the field of free improvised music. In 2003, Vrhovec and the contrabassist Tomaž Grom established the duo Tilt, although a project with this name had been detected already in 1999 with the album ‘The Double’ in collaboration with the poet Primož Čučnik. Even prior to this, the project was called Muskafiber and featured the composer and accordionist Drago Ivanuša. The music of this period relied heavily on structural elements through the form of poem, poetry, singing, and speech, and often drifted into spontaneous, improvised soundscapes. Today, Tilt touches upon contemporary sonority in a digital milieu, drawing its expressivity from a liminal space between acoustic and electronically processed sounds. This space in-between is also the locus of spontaneous communication. But even though it is grounded in free improvisation, the improvising nevertheless suggests a composing sensibility that addresses through a wide spectrum of sounds, timbres, and real-time digitally processed sounds. Tilt released an album under the Slovene L’innomable label and received many good reviews in the national and international press, among other also in the British music monthly The Wire. The duo was successfully performing in different European capitals, as well as collaborated with numerous internationally acclaimed musicians. In the field of mixed media art practices, Tao gained further recognition with, for example, a series of installations, space interventions titled ‘Virtual Hole’ and ‘Virtual Mirror’. Recently, he is enjoying a growing international reputation also in the field of sound art, especially through his collaborations with the American musician and theoretician Brandon LaBell, author of ‘Background Noise – Perspectives on Sound Art’, one of the more influential discussions of sound art. Their last collaboration was the book and a CD ‘Manual for the Construction of a Sound as a Device to Elaborate Social Connection’ for the project ‘Virtual Mirror – Sound’. In this context, Tao this year received a ‘Hybrid Arts Honourable Mention’ at Ars Electronica in Linz for the work ‘Virtual Mirror – Rain’. A fusion of music, improvisation, and his interactive installation research can be seen in his work ‘Inside Out’, which he co-created with the acclaimed Austrian composer and trombonist Radu Malfatti. Tao has presented his works in Mexico, the Netherlands, Germany, Great Britain, Spain, Turkey, and elsewhere. Tao G. Vrhovec Sambolec is not only one of the most visible contemporary Slovene artists but – with his cycle of lectures, sound events, and concerts Bitshift t

Luka Juhart - (text by Luka Zagoričnik) The accordionist Luka Juhart belongs to that generation of young Slovene musicians, performers, and interpreters who are enthusiastically, painstakingly, and passionately devoted to contemporary music repertoires. That is, to performing contemporary classical music works of the past century and current compositions of foreign and home composers, with whom Juhart collaborates very closely already during the composition process. These compositions often balance precariously on the verge of performability, on the very edge, which not only demands exceptional skills and a refined ear for music – thus intentionally or unintentionally nurturing the virtuoso in the performer himself – but also a considerable ability to co-create, to participate in decision making, and to offer initiatives and decisions about how to read the music and other composition materials. Juhart attracted the attention of the Slovene wider public with compositions by Vinko Globokar and by Uroš Rojko, with whom he often appears in smaller chamber ensembles. Juhart has completed the bulk of his studies abroad, as an instrumentalist. After graduating from Maribor Music High School under Prof. Andrej Lorber, he enrolled to the class of Prof. Hugo Noth at the Academy of Music in Trossingen, Germany. In 2005, he graduated from music pedagogy and in 2006 received an art degree. In 2008, Juhart completed his Master’s degree in the class of Prof. Stephan Hussong at the Academy of Music in Würzburg. Juhart is a multiple winner of international and national competitions, the recipient of the 2001 Roman Klasinc Award for exceptional achievements, the 2002 recipient of the DAAD foundation award for best exchange student at the Academy of Music in Trossingen, Germany, the recipient of the Iris Marquardt Preis Award for best student of the same school, and the 2008 recipient of the Golden Bird Award for music. Besides recording for numerous national and foreign radio stations and collaborating with countless prominent home and international chamber, orchestral, and other ensembles, Juhart spends most of his talents collaborating with the contemporaneous generation of composers. Among others, he has collaborated with Thomas Larcher, Klaus Huber, Eduardo Demzo, Volker Heyne, Adrian Seiber, and Stefan Beyer. At home, he regularly collaborates with Vinko Globokar and Uroš Rajh, and among the younger generation of composers with Bojana Šaljič Podešva and Matej Bonina, for example. His interpretation of Matej Bonino’s composition for accordion, percussions, and a plastic tube ‘One Man Band’ premiered this year in the event ‘Forgotten, Overlooked’, while in 2008 Juhart boldly entered the field of electroacoustic music with a composition for accordion and magnetic tape ‘Meditation on Presence’, composed by Bojana Šaljič Podešva. This year, Juhart appeared alongside Aventure Ensemble and the Freiburg Anton Webern Choir in Uroš Rojko’s work ‘King David’, which was performed in Slovenia and abroad. He also participated as a soloist in Vinko Globokar’s composition for accordion, percussions, the choir, and orchestra ‘Radiographie d’un Roman’, which was performed at this year’s edition of Donaueschinger Musiktage. Juhart is noted not only by a broad repertoire, encompassing a wide range of classical works, not only by virtuosity and an ear for contemporary streaming in music, but also by his playful attitude toward extended performing techniques, toward electronics, and electroacoustic sound, as well as by flirting with performativity, such as is needed, for example, in the interpretation of the extremely demanding Vinko Globokar’s piece ‘Dialogue Uber Luft’, which Juhart performs regularly. Alongside redefining the accordion in the Slovene space, with which he is stepping into a circle of contemporary Slovene accordionists, such as Bratko Bibič, Marko Hatlak, and others, Juhart’s main value and distinction lie precisely in his ear for the works o

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Octex, Jernej Marušič, (text by: Luka Zagoričnik) Hidden behind the name Octex is the Ljubljana-based artist Jernej Marušič, who started appearing under this name, a shorter version of Organic Crackle and Tone EXperiments, in the late nineties of the previous century – as a follower of contemporary currents in electronic music and a lover of analogue sound synthesisers. His first released composition ‘Nigljana’ was included in a varied compilation of Slovene electronic music Elektrotehnika Slavenika from the year 2000, which was issued with wide acclaim as a supplement to the British music monthly The Wire. His LP debut ‘Idea Lashna’, by and large one of the most groundbreaking and creative achievements in the Slovene electronic scene, was released in 2002 under Tehnika Records label, having wide reverberations also abroad. The critics recognised it as a top-notch product following the stripped-down aesthetic characteristic of musicians signed under the German label Basic Channel, while the album offered a finely tailored mix of techno, ambient music, and dub as an echo and a reaction to contemporary, nervous sound landscape of urban circles. The album earned Marušič the then influential Slovene music award ‘Bumerang’, awarded by Studio City programme of the Slovene National Television, while in France it was voted one of the ten finalists for the electronic music award presented by Radio France International. That said, Marušič’s music making does not stick to proven recipes and a solidified sound aesthetic. In an on-going, restless search for a new sound, Octex absorbs various trends that schizophrenically spring from the field of electronic musics, incorporating them again and again in its own music in a distinctly unique and recognisable manner. Already with his next album ‘Variations’, released by RX:TX in 2005, Marušič found himself in an altogether new world, which drew on a tense and intense techno connection between Berlin and Detroit, traversed by dub, soft sound textures, and complex, seemingly unstructured rhythms, with which he stepped out of the prescribed matrix 4/4 and which have today become a trademark for Marušič’s work. Around that time, Marušič also started to regularly appear live; he did remixes for well known artists, like Laibach and Ultra-Red, while reverberations of his work also took him across our borders. He performed, for example, in a London-based series Sprawl, in Club Transmediale in Berlin, in Dispatch in Belgrade, and at Exit Festival in Novi Sad. With the album in question, Octex also signed to the home RX:TX label, in the frame of which he performed alongside artists under labels such as Raster-Noton, contributed tracks to two international compilations ‘Progress’ and ‘Progress EX 0.4’, both released by the mentioned label, and was featured on a highly appreciated Slovene compilation ‘Trans Slovenia Express Vol.2’, dedicated to the cult band Kraftwerk and released by the British Mute Records. Earlier this year, RX:TX released Octex’s long-awaited new album titled ‘Every Sound Tells a Story’, which is this time lined more explicitly with an analogue sound of modular sound synthesisers, sifted through digital technology. Individual tracks from the album were inspired by fieldwork recordings, which are in a processed form blended into each track. Dino Lalić, a music critic for Radio Student, wrote the following about the album. ‘Its sound readily admits techno, dub, and ambient influences, with none of them standing out in particular. The fact that these influences remain merged offers a myriad of interpretations. Nobody is right and whoever says he is – is inevitably wrong’. These words fitly capture the essence of the restless, yet sound-wise well-tailored creativity of Jernej Marušič, which he lately also incorporates into improvisation, both in his solo performances and in his work in the trio Ago Tela, which includes, besides Marušič, also DJ Dojajo and Mario Marolt, while at the same t

After a lifetime of people-pleasing and having an easy-peasy-lemon-squeezy, go with the flow attitude, something snapped and Weslie Christensen found herself at rock bottom. Her awakening since that point has been a wild ride of ups and downs, with twists and turns—but it has surely been the most fun and freeing ride she’s ever been on. Weslie believes that by simply hearing the stories of her and her guest's awakenings that you can start to wake up, too.

The Body Awake is a show for people interested in health and the human body, in a conversation beyond "body as machine." It's about what we're made of, how we move, how illness, injury and healing happen, and how we can use that information to live better lives.

How can we use "body knowledge" into patterns of behaving, thinking, and feeling? Can we facilitate harmony within each individual and with society as a whole? Mind Your Body is a podcast that aims to inform listeners about the inner-workings of the human body as a vehicle for improved consciousness of thoughts and actions using principles and concepts from dance/movement therapy, the psychotherapeutic use of movement that furthers the emotional, physical, and intellectual integration of an individual. We will explore popular social, emotional, behavioral, and political topics from this perspective. Tune in and find out as your host, Orit Krug, shares her interviews with dance/movement therapists and other experts who have a unique perspective on the subject.

Marko Batista and Nataša Mušević (text by: Luka Zagoričnik) Marko Batista belongs to the younger generation of Slovene multimedia artists. Splitting his time and creative efforts between London and Ljubljana, Batista – like the majority of Slovene contemporary artists – creates and presents his work with far more success abroad than at home, where there is a considerable lack of both appreciation and venues for this kind of artistic expressions. At least we thought so years ago, when Marko Batista started to appear in the spaces which are today considered places for sound art or multimedia experience. Marko Batista first appeared in Slovene contemporary sound landscape as a member of Klon:Art:Resistance, which he co-founded with Miha Horvat. Marked by the digital milieu of video art, noise, and the pulse of harder electronic dance practices with occasional echoes of underground dub, this heterogeneous art collective at the time persistently rubbed the image with its guerrilla interventions into our, now trendily-called urban cultural space, from galleries, festivals, to clubs. Klon:Art:Resistance thus entered the emerging techno culture in Slovenia in a rather specific and unique way – it introduced it with artistic intervention. This manner of space as well as perception intervention can be gathered from Batista’s performance titled ‘Error Trash v.1.3’, a sound intervention and audiovisual project, grounded in imperfections of data transmission, in information interruptions, contortions, and distortions on their way to the receiver via connectors, laptops, and wireless communication networks within the web of digital technology. Disruptions and interferences lie at the very heart of noise and contemporary electronic music; similarly, they can be found in many Batista’s projects, in their core which lies in the investigation of the current media and technological society. This investigation can be construed as a consistent idea, which Batista often obscures, distorts by layering the information into a web of noises generated by technology, both analogue and digital, into a web of information, visual and sound mediated, which are passed over as distortions in all their intensity. Interpreted as a break or interference, noise can be juxtaposed in opposition to music. However, precisely by becoming a genre, noise re-enters music as a specific deconstruction. Seen in this context, a certain segment of Batista’s work can be understood as a musical experience, even though his individual projects involve experiences of different kinds and qualities that join and disjoin different media, which network, overlap, envelop, and are split into heterogeneous experiences. All things considered, we need to bear in mind that Batista’s first medium is visual art. He graduated from the Academy of Fine Arts, Ljubljana, in 2005, and still as a student, presented his work at the 50th Venice Biannual in 2003 in the frame of the collaborative project ‘VV2 Recycling the Future’. In 2007, Batista finished his formal education by earning a Master from ‘fine arts’ in London. The above mentioned work-in-progress ‘Error Trash’ was presented at Ars Electronica in Linz in 2008 within the frame of the project ‘Ecology of Techno Mind’, organised by Kapelica Gallery, while this year Batista appeared at the Berlin-based ‘transmediale’ with the work ‘Syphone:Sys:Apparatus’. His 2010 work ‘Hybrid Sound Machines’ marks Batista’s break into the hybrid field between the mechanic and the digital. Here, Batista embodied, through the medium of sound, an intertwinement of wires, digital technology, mechanisms, and mechanic transmissions of different sound signals that are continually shifting between meaning and meaninglessness of signal and noise. Through this hybrid technological disposition (a fusion of mechanics, electronics, and ultimately art, in this particular instance, contemporary electronic music with a minimalist visual component of undulating, evenly pulsa

Welcome to the mind body podcast!Where fitness experts and life coaches shares their secrets on taking your mind and your body to the absolute best! This is the advices you wished you heard years ago. Get ready and take notes as we expose the raw true behind achieving amazing natural physique and strength and ultimately become a stronger version of yourself.

A mind-body fitness company founder and a comedic mental health therapist hash out our deepest questions and life's challenges. We speak about how activating and joining the mind and body through music, movement and community can help us enjoyably and entertainingly navigate through this journey called life.

These podcasts are for anyone looking for a fun and challenging method of exercise and a healthy way to improve their everyday lives...

Soul Full of Wellness is a Personal Wellness Evolution Podcast. The Soulfull Community is a space where we embrace living well your way, no trends, diets, or one size fits all advice here. You’re unique, so why would your wellness journey be any different? We’ve been through it, from painful gut health transformations, leaving toxic relationships, healing career burnout, to discovering our truest self, and defining what being well looks like for ourselves. Our personal experiences led us to become certified coaches and ultimately create this podcast. We aim to bring you practical guidance and share our personal experiences- so you too can heal inside & out and experience your own wellness evolution. Join us every Thursday, as we embrace living from the soul: no trends, diets, or one size fits all advice here. Soul full of Wellness is a multi-generational podcast brought to you by two functional im-perfectionists & certified coaches who deliver weekly wellness tips & personal stories to help you live your most authentic and balanced life. Kit & Kaelynn bring something new: a blend of Millennial and Gen X perspectives to create a unique listening experience that motivates you to go after the life you want.

The net's best podcast for all things Frank Castle

HANS THIES LEHMANN - The position of the spectator in theatre today The spectator has become the central focus of reflection on performance and theatre since the theoretical/practical shift to the problem of what is the experience of an artistic (or artistically-motivated) gesture. This shift brings into focus the fundamental questions of spectating as an activity. This lecture will focus on several examples of different spectating as an activity. This lecture will focus on several examples of different spectating positions, and will in particular concentrate on a re-reading of the ancient concept of Anagnorisis, in the light of the debate around the polemics against »theatralicality«, which in a different understanding has become accepted as a positive qualification of performance art practice. HANS THIES LEHMANN is Professor of Theatre Studies at Johan Wolfgang Goethe-Universität, Frankfurt on Main, Germany and directs Master Program in Dramaturgy there. His numerous publications include: Theater und Mythos, Essays zu Theatertexten ... His seminal work Postdramatisches Theater has been translated into many languages, and he has also been widely publication on literary theory, contemporary theatre aestetics, and film.

Ivana Ivković - A Step into the Void: Cracks in Choreography We are used to looking at the dancer’s body in performance as a body that is continuously in motion, a masterful body productive in its movement, a non-interrupted kinetic spectacle. However, if we stop that body in passage and take a step forward, toward the idea of dance as an act that also includes periods without movement, cracks or “negative spaces” of dance, we open up to the potential for a structural use of the void and stillness in contemporary choreography. Stepping and walking, stillness and silence, jumping and falling – these are some of the notions that I will be using to describe the work of Leja Jurišič, Selma Banich and Željka Sančanin, referencing canonical authors Trish Brown and Steve Paxton. Ivana Ivković (1975) studies at the Department of Dramaturgy at the Academy of Drama Arts in Zagreb. She is the editor-in-chief of Frakcija Journal for Performing Arts and collaborates with several other publications, the Center for Drama Art and has worked as the general coordinator of Zagreb – Cultural Kapital of Europe 3000, a project jointly organized by Zagreb’s eight independent cultural organizations from the fields of performing arts, new media, visual arts, architecture and theory. She has collaborated in the past with Zagreb based independent theater company oour (dance productions: orangecut [2004], To be Confirmed [2005]) and is a member of collaborative artistic company BADco. (Deleted Messages, Fleshdance in 2004, research project in 2005, memories are made of this..., Protest and Negotiation in 2006, 1 poor and one 0 in 2008, The League of Time in 2009). She is the co-editor of the textual and pictorial reader DemoKino – Virtual Biopolitical Agora with Davide Grassi (Aksioma and Maska, 2006).

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The project ZVO.ČI.TI. (so.und.ing) is a series of thematically rounded radio and podcast audio broadcasts about Slovenian composers and authors of electro-acoustic sound experiments.

Teza: Glasba je mrtva - naj živi glasba!? Prvi del teze je domislek, ki ga zadnja leta premleva Borut Savski, drugi del pa nedavni komplement, ki ga je pridodal Stefan Doepner. Seveda po vzoru na izjavo Kralj je mrtev - naj živi kralj (ali kraljica). Smisel originalnega klica je iskati v transcendenci - torej: en kralj je resda mrtev - a tu je že nov kralj (ali kraljica). Sistem kraljevanja se torej kljub smrtnosti posameznega kralja ohranja - dinastija pač. V tej luči je smrt glasbe potem le eden od rotacij - cikličnih dogajanj, ki imajo pač svoje nižke in viške. Zanimivo je k temu vzporediti še eno nekaj desetletij staro izjavo o koncu zgodovine (Francis Fukuyama), ki se jo da verjetno cepiti tudi na sočasne pomisleke o koncu ideologij. Iz zadnjega pomisleka - v asociaciji s holivudskim kulturnim memom (gen=biološki temeljni gradnik; mem=kulturni/spominski temeljni gradnik/vzorec) - izjavo iz filma Highlander (”There can be only one”) - lahko izvlečemo spoznanje, da konec (=smrt) lahko pomeni tudi redukcijo na eno ideologijo, eno zgodovino. Eno glasbo? Glasba, kot smo jo poznali v prvi polovici 20. stoletja ni bila sama sebi namen. Bila je izraz nečesa. Česa? Različnih idej, ideologij, možnosti razvoja - od enostavnosti proti kompleksnosti - usmerjenosti v prihodnost - vsaj na videz v razne smeri napredujočih družb. Lahko bi rekli usmerjene zgodovine. Te zgodovine ni več. Tudi glasba se zdi, da se je v pol stoletja trošenja na trgu iztrošila. Kaj ji manjka? Ideologij. Borut Savski

Vasja Progar - (text by Luka Zagoričnik) Born in 86, Vasja Progar is one of the youngest makers in the field of contemporary music in Slovenia, an insightful and critical thinker, a graduate of biotechnology and a former student of composition and music theory under Uroš Rojko at the Academy of Music in Ljubljana, whose radicality and faithfulness to his own expression made him quit this institution to embark on a study of cognitive systems and interactive media at the University Pompeu Fabra in Barcelona. This compact sentence only neatly discloses Progar’s creativity in the area of music. Young as he is, Progar already presented his compositions in the Slovenian Philharmonic in the frame of the festival Slowind in 2009 and at the Slovene Music Days in the year 2010. His transition from the 2008 composition for choir ‘Ay, Green Are All the Highlands’, a remake of the Slovene folk song, to his later works is abrupt, incorporating and illustrating the tendencies of certain other young Slovene composers, Progar’s colleagues, Matej Bonino and Petra Strahovnik for example, with whom Progar collaborated in the intermedia performance for chamber ensemble, a dancer/singer, live electronics, and video, meaningfully titled ‘Futturismo Hurra!!’, which in its core paid tribute to the historical movement of futurism via the futurist poem of the same title by Luciano Folgore. The intermedia nature of the work, which combines dance, movement, environmental and electronic sounds, and sounds of acoustic instruments, reveals the tendencies of the three young artists, who used to organise discussions, round tables, workshops, and other gatherings together with their colleagues from Škuc Gallery, with which they were boldly breaking down the stuck-up and conservative ways of thinking that overwhelmingly prevail in Slovene classical music. Vasja Progar goes farthest among his colleagues. His 2009 composition ‘Close to Silence’, performed by the acclaimed Slovene contemporary wind ensemble Slowind, is anchored in the current reflections on silence, which are – following John Cage – unwinding in contemporary music for the past twenty years. In this four-part composition, Progar constitutes silence through different perceptions: as a resonance, as latent energy, as absence in relation to sound, as tension and abstraction in relation to music. Which can also be non-music, a reflection, bound to the listener and his/her perception. And it is precisely here that Progar touches upon his idea, which he presents as ‘a focus on research and an unveiling of human perception through art form’. Today, Progar enacts this idea, this search in numerous art environments, besides the music and sound ones, also in multimedia and interactive performances. These include video artists, dancers, and poets, as for example in collaborations with Spanish, Chinese, Japanese, and Lebanese poets presented at the Ljubljana-based festival Live Literature in the years 2009 and 2010. Progar has opened up the thresholds of our perception and the senses even more in his interactive installation ‘Threshold’, where he – negotiating the limits of our perception – researches and reveals the boundary lines between perception and interpretation, pursuing an interpretation that is pushed into the elusive sphere of the illogical by the working of the installation itself. In his work ‘Sub / Consciousness’, Progar investigates the space between the conscious and the unconscious by using different audiovisual stimulants, which take the form of pre-prepared sound textures, measurements of the heartbeat rate or body’s blood pressure, and other visual stimuli mediated by the video by Ana Čigon and Rot Pulojva. These are then submitted to further sound manipulation and positioned into the space of the conscious and the unconscious, into a space through which we enter and exit the real and the virtual. The piece was presented at the exhibition and series of sound events, installations, and perf

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