Complete list of Electronic Podcasts - Listen & Review on Goodpods

Frens Validator is a key contributor to the Cosmos ecosystem. Besides securing multiple blockchains, we educate our listeners by publishing thought pieces, insightful interviews, and project deep dives. The Frens Validator podcast show is the hub that brings together crypto pioneers, exciting projects, and a thriving community. Tune in with host Juri Maibaum to explore the multichain future and how to make it in Web 3.0.

Grum presents Deep State Radio. A new episode, first Saturday of every month. Hosted on Acast. See acast.com/privacy for more information.

AИDY's Trance Podcast is a Swiss radio show broadcasted every 2nd wednesday of the month on Back2Noize Radio with the best / newest Trance selection. One hour non-stop in the mix with me "AИDY".

Join DJ Detroit the first Tuesday of every month, as he plays you the latest music by some of your favorite 80's artists in the alternative and pop genres.

Relax in the Chillout Lounge with breathtaking, emotional chillout music, fused with various other genres in continuous mindful DJ mixes. Go to the website for playlists and info.

Full of "infectious grooves and familiar melodies inter weaved with the newest sounds and modern beats." If you like electronic and dance music particularly with vocals then this DJ podcast is for you. Each one hour episode features a perfectly beat mixed DJ set. Take it to the gym, the dance floor, or your favorite party. One of the longest running vocal house dance music podcasts (debuted February, 2009). Ranked one of the top 1% most popular shows out of 3.5 millions podcasts globally by Listen Score, Listed "What's Hot" by Apple.Top 20 Chartable.com global reach music podcast, iTunes Top 100 Music podcast chart, "Awesomesauce" featured by Tunr app, "Top Electronic Podcast" (Player FM). "Stylistically superior! Simply the best vocal house podcast on the net." (iTunes Review) Celebrating 14 years 2009-2023.

A comprehensive exploration of contemporary experimental, psychedelic, noise & other obscure music. Hosted by Andy Ortmann (curator of the Nihilist Records label and member of longtime noise project Panicsville) presenting his obsessive perspective on the new difficult music. Peripheral and relating genres, including ethereal, electronic & extreme metal should also be expected in this weekly program. Sit back and relax into the hallucination amplification of The Eternal Now.

Listen to Techno Music Free, Tech House, Deep House, Hard Techno, Dark Techno, Acid Techno, and more by the best DJs. Send us your sets here👉🏻: www.technols.com/promote/

Independent and Creative Commons rhythms and sounds from around the way to around the world

搜羅最新科技資訊、數碼產品,由四位主持,從不同立場出發,以專業角度分析,每星期一集既網上電台節目 - 亂gad!

DJ River is a talented dj from Sweden, born in 1979. One of the main reasons DJ River has become so popular is his way of picking and blending the tracks he uses in his mixes - you will rarely see a dj who chooses his tracks as carefully as DJ River does. He is also known for his devotion to create a strong emotional experience for the listener in every mix he creates. So get ready and let your mind travel far away on this timeless journey through mind and soul, time and space. Enjoy life! More info at www.DJRiver.com

A dedicated Intellivision podcast by and for Intellivision collectors and fans of the system, its games, its history, and its thriving home-brew development scene.

Dezarate Guest in The official radio show of the legendary DJ Paul Oakenfold

For over 30 years, NOISE has been the home of the avant-garde, experimental, and free expression! Join host Steve as he takes you on a journey through all that is NOISE. You'll hear everything from improvisational composition, free jazz, neo-classical and plunderphonics to post rock, extreme, outsider, and more! So sit back, turn it up, and embrace the NOISE!

A guide to navigating the coming phases of human existence. This work is nonlinear and you may enter at any point. Created and performed by Disparition (Jon Bernstein), the producer/composer of Welcome to Night Vale and Alice Isn't Dead.

Calling John’s life in electronic music anything less than extraordinary would be a considerable understatement. Over the last two decades he’s been behind 30 music-compilations and artist albums, which have sold cumulatively in excess of 10 million copies. Of which 10 of his mix compilations and five single releases have made the UK’s national Top 40 (on major labels including Virgin, EMI and Warner Music), whilst his most recent club tracks have resulted in a succession of Beatport top 10 chart positions. As a DJ his club, arena & festival showings are legion. Everywhere from the UK’s Ministry of Sound and GodsKitchen to Cielo and Avalon in the US (and most points in between) have played host to his night-to-dawn sets. He’s also a mainstay at festivals like Global Gathering, Dance Valley, Serbia’s Exit, Brazil’s Exxxperience, Australia’s Future Music, Belgium’s Tomorrowland and EDC. He’s soundtracked a number of Hollywood film & TV productions, most recently scoring 'The Colour Of Time' - the James Franco/Mila Kunis/Jessica Chastain-starring biog of Pulitzer winner C.K. Williams. He’s composed music for various BBC movies, dramas & shows (inc. BBC2’s world-spanning Top Gear), as well as for ones as for channels as diverse as Discovery, National Geographic and MTV. John’s a regular at London’s Abbey Road studios, where he’s previously worked with the illustrious Royal Philharmonic Orchestra. Labelled “a national treasure of trance music” by Radio 1’s Pete Tong, John has dropped his brand of underground science at more than 160 venues over the last three years. His record label J00F Recordings and his radio show, JOOF Radio (broadcast on DI. FM) provides the most diehard of fanbases’ with their monthly fix of J00F.

I love dance/club music, especially all my divas: Whitney, Deborah Cox, Mariah, Cher, Beyonce, Rihanna, Xtina, Kylie, Lady Gaga, Mary J, Kelly Clarkson Check out my blog for past mixes: www.dancefloorvocals.blogpspot.com

The soundtrack to Trance Sanctuary events that take place in England. Expect guest mixes and interviews from rising stars and leading names within the Trance scene.

OPEN HOUSE is a monthly podcast showcasing the mixing talents of William Hansen of Soul On Beat (SD) & Chronic Earwax (PDX)

Radiolla.com - Free 7-channel radio playing carefully selected easy listening, jazz, electronic, hip hop, ethnic, classical and rock music

From the latest contemporary urban sounds to folkloric, traditional and hybrid sounds - RADIO CLANDESTINO brings you a unique playlist from a diverse range of countries and cultures. Produced in Canberra, Australia by a roster of local DJs and presenters who all bring their passion for world sounds to the table, RADIO CLANDESTINO is your aural ticket to unknown musical landscapes and horizons - best listened to while dancing or with headphones (or both!)

Join Sannah Vinding on our top-ranked manufacturing podcast, where industry leaders from the supply chain and manufacturing sectors share their unique insights. Designed for manufacturing leaders aiming to enhance their skills, each episode provides practical advice and innovative strategies tailored for decision-makers in the industry. Refine your leadership style, stay ahead in the dynamic electronics industry, and gain hands-on guidance to navigate the complex manufacturing landscape effectively. Explore people-centric strategies for personal and professional growth, enhance communication within your team and organization, and stay updated and inspired on your professional journey with insights from industry experts and seasoned leaders. Tune in to become a more effective leader, tackle challenges, and grow your business successfully.

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Brought to you by the largest community of Trance & Progressive fans on Facebook now with nearly 700,000 fans ! To join us visit facebook.com/Trance.Progressive Hosted by DJ Ange http://www.facebook.com/DJ.Ange.Australia http://twitter.com/DJ_Ange

A bi-weekly Video Game Music Podcast that takes a lighthearted look at the music of Arcade Machines and Consoles.

Hackaday Editors take a look at all of the interesting uses of technology that pop up on the internet each week. Topics cover a wide range like bending consumer electronics to your will, designing circuit boards, building robots, writing software, 3D printing interesting objects, and using machine tools. Get your fix of geeky goodness from new episodes every Friday morning.

The Markertek News Channel provides insight on hot technology issues and trends that impact media professionals and technology organizations - from a customer-centric, brand neutral perspective.

Where did money come from? How did people trade before inventing money? Was it a masterstroke or madness (or both) to let banks create money? Today money is generally accepted as payment for goods and services or repayment of debt. But governments still fret about whether there's too much (or too little) in circulation, economists can't agree on what it is, and the enduring popularity of alternative or crypto-currencies shows rumbling discontent with the official version. These 10 short animations chart the evolution of money from stones and whale teeth to modern monetary policy and banking, and takes a hard look at money's role in economic crises. The material in this collection relates to The Open University course DD103 Investigating the social world.

After a decade as a closet geek and departmental guru, David LaGesse started writing about personal tech for U.S. News six years ago. He also writes about corporate trends, strategies and executives, having spent more than a decade as a business writer at newspapers including most recently The Dallas Morning News, where he also spent seven years covering Latin American affairs.

A fun, weird show about video games and music. Featuring Jake Innes, Martin, Ruby Innes, Zac Innes, Garrett Hunter, Bryan Abou Chacra, Ryan Reid and Eric Baudour. Contact: [email protected]

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Best trance from around the world.

Capsule Computers Gaming Podcast. If you love your game as much as we do, this is the place to be to find out what's happening in the world of video games on every console with latest news, reviews, interviews and give-aways. We also touch on Gadgets / Technology and even Anime.

This show is stacked! Get Ready, Try! We Talk Games Video Power Magazine Presents!!! The most popular weekly, one arcade game review per episode show ever created by humans or the reptilian illuminati secret overlords of the deranged conspiracy theorists lame crotch imagination. Join the video game journalist award wining crew and non-sport card superstars of Kyle VonKubik and Wiggly of Trap Door review arcade video games with author, artist and all around guy, John E Capcom plus, robot femme fatale, TT Schmootkins, and a cast of hundreds minus ninety-six as they deliver 100% game talk, zero filler! Have total access to our previous incarnations of our We Talk Games award winning program and Break Out Bonus Levels which featured special guests such as John Sellers, Ralph Baer, Nolan Busnell, Tommy Tallarico, Walter Day, Tomm Hulett, Noah Falstein, Dave Grossman, Jon Gibson, TAITO, Trip Hawkins and more.

Morphed Productions and Synchronicity Frequency - Projects in sound design, music and audio production, live and recorded audio, live electronics and controlerism, performances, free music and album releases. Get Morphed! This is a multimedia podcast and some files are not supported by iTunes. To be sure to receive all podcast media, please subscribe to the original podcast feed from the blog at morphedproductions.blogspot.com. morphedproductions.com. synchronicityfrequency.com

State of the Game features four of the most well-known personalities from the Starcraft 2 eSports scene: JP 'itmeJP' McDaniel, Sean 'Day[9]' Plott, Geoff 'iNcontrol' Robinson, and Tyler 'TLAF-LiquidTyler' Wasieleski. Each week the four hosts and sometimes a fifth guest recap what they've been up to in SC2, discuss the latest news and announcements, break down patch notes, break open build orders and strategies, and answer user submitted questions.

Your host Brian Kush talks with the people behind the games. Sign up on our message boards at thesportsstuff.com.

The Design World podcast series features the latest in design engineering innovation from circuit design & 3D printing to automation & robotics.

The Electronic Dance Music Podcast from the heart of philadelphia. Local inspired by superstar dj's trying to make it there to the top and showing their skills to the world.

follow us on instagram: @DharmaArts

Smoking is prohibited in public places in virtually every state. If this has you down, find out how you can smoke anywhere.

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 - - -

Ric de Barros began his career over a decade ago where he regularly played circuit events and special guest spots at nightclubs in Austin, Houston, Dallas, San Antonio, and Chicago. Spinning music for the first time since retiring from the club scene in 2007, he's back with Retrostalgic - a podcast of retro circuit hits that are sure to have you feeling nostalgic. His only rule is that the songs in each volume are greater than 10 years old. Uma vez DJ, sempre DJ...

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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.

IRENA TOMAŽIN (text by: Luka Zagoričnik) Dancer, choreographer, performer, actress, philosopher, and vocalist Irena Tomažin made her first appearance in the area of music with the group Kapricjoke, which appeared also in the Concert Marathon organised by Radio Student. However, her most noteworthy debut presentation in the field of sound was made with a solo recital iT for voice and voice recorders, in which Tomažin ingeniously weaves the story through the primary human instrument – the voice. Hers is not a trained voice based on clear articulation and technical brilliance. Quite the contrary, its power of expression draws precisely from the failure of articulation, from its incessant attempts to constitute itself, with which it often drifts away from the field of meaning and enters the field of sound. We are dealing thus with a fragile voice, a voice in search of itself, which nevertheless has a profuse emotional and expressive potential. At the same time, it is also an alienated voice, which is – since it is recorded on dictaphones – becoming an acousmatic object, alienated from corporeality, but which is re-entering the semantically structured storyline through repetitions of sound loops and tape manipulation. Voice, a fundamental corporeal experience, is traversed by countless voices, multiplying, dissolving, and confronting their own semantic and sound resonances in space. To dramaturgically round up her (sound) narration, Irena Tomažin artfully, sometimes movingly, and sometimes playfully, employs different means: from adopting and breaking the tunes from the sphere of popular music, theatrical story-telling to playing with the words’ syllables and their rhythm, dismantling the words in the style of literary modernisms and avantgardisms of the previous century, or reducing the voice to panting, smacking, sighing. However, in so doing she is still allowing multiple voices to speak at the same time, in harmonies and cacophonies. Although her creativity can be compared to certain more visible contemporaries (such as Meredith Monk, for example), Tomažin’s performance is unique in its child-like playfulness, which is occasionally also capable of sparkly self-reflection. Although her performance ever-so-slightly implied a rather schizophrenic story of submission, which addressed the audience through multiple voices simultaneously, these voices nevertheless incessantly communicated in the in-between space of the word and condensed meaning. Recently, appearing as iT, Tomažin’s voice is dissolving from a structured and distorted one, from veiled polyphony, to a naked voice, which is ultimately left almost voiceless, residually remaining in the body, where the possibilities and the impossibility of its articulation are taken over by gesture, movement. As iT, Irena Tomažin as a matter of fact thinks voice through heterogeneous trains of thought, which intensely, via extremely personal experience, traverse one another. This discloses her experience as a philosopher who confronts her thought with other thinkers of the voice, such as, for example, Mladen Dolar or Jacques Derrida, or literature, such as, the literary thought of Samuel Beckett, or the thinking of Antonin Artaud on contemporary theatre, or the melodies of most diverse traditions. As iT, Irena Tomažin performs at home and abroad, also in important international festivals, such as Club 5 in Vienna, Dispatch in Belgrade, Densités in France, and Ultrahang in Budapest. In recent years, she has also lent her voice to free improvised music, collaborating with numerous home and foreign makers. These include the bassist Tomaž Grom, the multitalented musician Andrej Fon, the saxophonist Marko Karlovčec, and others. With the latter she also released a record ‘That Which Happens Is Itself Dripping Red’. Internationally, she is collaborating with the American brass musician Liz Allbee, the Japanese percussionist Seijiro Murayama, and others. As a dancer and performer, Tomažin collab

Ri-T is a Parisian (Fr) house, soul-funk Dj and has been playing in different venues since 2003. Electronic Music, acid jazz, trip-hop... He also does live scenes in different bands as a saxophonist. Listen here to live recorded gigs, productions with machines and saxophone. Bonus : short videos about nice events and funny adventures. Once a month a new mix is released

BOJANA ŠALJIĆ PODEŠVA Bojana Šaljić Podešva, a composer of electroacoustic music, music for acoustic instruments, contemporary theatre, puppet theatre, film, and dance, is not only one of the few female makers in these areas, but also one of the few composers of electroacoustic music following the tradition of musique concrete in general in Slovenia. She is a member of the Society of Slovene Composers – Section for Electroacoustic Music and is, along Bor Turel, also one of the most visible representatives of this genre in Slovenia. Šaljić studied music in secondary schools in Maribor and Ljubljana and later at the Academy of Music in Ljubljana. Already during her studies, she was the recipient of many awards and scholarships, which brought her, among other, also to the Gaudeamus Music Week in Amsterdam. She completed her postgraduate studies in electroacoustic music in Vienna and later received many scholarships and attended numerous international residencies, for example, in Switzerland, Sweden, and France. Her work has been widely presented in international festivals and on home stages. Šaljić readily says about her work in electroacoustic music that it is committed to ‘allowing a certain Music to be born, music that wants to bring colour to a piece of this world. I find ways to do this by immersing myself into Sound that I form and which forms me, purely physically and with the energy it gives’. This slightly romantic aspect can be identified, for example, in the electroacoustic composition for accordion and magnetic tape ‘Meditation on Presence’, performed by the young accordionist Luka Juhart. ‘Meditation on Presence’ by Bojana Šaljić Podešva addresses us with a subtle fusion, intertwinement of live instrumental sound and electroacoustic sounds, which are blending into a soft sound language, in itself characterised as a meditation on presence, on that elusively intangible, unnameable tissue that binds us together in an inevitable gap between the subjects. This language is full of ‘unusual’ instrumentalist procedures, which pull the accordion away from its historical sound landscape and transform it into a sound object, on and over which sounds and noises are produced using different manoeuvres. Juhart, responsively and susceptibly ‘tracing the sound’, succeeded to bring out of this intertwinement a hidden, but shimmering emotive layer of the piece, which evasively radiates from the composition. And this quality is scarcely ever to be found in electroacoustic music. This insight can be attached to many Šaljić’s compositions, for example, to a more recent work, ‘So Close’, performed by Bojana Šaljić Podešva and a young saxophonist Maja Lisac. In 2006, Šaljić presented nine of her electroacoustic compositions from the period from 2000 to 2005 in an album ‘Welcome to the Dushaland’: some are rounded compositions; others originate from sound or multimedia installations. A programme-like writing on the cover of her album reads: ‘With what can I reach the events which will shake foundations and make the axioms questionable? ... There are still a lot of potential combinations. Undoubtedly, information is still coming’. We can understand this as a unique ethos and a wager, which is like a breath of fresh air in the undernourished space of contemporary music in Slovenia. Bojana Šaljić Podešva industriously puts this wager into action by collaborating with younger Slovene musicians, video artists, dancers, theatre directors, and electronic music makers. In the music area, she has collaborated with a colleague, composer Aldo Kumar on the one hand, and with a member of the duet Random Logic and the author of the project Medvedek Robotek (Teddy-bear Robot) Gregor Zemljič on the other. In theatre, she collaborated with Silvan Omerzu in many of his performances, also with Janez Pipan; in dance, with Katja Kosi, Ann Adamović, and Mojca Klemenčič; and in multimedia, with Boštjan Bugarič and Miloš Bartol. The latter three and Bojana are memb

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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