Complete list of Listening Podcasts - Listen & Review on Goodpods

Luke's English Podcast is an award-winning podcast for learners of English. Listen, learn and have fun while picking up natural British English as it really is spoken. http://teacherluke.co.uk Sign up to LEP Premium on Acast+ and add the premium episodes to a podcast app on your phone. https://plus.acast.com/s/teacherluke. Hosted on Acast. See acast.com/privacy for more information.

Speak English powerfully using the Effortless English system. Learn English with AJ Hoge, "The World's #1 English Teacher". Learn tips and strategies to improve your spoken English. Learn English vocabulary. Learn about American English and American culture. Be a successful English speaker and international leader!

On the Espresso English podcast, you'll learn English grammar, vocabulary, phrases, idioms, and more. Espresso English lessons are clear and practical, making it easy to learn the language quickly and effectively. Visit http://www.espressoenglish.net to get English courses and e-books that will help you learn faster!

Simple Stories in Spanish is a biweekly production of the Small Town Spanish Teacher. Listen along as she tells easy to understand stories to help you learn or practice the Spanish language. Wherever you are in your language journey, Simple Stories will help propel you forward. You can find transcripts of the stories at smalltownspanishteacher.com. You can support the creation of these stories by buying me a coffee (or taco!) https://www.buymeacoffee.com/SpanishTeacher

Bonjour, je suis Fabien, professeur de français. Dans le podcast Fluidité, tu vas AMÉLIORER TA COMPRÉHENSION et apprendre NATURELLEMENT le français en écoutant du contenu intéressant en language courant sur différents sujets pour obtenir un vocabulaire riche et varié : culture, art, histoire, géographie française, tourisme, vie quotidienne, dialogues sur ma vie mais également mes astuces d'apprentissage des langues... Pour un niveau de compréhension intermédiaire (B1, B2). ▶ Si tu penses que je parle trop vite ou que le niveau est trop difficile : 1 - Écoute en lisant la transcription gratuite en français du contenu sur mon site : https://lefranchute.com/mon-podcast/ 2 - Aide-toi des sous-titres en Français / EN / ESP / PT / AR / DE / RU de chaque contenu sur ma chaîne Youtube : https://www.youtube.com/channel/UCftkAUwCOQM_FhQ4216qFhA ▶ Rejoins notre club VIP : https://lefranchute.com/aboclubvip/ ✔️8 chats ZOOM / mois en groupe pour pratiquer ton français avec des amis apprenants. ✔️le podcast sans publicité. ✔️Une communauté de + 500 MEMBRES avec un groupe Télégram privé. ✔️2 cours de grammaire / mois ✔️etc. 👉Mon livre : https://www.dashbook.fr/book/en-route-vers-le-francais-avec-fluidite ✅Mes réseaux sociaux : 🔵Instagram : https://www.instagram.com/francaisavecfluidite 🔵Le canal Whatsapp : https://whatsapp.com/channel/0029Va9wsHy7YSd2tlWoJk0c Bonne écoute !

World Languages Podcasting provides a podcast series in various languages for the intermediate to advanced language student to help improve language skills and knowledge of Australian culture. Each conversation is complemented with a full transcript and a page of language exercises that may be downloaded from the website www.worldlanguagespodcasting.com.

Become more fluent in English and life with inspiring English lessons based on the best non-fiction books and Ted Talks. Feel Good English is personal growth for English learners. Let's grow together! Get transcripts, extra lessons and connect with Kevin at www.feelgoodenglish.com

World Languages Podcasting provides a podcast series in various languages for the intermediate to advanced language student to help improve language skills and knowledge of Australian culture. Each conversation is complemented with a full transcript and a page of language exercises that may be downloaded from the website www.worldlanguagespodcasting.com.

Listen to short stories in American English and improve your overall English level. All episodes are short and include audio transcripts so that you can follow along and learn new vocabulary. The host is an experienced language learner who provides useful tips along the way. Visit the home of the podcast here: mathewarmstrong.com/soundpractice/(As of 2022, there is no longer a website called just Sound Practice).

Where do coaches turn when they face a difficult situation with a client? Quite often, when coaching challenges arise, they reach out to a coach more senior than themselves. That’s the aim of Just Between Coaches — to be that trusted source of guidance for the coaching community. Hosted by Melinda Cohan, coach and creator of The Coaches Console business management system, Just Between Coaches will answer the tough questions that coaches face every day. For example, what can I do if my client is lying? How do I deal with price resistance from prospects and clients? What if I want to fire a coaching client? And what the heck is a feeder course and why should I care? This tactical podcast will provide a deep dive into one coaching topic per episode, which means searching for answers will be a breeze. It will also offer a simple way for listeners to refer other coaches who are grappling with those tough coaching questions. To submit a tough question you’re facing as a coach, put “JBC” in the subject line and send it to [email protected].

Ever wondered why some people seem to have a gift for music? Have you wished that you could play by ear, sing in tune, improvise and jam? You are in the right place. Musicality Now is a mix of interviews and teaching, featuring some of the most inspiring and insightful musicians and music educators, talking about how to learn the core inner skills you need to feel like a "natural" in music and enjoy freedom, creativity and confidence. Topics include: Playing by ear, Singing in tune, Jamming with other musicians, Having a good sense of rhythm, Writing your own music, Writing notation, Improvising a solo, Talking intelligently about music, Understanding Music Theory, Clapping in time, Knowing your instrument inside and out, Tuning your instrument by ear, Reading notation, Sight-reading music, Playing from a lead sheet, Performing live, and Playing multiple instruments. Musicality Now is brought to you by Musical U (musical-u.com), the leading provider of musicality training online. Learn more and get shownotes at musicalitynow.com.

A podcast about the people who bring you the best shows around! Go 'behind the scenes' of your current and soon-to-be favorite podcasts!

The world is a noisy place where you fight to be heard every day. Despite the fact that we have been taught at home and at school how to speak, none of us has had any training in how to listen. Multiple academic studies have shown that between 50% and 55% of your working day is spent listening, yet only 2% of people have been trained in how to listen. We feel frustrated, isolated and confused because we aren't heard. As a speaker, it takes absolutely no training to notice when someone isn't listening - they're distracted, they interrupt or drift away as you talk. Yet the opposite is also true, without any training in how to listen we struggle to stay connected with the speaker and the discussion. This results in unproductive workplaces where people fight to be heard and need to repeat themselves constantly, send emails to confirm what they said and then have follow-up meetings to ensure what was said was actually heard by those in the meeting. It's a downward spiral that drains energy from every conversation and reduces the productivity of organisations. This podcast is about creating practical tips and techniques to improve your daily listening. Listen for free

World Languages Podcasting provides a podcast series in various languages for the intermediate to advanced language student to help improve language skills and knowledge of Australian culture. Each conversation is complemented with a full transcript and a page of language exercises that may be downloaded from the website www.worldlanguagespodcasting.com.

Oxford is a wonderful city in which to live, and If you have the good fortune to call yourself a resident you are probably here because you value its incredible mix of people and cultures. However, whether local or visitor, your own personal network of friends and colleagues can only touch a small proportion of the fascinating people who call this place home. We set up this podcast to seek out some of the individuals that we find interesting and explore their lives and stories. They are not all celebrated or well-known, but what they do and what they think add another dimension to the familiar narrative of town, gown and tourism. Hopefully you will find it an insight and an introduction to interesting and unfamiliar parts of our community. So, relax and select someone from the cast below and get to know a bit more about a particular Oxford life. With Jeremy Allen Produced by Graeme Fry As a compliment to our podcast we have produced a self-guided tour where we look at Oxford’s links to fantasy literature and the many writers who have lived and worked here. So if you find yourself in Oxford prepare to be whisked away to other worlds full of Hobbits, Orcs and parallel universes! https://voicemap.me/tour/oxford/literary-legends-and-landmarks-a-fantasy-fiction-tour-of-oxford

The TRUE Number One Lounge music radio show in the WORLD! Every weekend step into the wonderful world of the BUDDIES LOUNGE as we serve you 2 hours of tasty Hi-Fi Space Age Pop, Jet Set, Swinin' Vocals, Easy Listening and Exotica sounds...in LIVING STEREO!

Exploring our Spirit to understand our lives. I am on the journey with you. As a mystic, I have a deep inner life that brings a rich sense of oneness. Together, we will explore spiritual practices, philosophies, religions, spirituality, life stories, insights, spiritual teachers and more! Let’s have fun awakening to our True Self!

Vamos a ejercitar tu oído para inglés! Practicar y aprender con Brian, un norteamericano, y Cecilia, una Mexicana. Las sesiones incluyen entrevistas, practicas de conjugación, consejos, grabaciones de discursos, y otros recursos. Éxito con tu inglés! http://www.Tu-Ingles.com

Learn Mandarin Chinese with fun and engaging stories. Practice your listening with a weekly story, entirely in Chinese. Levels: Beginner, Intermediate, Advanced covering all levels of the HSK. Get daily stories tailored to your level by subscribing to maayot.com

Communication is your most powerful tool to create the impact you desire. How can you start fully using this power to your advantage? In the Communication Charm podcast, you will discover the best strategies to help you stand out and shine in every interaction.•The episodes are short and sweet so you can apply what you learn immediately.•Learn how to influence, pitch yourself, negotiate, create charisma, and executive presence among other skills. Explore topics like business communication, interpersonal skills, public speaking, writing, feedback, listening, empathy, body language, positive communication.•Connect better with your business partners, friends, family. You will always create a positive experience and make a lasting impression. I am your host Johny K. In my career as a communication strategist and coach, I have seen many people who were doing amazing things, but they were not seen because they didn’t know how to present their successes. I made it my mission to help them create a winning communication strategy and boost their confidence. Everyone can be a great communicator if they know how to do it. Communication is the door to a whole new world of opportunities, connections, and fulfilling life. Will you open that door? Hit subscribe!

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

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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

Jure Detela, Iztok Osojnik, Iztok Saksida: Podrealistični manifest (1979) Podrealistični manifest je izšel leta 1979 v samozaloženih Zbranih delih I Edicije Pest (s. 78-100). Natisnila jo je Tiskarna Društva mišično in mišično-živčno obolelih v 50 izvodih. Enega od njih danes hrani Mednarodni grafični likovni center v Študijskem kabinetu grafike, knjig umetnikov in druge tiskane efemere. V okviru razstave 9 + 9 Knjige umetnika in umetniki (23. 11. 2010 - 8. 2. 2011) je Iztok Osojnik manifest prebral v petih terminih. Zvočna realizacija javnih branj ter produkcija in arhiviranje podcastov Podrealističnega manifesta je delo radioCona, besedilo manifesta pa je prosto dostopno tudi na Indija.si, spletni knjižni polici Društva za domače raziskave: http://www.indija.si/podrealizem/. termini branj: 1. december 2010 ob 17. uri 3. december 2010 ob 12. uri 15. december 2010 ob 17. uri 23. januar 2011 ob 12.30 uri 28. januar 2011 ob 16. uri

Jure Detela, Iztok Osojnik, Iztok Saksida: Podrealistični manifest (1979) Podrealistični manifest je izšel leta 1979 v samozaloženih Zbranih delih I Edicije Pest (s. 78-100). Natisnila jo je Tiskarna Društva mišično in mišično-živčno obolelih v 50 izvodih. Enega od njih danes hrani Mednarodni grafični likovni center v Študijskem kabinetu grafike, knjig umetnikov in druge tiskane efemere. V okviru razstave 9 + 9 Knjige umetnika in umetniki (23. 11. 2010 - 8. 2. 2011) je Iztok Osojnik manifest prebral v petih terminih. Zvočna realizacija javnih branj ter produkcija in arhiviranje podcastov Podrealističnega manifesta je delo radioCona, besedilo manifesta pa je prosto dostopno tudi na Indija.si, spletni knjižni polici Društva za domače raziskave: http://www.indija.si/podrealizem/. termini branj: 1. december 2010 ob 17. uri 3. december 2010 ob 12. uri 15. december 2010 ob 17. uri 23. januar 2011 ob 12.30 uri 28. januar 2011 ob 16. uri

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

Brew Roots is a podcast that features a behind the scene look into some of our favorite beers from all over.Our missions is to tell the stories of the brewers who make great beer and how they got there.Join us each week as we discover a different brewery and we talk to their team about the beer, the brewers and how they got there. On top of that we will mix in some beer reviews, beer news and events happening in the beer community.Cheers Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

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

Jure Detela, Iztok Osojnik, Iztok Saksida: Podrealistični manifest (1979) Podrealistični manifest je izšel leta 1979 v samozaloženih Zbranih delih I Edicije Pest (s. 78-100). Natisnila jo je Tiskarna Društva mišično in mišično-živčno obolelih v 50 izvodih. Enega od njih danes hrani Mednarodni grafični likovni center v Študijskem kabinetu grafike, knjig umetnikov in druge tiskane efemere. V okviru razstave 9 + 9 Knjige umetnika in umetniki (23. 11. 2010 - 8. 2. 2011) je Iztok Osojnik manifest prebral v petih terminih. Zvočna realizacija javnih branj ter produkcija in arhiviranje podcastov Podrealističnega manifesta je delo radioCona, besedilo manifesta pa je prosto dostopno tudi na Indija.si, spletni knjižni polici Društva za domače raziskave: http://www.indija.si/podrealizem/. termini branj: 1. december 2010 ob 17. uri 3. december 2010 ob 12. uri 15. december 2010 ob 17. uri 23. januar 2011 ob 12.30 uri 28. januar 2011 ob 16. uri

Shift Today with Alison cuts through the noise and gets real about intuition, energy, and the game-changing moments that push us forward. There is no fluff—just honest conversations about the raw truth, powerful shifts, and the wisdom that comes when we stop letting ego run the show. Assumptions, expectations, and illusions keep us stuck while intuition moves us forward. It’s about being present, paying attention, and finding light even on the darkest days. Ready for a shift? Let’s get to it.

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

Irelands premier and award winning Metal Music Podcast. The Metal Cell Podcast sets out to promote the Irish Metal Scene by talking to the bands, promoters, artists and fans of this musical genre. I hope to interview as many generations as possible involved in the Irish Metal community from those who create the music, design the artwork, promote the gigs or simply fans of the music itself. It's one of the most exciting times ever to be a Metal fan in Ireland with so many home grown and international metal bands touring our cities and releasing incredible music. This Podcast has become a solid link in communicating our voices throughout the world wide Metal community. The bonds forged in the Metal Scene are strong, loyal and lasting. Friendships created that traverse oceans and continents, which saw the podcast charting in Europe, the America's, and Asia. Thank you all for listening and for your support, Richie. #supportyourlocalmetalscene

I have fallen out of listening to music, but I want something to listen to. Please, help me find fun music.

World Languages Podcasting provides a podcast series in various languages for the language student or native speaker to help improve language skills and knowledge of Australian culture. Each conversation is complemented with a full transcript and a page of language exercises that may be downloaded from the website www.worldlanguagespodcasting.com.

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

Gary uses this blog to expose the world to his music ... which is kind of eclectic, sometimes danceable, but mostly mellow, often instrumental, but sometimes vocal.

Learning to Human is forever ongoing. Each episode will be me (Breezy) and a guest discussing a specific topic. For each topic we will dive into our personal experiences, discussing what we learned and how it shifted who we are, in hopes that you, the listener, will hear your life in our discoveries, and hopefully get something of value that you can take and apply to your life.

Straight White Guy Listening is a documentary and podcast series that follows a straight white man as he listens to people from different walks of life. The show's goal is to both create a platform for disenfranchised voices and to explore the act of listening.to watch short films of these conversation and for other episodes, please visit our website at www.straightwhiteguylistening.com Hosted on Acast. See acast.com/privacy for more information.

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.

Toeicator vous propose de vous entraîner pour votre toeic grâce à cette batterie de test en podcast. Entraîner vous quotidiennement pour devenir un roi du Listening !

The Music Post is music, mostly new, mostly piano, delivered to you. Old episodes and occasional future episodes will explore a piece or a musical trend in more depth, and may feature conversations with other musicians.

a podcast about how to listen. so we can connect with ourselves and each other. with Krystle Cobran.

We know you like to fill your favorite pod-players before you go, so we asked our hosts to share their favorite episodes to help you stock up. So be entertained, delighted or find something (anything) to talk with your in-laws about. Happy Thanksgiving, and here’s to your new favorite show!

Memory Gone Wild is an entertaining fun Podcast audio quiz program using a live radio style format that sharpens your listening skills and helps build your retention and recall capabilities. This is accomplished by the shows host Kenneth Campbell playing audio snippets from Best Selling Audiobooks and challenges you the listener, in a fun and entertaining way to respond to questions from what you just heard.

Overheard brings our provocative conversations about culture and brand from the Listen Ventures' office to your ears. Listen in for a glimpse of what we're hearing, observations we're making, and trends that are piquing our interest. If you're interested in venture capital or brand, tune in to hear how we look at investing in the brands of tomorrow.

I'm Speaking Now has rebranded as Satisfied & Content. Satisfied & Content supports you in identifying and using the building blocks that are already at your fingertips to create an amazing life. Through curiosity, courage, and compassionate audacity, we want you to find comfort in trusting yourself and in navigating your experiences.

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

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 - - -

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