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Complete list of Sound Podcasts - Listen & Review on Goodpods

BirdNote Daily

1166 Episodes

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Avg Length 2m

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Latest episode 7 hours ago

Escape the daily grind and immerse yourself in the natural world. Rich in imagery, sound, and information, BirdNote inspires you to notice the world around you.
The Podcast Engineering Show

254 Episodes

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Avg Length 52m

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Latest episode 1 month ago

This show focuses on the technical production of audio podcasts. Chris Curran chats with podcasters about their audio equipment, software and workflow to help you learn how to produce better sounding podcasts. You’ll also learn solutions to common audio issues as well as plenty of tips and tricks. By listening to this show you will gain a TON of knowledge and skills that will make a HUGE difference in your sound quality _and_ save you time! Subscribe/Follow today and start listening! Your host Chris Curran has a background in podcast production (Forbes, Dun & Bradstreet, J&J, etc) as well as music production (Sarah McLachlan, Jeff Buckley, Foreigner, etc). When he entered podcasting in 2012, he noticed that most podcasters (and producers) do not have a good understanding of fundamental audio engineering concepts, which sabotages the quality of their sound from the very beginning. This show, as well as Podcast Engineering School, helps podcasters and producers reach professional levels of podcast audio production.
Scene and Heard

102 Episodes

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Avg Length 66m

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Latest episode 7 hours ago

Hollywood assistants Jackie and Greg work their way through Sight and Sound's "The 100 Greatest Films of All Time" list. Join them each week as they dissect, analyze, and ask questions about these universally agreed-upon masterpieces of world cinema.
Sideshow Sound Radio

257 Episodes

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Avg Length 61m

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Latest episode 5 hours ago

We discuss the scores, soundtracks and media music we love, along with a healthy dose of Disney!
The Grimerica Show

655 Episodes

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Avg Length 122m

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Latest episode 11 hours ago

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
Secondhand Talent: The Podcast

36 Episodes

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Avg Length 33m

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Latest episode 1 month ago

With "Secondhand Talent", we want to devote a platform to taking moments to shine the spotlight on those that manage the spotlights. We want to use this platform to highlight some of our incredible colleagues in the industry whose names you might otherwise never hear. Thank you for joining us - come along, stay a while!LinkTree: https://linktr.ee/secondhandtalentWebsite: www.secondhandtalent.com
Girls Twiddling Knobs

112 Episodes

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Avg Length 46m

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Latest episode 3 months ago

The #1 feminist music tech podcast, featuring deep-diving episodes into all things music production and home recording and fascinating guest episodes with women making music with technology, hosted by Isobel Anderson.
The Pro Audio Suite

329 Episodes

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Avg Length 30m

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Latest episode 5 hours ago

Hosted by voice-over and audio pros, George 'The Tech' Whittam, Robert Marshall from Source Connect and SUM1, Darren 'Robbo' Robertson from Voodoo Sound and Andrew Peters a voice-over talent home studio expert. The Pro Audio Suite features interviews with key players not just in VO but anything to do with audio and voice over. They also talk about tech stuff, VO tips and industry news! The Pro Audio Suite is delivered weekly.
Mix & Sound Podcast

45 Episodes

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Avg Length 48m

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Latest episode 2 years ago

¿Estás buscando aprender de audio en vivo y producción musical? En este podcast encontrarás información desde lo básico hasta lo avanzado en temas de audio y producción, negocios de la música, reseñas de equipo e instrumentos, entrevistas con especialistas, noticias actuales y más. ¡Visítanos en www.mixnsound.com para más contenido!
The John Dredge Nothing To Do With Anything Show

30 Episodes

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Avg Length 21m

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Latest episode 3 years ago

An insanely silly, yet utterly peculiar award-winning sketch show. The episodes - created by and starring John Dredge - feature sketches, surreal spoofs and sublime sound effects. There are five series to enjoy.
The Sounds of Nightmares

12 Episodes

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Avg Length 15m

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Latest episode 5 months ago

Noone, a timid young girl, is committed to The Counties Psychiatric Institute due to her ever-worsening nightmare disorder. She is placed under the care of The Counsellor who has dedicated his life to helping kids overcome their ailments, himself a product of childhood trauma. As Noone recounts her nightly torments during their sessions together, it becomes clear that her dreams unfold with a sinister life of their own. When The Counsellor realizes that her nightmares bear uncanny similarities to those of someone he loved dearly in his past, it unlocks a dangerous obsession inside him, and he grows desperate to find out what secrets hide inside Noone’s head.----Available in other languages: FR - Le Bruit des Cauchemars, ES - El Murmullo de las Pesadillas, DE - Der Klang der Albträume, IT - Il Suono Degli Incubi----Production by Bandai Namco Europe and Louie MediaDirected by Thomas RozèsMusic by Tobias Lilja and Thomas Rozès.Written by Lonnie Nadler, Mike Bambridge aka SuperHorrorBro, Supermassive Games, It's Just Jord and Eugene Myers.Our showrunner is Lonnie Nadler.With Amy Purshouse as Noone and Kester Lovelace as Otto.Based on Little Nightmares from Bandai Namco EuropeLittle NightmaresTM & © Bandai Namco Europe S.A.S. Hosted on Acast. See acast.com/privacy for more information.
Double Lives

8 Episodes

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Avg Length 82m

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Latest episode 3 years ago

A podcast exploring the joy and energy of live albums. Hosts James Hearne and Dan Drago highlight and obsess over the best live albums of our time, discuss the history and context of performances, and fall down the occasional rabbit hole, all while celebrating what they love about live music.
The Shotgun Mike Hostettler Show

215 Episodes

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Avg Length 37m

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Latest episode 16 hours ago

This was a show where we discussed the television show "Star Trek: Deep Space Nine" but now it's not.
HOW TO: Record Drums-TIPs

15 Episodes

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Avg Length 1m

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Latest episode 15 years ago

HOW TO: Record Drums is the premier training video podcast for getting the most out of your Drum Recordings. Geared toward the musician, hobbyist, and aspiring recording engineer---this series delivers concise info from the basics to more advanced tips, opinions, and techniques. Look for future HOW TOs featuring guest engineers presenting unique insights on how they get "THAT" sound. Rock on! For the full length tutorials including larger 16x9 screen sizes, added content, special features, and optional mobile phone feeds, check out the HOW TO: Record Drums -PREMIUM Bundles at www.tutotialdepot.com.
HOW TO: Digital Performer-TIPs

119 Episodes

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Avg Length 1m

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Latest episode 14 years ago

HOW TO: Digital Performer-TIPs is a FREE HOW TO: podcast providing quick tips for getting more out of your Digital Performer rig. Beginners and advanced users alike will find value in these concise, informative, one of a kind tutorials. Are you using Pro Tools, Logic Pro, Cubase SX, Nuendo, Reason, Abelton Live, or Calkwalk's Sonar for you audio production? If so, check out HOW TO: Digital Performer to see how DP stacks up to your DAW. For additional and full length tutorials including larger 16x9 screen sizes, added content, special features, and optional mobile phone feeds, check out the HOW TO: Digital Performer-PREMIUM member subscription at www.tutotialdepot.com.
Beyond the Spotlight

47 Episodes

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Avg Length 38m

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Latest episode 2 years ago

The point of this podcast is simple. We want to pull back the curtain and bring you backstage, beyond the spotlight, to give you a glimpse into the world of folks like you and me who are working in the trenches of the music, theater, and entertainment industries. They may not be household names, but they are key players in bringing to life the shows we all enjoy. Over the last 41 years, your host Jon Diener has worked as a musician, producer, recording engineer, videographer, editor, motion graphics artist, and photographer. He's spent most of his life around people working hard behind the scenes and wants to learn more about their journeys and share their stories with you.
.t video HD

14 Episodes

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Latest episode 9 years ago

None
.t video (iPod/iPhone)

25 Episodes

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Latest episode 6 years ago

None
Sound 4 Pound

3 Episodes

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Latest episode 6 years ago

Chuy and friends jump into the ring for 12 rounds of painful boxing discussions.
TAO G. Vrhovec Sambolec - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 85m

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Latest episode 13 years ago

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
SONDA - ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 103m

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Latest episode 13 years ago

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 - - -
Wanda & Nova deViator - ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 43m

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Latest episode 13 years ago

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 - ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 103m

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Latest episode 13 years ago

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
Ricky Simmonds - House - Deep, Tech & Bass

57 Episodes

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Avg Length 48m

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Latest episode 7 years ago

House Podcast from Ricky Simmonds. Follow on twitter @RickySimmondsDJ. Official DJ for Ministry of Sound and Capital FM. Label Manager to “the world’s biggest smallest label” Love & Other - DMC world magazine.
Bojana Šaljic Podešva - ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 58m

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Latest episode 13 years ago

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 - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 89m

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Latest episode 13 years ago

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
Marko Batista and Nataša Mušević - ZVO.ČI.TI (So.und.ing) 2010

1 Episodes

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Avg Length 58m

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Latest episode 13 years ago

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
Octex (Jernej Marušič) - ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

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
Luka Juhart - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

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
TAO G. Vrhovec Sambolec - ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

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
Miha Ciglar - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

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 Cooking Kitchen
We seek to celebrate and empower everyone that forms part of the music industry. We chat to musicians, producers, sound engineers, record labels, poster designers and all the other creatives that make sure there's music for your ears. Follow us on Facebook and Instagram for extra content.
My Beautiful Cyborg

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Latest episode 4 years ago

SEASON 3 - My Beautiful Cyborg: A love Story About Hearing - Most of 2019 was about podcasting, but Caroline was listening, not recording. Now the story continues with ongoing experience. The emotions are still big, with gratitude front and centre. Season three will also introduce new voices - audiologists, voice actors, broadcasters, and public speakers - we'll explore hearing from people who rely on it. The baby steps are over; join Caroline as she breaks into a run. And Andreas tries to keep up. SEASON 2 - My Beautiful Cyborg: A Love Story About Hearing. "Hearing isn't all about sound, it's about each other." Now Caroline is #deafnotdeaf. It has to be all good news right? Absolutely! But it’s possible to be OVERjoyed. Caroline and Andreas talk about coming out of the fog of a quiet life and reflect on adapting to hearing again. They thought they had an exciting story to tell before. It turns out hearing is like an onion. A very big onion. My Beautiful Cyborg has discovered more about hearing and how it connects us than she imagined. SEASON 1 - The Candidate Caroline is hard of hearing. To be more accurate, without hearing aids, Caroline is "late deafened." After a lifetime of degenerative hearing loss, hearing aids won’t do the trick anymore. So, Caroline is going to become a cyborg. She’s on the path to receive a cochlear implant. Not to put too fine a point on it, but Caroline is going to become a cyborg. She’s getting a cochlear implant will replace the parts of hr hearing that doesn’t work. Caroline can’t wait. In Episode 1 of My Beautiful Cyborg, you’ll meet Caroline and learn a little bit about her hearing loss, and what stage she’s at in the cochlear implant process. They’re putting what in my head? I have to go shopping? I’ll be DEAF DEAF?! Caroline has questions, and we talk through the answers. Meet Caroline, My Beautiful Cyborg.
Podcasts | Sound Pills

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Latest episode 10 years ago

Sound Pills Prod. Podcast Channel, remixes, interviews, performances, music, videos and behind the scenes.
Did You Forget?
Did you forget? Season 2.0 Live on Abracadabra's Twitch TV Channel ​. When you realize you forget, you understand what to remember. Talks about what to remember with host :: @antoinettevandewark. ​. ​Explore Yourself. . New Episode Every Sunday. . Bring your questions & WATCH INTERVIEW'S LIVE ! Wednesdays 1-3pm PST Twitch Channel :: https://www.twitch.tv/abracadabra . Come Vibe Tribe.
Making A Record - Podcast

45 Episodes

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Avg Length 68m

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Latest episode 4 years ago

MakingARecord.net Making A Record is a irreverently humorous podcast about all things music lifestyle (the good, the bad and the ugly) in form of conversations ranging from Artists, Musicians and anyone involved in the art of creation. Hosted by Producer, Audio Engineer & Musician, Jordie Guzman. Follow us on Twitter @MARecordPod @jordieguz Like us on Facebook ---> https://www.facebook.com/MakingARecord/
TonkerTim Dance Music DJ Show

90 Episodes

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Avg Length 71m

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Latest episode 3 years ago

DJ Tonker Tim - a London DJ presents a range of mixed house music podcasts, featuring many new and cutting edge tracks and tunes - all feedback welcome at www.timjonesmusic.co.uk Booking Enquiries to [email protected]
Iztok Osojnik bere Podrealistični manifest, drugo branje

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Latest episode 13 years ago

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
Iztok Osojnik bere Podrealistični manifest, četrto branje

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Latest episode 13 years ago

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
Miha Milek (ERRORIST) - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

None
Januš Aleš Luznar - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

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.
Borut Savski - ZVO.ČI.TI (So.und.ing) 2010

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Latest episode 13 years ago

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
Iztok Osojnik bere Podrealistični manifest, tretje branje

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Avg Length 16m

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Latest episode 13 years ago

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
Iztok Osojnik bere Podrealistični manifest, prvo branje

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Avg Length 17m

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Latest episode 13 years ago

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
Iztok Osojnik bere Podrealistični manifest, peto branje

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Latest episode 13 years ago

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
BirdNote Presents

37 Episodes

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Avg Length 21m

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Latest episode 2 years ago

Stories that connect us more deeply with birds, nature, and each other.
The UBK Happy Funtime Hour

219 Episodes

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Avg Length 43m

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Latest episode 2 years ago

Two passionate audio engineering nerds --- Kush Audio gear designer and avowed analog snob Gregory Scott, and ITB mixing pro Nathan Daniel --- crack themselves up while answering listeners' questions about everything from gear and plugins, to the psychology of mixing, to what makes a song grab the listener's ears and heart and how to get more of it into your productions. Whether you mix professionally on a 9000J or in your bedroom on Cubase, these ballbusting fanatics of sound will spark your thinking in creative new ways, help you bust out of your own limiting habits, and get you laughing in the process.
Olove & The Sound Of Whoo! podcast

1 Episodes

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Avg Length 1m

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Latest episode 15 years ago

Hi Exploders! this is for you guys!
Chicken Pi

16 Episodes

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Avg Length 21m

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Latest episode 10 years ago

Chicken Pi: Twisted tales intended for a mature audience. Horror, sci-fi, sci-fi/horror, and WTF. Be sure to subscribe to Chicken Pi; more twisted tales will be added.
A WINDOW TO THE MAGIC: VIDEOCAST (high definition)

109 Episodes

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Avg Length 8m

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Latest episode 3 years ago

The Ultimate Hi-Definition Disney Videocast Experience. A Celebration of the magical experience of being at the Disney Theme Parks and Resorts, brought to you by "The Disney Sounds Guy" Paul Barrie. "A WindowtotheMagic" is a Hi-Definition video journey into the wonderful world of the Disney Theme Parks, and the experiences which make those parks so fantastic. Containing ALL-NEW and ALL HI-DEFINITION VIDEO shot ON LOCATION at Disneyland in California and Walt Disney World in Florida, this show is just the fix every Disney fan (with an HD-TV or HD capable computer) needs when they can't get to the parks. Search WTTM in iTunes for more information and links to our other shows!