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Welcome to the absurd world of Paradise TV, Tokyo's very own interactive adult channel. Honeymoon explores modern Japanese society through the prism of sexploitation and reality TV. Directed by Drazen Stader of Slovenia, the film has a unique cultural viewpoint - mixing the European cinematic aesthetics with an American music video mentality. Honeymoon
son:DA belogs to that area of art characterised by linking of various technologies and media, as well as a new approach to the group work. son:DA is active in the fields of space installations, computer drawings, audio-video performances and different gallery project. Since 2000 son:DA has shown their work internationaly.
Their solo exhibition were in Razstavnem salonu Rotovž Maribor, Kibla Maribor, Galeriji Meduza Koper, Likovnem salonu Celje, Galerij Kapelica Ljubljana, ARCO Madrid, Turner contemporary Margate, Kunstverein-Porschehof Salzburg, Mario Mauroner Contemporary Vienna and Salzburg, C-O Care of Milano, LaVitrine Maribor, AP4-Art Lugano, Mali galerija MOMA Ljubljana, Miklova hiša, Galerija Škuc, New Moment Gallery Belgrade and Bitforms gallery New York.
Among other places, they were part of group exhibitions in Essl Collection Vienna, Renaissance society Chicago, Tate Modern London, Museum of contemporary art St.Louis, The Kitchen gallery New York, Stedelijk museum Amsterdam, Museum of contemporary art Solun, Museum of contemporary art Novi Sad, ARCOS Benevento, Center for Visual Introspection Bucharest, Kunstraum Bethanien Berlin, The Cultural Centre of Liège, Press to exit Skopje, MACRO Rome, Institute for contemporary art Sofia, Sonambiente Berlin, Kunstlerhaus Vienna and Graz, Center for contemporary art Velan Torino, UGM Maribor, P74 Ljubljana, MOMA Ljubljana, MGLC Ljubljana and on animation film festivals in Izola, Zagrebu, Florence, Utrechtu and Hiroshima.
In 2009 son:DA became a foundation for theory and practice of audio-visual art. Their archive can be found on http://sonda.kibla.org
WEB LINK & CONTACT:
http://sonda.kibla.org/
MAIL: sonda9@gmx.net
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o projektu / about the project ZVO.ČI.TI. (so.und.ing):

ZVO.ČI.TI. (so.und.ing) is presenting the work of artists and music by sound researchers: Marko Batista, Luka Prinčič (Nova deViator), Tao G. Vrhovec Sambolec, SON: DA, Octex, Borut Savski, Irena Tomažin and Bojana Šaljič Podešva. ZVO.ČI.TI. (so.und.ing) is a production of a thematically related sound-art audioperformances of Slovenian composers and sound artists in podcast format. The project integrate audio-Slovenian intermedia scene, creating the field of contemporary music on musical theatrical, audio and internet-based field and internet research performances.
The project involves the authors of young and middle generations that generate predominantly creative approach to music and sound for various forms of contemporary art projects. Featured authors are actively flirting with exploratory attitude to sound, music and sound presence in the field of contemporary sound-art.
The project ZVO.ČI.TI. (so.und.ing) is produced by CONA institute in a co-production with RAM LIVE and co-curated by Ilari Valbonesi (intermedia curator, director RAM LIVE).
Project is supported by the Ministry of Culture of the Republic of Slovenia. SONDA - "dubrovnik.008"
Luka Prinčič aka Nova Viator aka Nova deViator works in the field of sound and programming as a performer and composer. He is an artist, web-developer, dj, writer, critic, reverse engineer, part-time hacker and open source agent. Released numerous web-albums, worked at Ljubljana Digital Media Lab on various online, streaming and sound projects. Co-curated first Slovene digital moving image festival Scan Line.
WEB LINK: http://deviator.si/

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o projektu / about the project ZVO.ČI.TI. (so.und.ing):

ZVO.ČI.TI. (so.und.ing) is presenting the work of artists and music by sound researchers: Marko Batista, Luka Prinčič (Nova deViator), Tao G. Vrhovec Sambolec, SON: DA, Octex, Borut Savski, Irena Tomažin and Bojana Šaljič Podešva. ZVO.ČI.TI. (so.und.ing) is a production of a thematically related sound-art audioperformances of Slovenian composers and sound artists in podcast format. The project integrate audio-Slovenian intermedia scene, creating the field of contemporary music on musical theatrical, audio and internet-based field and internet research performances.
The project involves the authors of young and middle generations that generate predominantly creative approach to music and sound for various forms of contemporary art projects. Featured authors are actively flirting with exploratory attitude to sound, music and sound presence in the field of contemporary sound-art.
The project ZVO.ČI.TI. (so.und.ing) is produced by CONA institute in a co-production with RAM LIVE and co-curated by Ilari Valbonesi (intermedia curator, director RAM LIVE).
Project is supported by the Ministry of Culture of the Republic of Slovenia. Nova deViator: "fragments on radio art / tetsuo kogawa / xl experiment"
“Music is movement, variation, imagination and eternity. In other words: the future of sustainable energy. As a DJ I try to transfer and receive that form of energy from and to the people on the dance floor - mixing minimal techno tracks with electro house floor fillers. For the rough cases I always carry progressive and electro tracks in my DJ bag.”

Alexander Madness (AM) discovered daylight in 1978 in Koper, Slovenia. Already his mother knew that music is going to be one of his main interests: As a kid he always liked to stand in front of roaring speakers. Before diving into the universe of electronic music, Alexander was listening to rock, pop and all the other genres that are usually popular among the youth.

”I first got to feel the magic of electronic music in 1996, when sounds of fast hardcore hit my ears. Because that kind of music was rare at that time, I soon switched to slower rhythms of chemical progressive.”

In 1998, AM first stepped behind the decks and immediately felt the connection – and it’s still lasting. Like any other DJ he realized that the beginnings were not easy. His first gigs were played at local bars and private parties, but his technique evolved within years, as did his passion for the music.

In the past years he was switching from one e-genre to another until he really got into techno, which he still prefers. He plays mostly minimal/techno and electro/house but in his DJ case you’ll also find progressive and electro tracks.

He has been playing in all the major and recognized clubs, such as Ambasada Gavioli, Lipa, SubSub, K4,The Temple, Fun Academy, Oxygen, Netopir, The Club, The Cube, Playtime, Forest, Tivoli, Arcade, Culture club and many more. He participated also on Final Flash, Fetique-Boutique,Maximal, Astrodisco, Born to be Wild, The way of Freedom and Sound Of Summer festivals.

Throughout his eleven years run and after AM’s guest appearances in numerous venues in Slovenia, Croatia and Italy, AM has also shared the spotlight with some of the industries best DJ’s. Some of his collaborations include artists such as Valentino Kanzyani, Andy Moor, The Filterheadz, Richard Bartz, Len Faki, Bryan Cox, Oxia, Joris Voorn, Matthew Dekay, Seamus Haji, Criss Source, Danilo Vigorito, dA frESh, Mashtronic, Electrixx, Ade Fanton, Virgin Helena, Paul Hazendonk, Petar Dundov, Jamie Bissmire and many more.

BOOKING & MANAGEMENT

FLOW:MANAGEMENT
Marian Lopuh
Krozna cesta 8
6000 Koper
Slovenia

www.flow-management.net

info@flow-management.org
marian@flow-management.org

Tel.:+386-41-234552
Fax.: +386-5-9033222 Alexander Madness's Official Podcast
The Ultimate in Diversity n' Extremes In E-Music Broadcasting!!! Support the unknown :P!

CORE³ or Cubed Core RADIO SHOW - with AlienAqtor - EVERY THURSDAY through http://core3.9hells.org:9000/live.m3u

Experimental E-Music from all times - 50s til' the latest releases:

Digital Hard - Break - Ragga - Dub - Core, Mash-Ups/ Bootlegs, Acid, Hard Electro/ Techno/ Breaks, Ambient/ Minimalism, Concrete Music, Eletro-Acoustic, EBM/ Industrial, IDM/ Braindance, Grime - Dubstep - Sublow, Soundtracks for Horror. Suspense. Sci-Fi. B Movies, BRazilian Experimental E-Music & Lotsa things hard to define.

Every:
THURSDAY - Starting at:
8 pm - Brazil & South America.
3 - 6 pm - USA, Canada & Mexico.

FRIDAY - Starting at:
Midnight (0:00) - UK, Germany, France, Belgium, Holland, Spain, etc.
1 - 2 am - Turkey, Latvia, Slovenia, Russia, Lithuania, etc.
8 – 10 am - Australia & Oceania.

Listen:
http://core3.9hells.org:9000/live.m3u
(paste it onto your browser and listen on your favourite player: Windows Media, Winamp, etc ;)

A collective chat will be always on with the program, through MSN, add me:
harlempinheiro@yahoo.com.br
and be on it!

And please keep sending me productions/links from your music projects, fellas!
Send your thougher tracks (actually, hummm, also do it if they are something deep and atmospheric, or bouncy and pure fun) to: harlempinheiro@yahoo.com.br

And please keep sending me productions/links from your music projects, fellas!
Send your thougher tracks (actually, hummm, also do it if they are something deep and atmospheric, or bouncy and pure fun) to: harlempinheiro@yahoo.com.br

Cheers to everyone who, somehow, SUPPORT THE NON-OBVIOUS, DIVERSE & ORIGINAL works on: music, culture and arts in general!

---------portuguese-----------

Programa CORE³ ou Core Ao Cubo, todas as QUINTAS-FEIRAS, com Harlem "AlienAqtor", pelo http://core3.9hells.org:9000/live.m3u

Música Eletrônica Experimental De Todos Os Tempos - Anos 50 Até Os Mais Recentes Lançamentos, com ênfase na cena NACIONAL:

Digital Hard - Break - Ragga - Dub - Core, Mash-Ups/ Bootlegs, Acid, Hard Electro/ Techno/ Breaks, Ambient/ Minimalismo, Música Concreta e Eletro-Acústica, EBM/ Industrial, IDM/ Braindance, Grime - Dubstep - Sublow, Trilhas Sonoras de Filmes de Suspense.Horror.Ficção -Científica, Música Eletrônica Experimental Brasileira e outras coisas irrotuláveis.

QUINTAS-FEIRAS - às 20 horas, Ouçam:
http://core3.9hells.org:9000/live.m3u
(cole o endereço no seu browser e ouça em seu player preferido: Windows Media, Winamp, etc!)

Um chat coletivo estará acontecendo durante o programa, pelo MSN, basta me adicionar:
harlempinheiro@yahoo.com.br
E fazer parte do mesmo!

E continuem me mandando sons/links de seus projetos, pessoal, quero reforçar a cara brasileira em todas as próximas edições (pelo menos 50% dessa próxima é material de produtores brasileiros)!
Mandem as faixas mais fortes (mas se for algo belo e viajante, também) e coerentes com a proposta do programa! E-Mail para envio: harlempinheiro@yahoo.com.br

Obrigado a todos que, de alguma forma, dão força à NÃO-OBVIEDADE, DIVERSIDADE, INOVAÇÃO na música, mídia e artes em geral! CORE³
Radio Sraka Radio Sraka - 94.6 FM - Novo Mesto, Slovenia
Radio Saloman - 88.7 FM - Ljubljana, Slovenia
..:: PLAY TV ::.. Play TV - Slovenia
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 Octex (Jernej Marušič) - ZVO.ČI.TI (So.und.ing) 2010
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 Vasja Progar - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

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