Podcast appearances and mentions of Andreas Larsson

Andreas Larsson är författare, musiker och dessutom känslocoach. Hans första bok hette Uppvaknandet - Vägen till Spirituell Frihet och nu är han strax aktuell med dess uppföljare. I samtalet pratar om att stanna upp, känna in våra känslor och deala med vår egen skit. Vi pratar om att vara på ett själsligt uppdrag och inte bara söka ytliga dopaminpåslag. Vi pratar också om förändring - som i teorin bara handlar om att inte göra samma saker som igår. Vad är det vi flyr från egentligen? Hur skapar vi förutsättningar för att ta itu med våra känslor? Hur kan vi släppa taget, och vad är det egentligen vi släpper taget om? Det och mycket annat i ett grymt avsnitt! Fortsätt läs beskrivningen nedan och lär dig mer om hur du kan gå vidare! ------------------------------------------------------------------ Timeline för avsnittet: 00:00 Intro/försnack 04:35 Presentation av gästen 07:30 Avslappnade samtal och strukturerade samtal - vilka funktioner tjänar de? 09:45 Andreas origin story: hur blev Andreas Larsson från Trollhättan den som idag kallar sig för känslocoach, författar böcker, lirar hårdrock och är närvarande småbarnspappa? 16:00 Pandemiåret 2020 och personlig kollaps: närståendes bortgång, bli av med jobbet & skilsmässa 21:10 Kan vi skapa förändring utan personlig kris? Hur långt inne sitter våra insikter som kan leda till förändring? 23:00 Mind over emotion? Vad händer om vi sätter intellekt över känsla för mycket och för länge?  27:00 Personlighetspsykologi, flyktbeteenden och att deala med sina egna känslor 31:00 Flyktbeteenden blir till sjukdomar 33.45 Att ”släppa taget” - om vad då? vad är det ens? Vad har disciplin med det att göra? 37:55 Hur förändrar vi våra beteenden? + Veckans dos av Steven Pressfield: The Artist and the Addict 44:00 Hur skapar vi förutsättningar för att ta itu med våra känslor? 45:50 Hur uppkom boken ”Uppvaknandet - Vägen till Spirituell Frihet”? Vad betyder titeln? 55:00 Manligt & kvinnligt: spiritualitet, känslor och ego 56:45 Vilka beteendeskurkar ser vi i vårt moderna Sverige idag för att kunna nå inåt? Offerkoftor, undermedvetna tankar, quick fixes, rädsla m.m. 59:00 Hur kan vi bryta oss fria till att bli lyckligare, friskare och starkare individer? 1:04:30 Avslutande ord/brandtal/något som inte blev sagt idag? 1:05:30 Kom i kontakt med Andreas 1:06:50 Utro/eftersnack ------------------------------------------------------------------ Kom i kontakt med Andreas: Köp Andreas första bok på Adlibris ⁠ Andreas hemsida Uppvaknandet.nu Uppvaknandet.nu på Instagram Skicka ett mail på andy@uppvaknandet.nu ------------------------------------------------------------------ Kom i kontakt med FFF ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@henrikvalis⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@fitnessfilosofifloskler⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠fitnessfilosofifloskler@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ------------------------------------------------------------------ Kom i kontakt med mig som Personlig Tränare ⁠⁠⁠⁠⁠⁠Klicka här ⁠⁠⁠⁠⁠⁠och kom åt min kalender och boka en kostnadsfri konsultation med mig (online/Göteborg/Varberg) ⁠⁠⁠⁠⁠⁠Vagnhallen CrossFit⁠⁠⁠⁠⁠⁠ i Göteborg ⁠⁠⁠⁠⁠⁠@vagnhallencrossfit⁠⁠⁠⁠⁠⁠ på Instagram ⁠⁠⁠⁠⁠⁠Vagnhallen CrossFit⁠⁠⁠⁠⁠⁠ på Facebook ⁠⁠⁠⁠⁠⁠Varbergs Atletfabrik⁠⁠⁠⁠⁠⁠ i Varberg ⁠⁠⁠⁠⁠⁠@varbergsatletfabrik⁠⁠⁠⁠⁠⁠ på Instagram ⁠⁠⁠⁠⁠⁠Varbergs Atletfabrik⁠⁠⁠⁠⁠⁠ på Facebook YouTube - ⁠⁠⁠Fråga Coach Valis⁠⁠⁠ YouTube - ⁠⁠⁠Ett År av Mobility Flow-videos⁠⁠⁠ ------------------------------------------------------------------ Hjälp oss gärna genom att lämna en review av podden: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/se/podcast/fitness-filosofi-floskler/id1664145080⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/fitnessfilosofifloskler/message

Som ett 200-avsnittsjubileum får ni lära känna oss lite bättre med hjälp av vår vän Andreas Larsson som var med i avsnitt 195. Han ställer frågor om avsnitt, statistik runt avsnitt och streams, vilka avsnitt vi rekommenderar och andra kluriga frågor.  Detta avsnittet är nummer 201. Men vad har egentligen hänt under dessa avsnitt? Hur har vi utvecklat tekniken och behövdes det egentligen? Eller har Peter bara lurat Maria för att få köpa kul teknik?  Många ämnen kommer upp och flera länkar i gamla och mindre gamla avsnitt refererar vi till. Trevlig lyssning! Kram! https://open.spotify.com/episode/6zSoxumeavJjwpwITFNGSo?si=01f8874f7d48450a  Annika berättar om vad Danspassion är för henne. https://youtu.be/Ou8Wtjj_WmU?si=7KVXrjymOFCxhso9  Avsnittet med Sondre och Tanya. https://open.spotify.com/episode/1qThyzldyvnZPkBGgTdWmO?si=10985e4aa0ef44cb  Vi skriver en del 1 https://open.spotify.com/episode/3CVUM7EQoddJMb5EpGUmFi?si=82ec19020b16471d  Vi skriver en låt del 2 https://open.spotify.com/episode/0Z3aqMLzuIFgQcUfQ0Y3p0?si=4af9b4a5f88d4e4a  Avsnittet hemma hos Tony Irving https://open.spotify.com/episode/6TW0NcHsOulci7apxAR7u0?si=b8d912745cfc4b54  Andreas avsnitt. https://youtu.be/hkMuJU9ltlc?si=irw5mSonXoFtb3mu  Tobias Rambergs avsnitt

ARSENAL MALMÖ PODCAST!! S05E29- Minnen från Main Road Vi är tillbaka efter landslagsuppehållet och i detta avsnitt av Arsenal Malmö podcast välkomnar Niklas Lindblad, Andreas Larsson från Manchester City Sweden som vår gäst. Tillsammans sätter vi oss djupt in i fotbollens värld - en intensiv diskussion om supporterkultur, klubbliv och självfallet de två dominerande klubbarna - Manchester City och Arsenal. Utforska starten av Andreas Larssons supporterresa till Manchester City och hans perspektiv på klubbens framgångar, utmaningar och den internationella uppmärksamheten de vunnit. Samtidigt tar vi oss an ett seriöst prat om det varierande antalet supporter, den rådande konkurrensen och utmaningarna med biljetter till attraktiva matcher. I detta åskådliga panorama av Premier Leagues intensiva stämning, analyserar vi lagens unika möten, stämningen höjdpunkter och lågkänslor, fansens hängivenhet, samt den spända rivaliteten mellan Manchester City och Arsenal. Vi belyser det verkliga spänningen av att vara underdog och möjligheten att 'knäppa storbror på näsan'. Slutligen, få en tjuvtitt på framtiden när vi överväger vilken inverkan utkomsten av den kommande matchen mellan Manchester City och Arsenal kan ha på resten av säsongen. För fotbollsälskare och äkta supportrar erbjuder denna podcast episod en fascinerande inblick i denna brinnande värld.   www.arsenalmalmo.se Facebook- Arsenal Malmö Instagram- arsenal.malmo  

Avsnitt 450 av Fotbollsmorgon inleds på bästa vis med ett samtal till Seans mamma som återigen skickat med en salad olivie och en aubergineröra till oss som vi avnjuter under inledningen. Vi ringer sedan upp Sirius tränare Christer "Kitten" Mattiasson som tycker det är pinsamt av media att tippa Sirius på en 12:e plats i år.Vi gästas sedan av Janne Andersson som bjuds på korv och som tack för det hintar han om sitt nästa jobb som kan bli klart redan nästa vecka.Efter det kommer mannen bakom köpet av Fabbes "Processorn-tröja" - Andreas Larsson och utöver att berätta vad han kommer göra med t-shirten så har han även med sig ett eget bidrag till vår Tradera-rensning.Axel Lindahl har bytt Kalmar FF till BK Häcken så vi kollar med honom om varför han tycker det är ett steg upp i karriären och om han hoppas att lånet ska övergå till en permanent flytt.

I Utveckla 57 pratar vi om något annat än backend, databaser och kod,  istället går närmare in på ett ämne vi många dagligen är exponerade för - imposter syndrome! Vi pratar med Andreas Larsson som arbetar som universitetslektor på Mittuniversitetet i Östersund. Imposter syndrome är en känsla av att inte vara kompetent nog, fast det finns bevis på motsatsen. 

För många tävlande inom BRR-danserna är numera Andreas Larsson känd som domare och tränare men han har även själv under många år tävlat i de flesta om inte alla disciplinerna. Han berättar om sin tävlingskarriär,  husbygge, om att få tiden att räcka till och om vägen till att bli domare. Vi pratar om regler, domarnas arbete och hur han tänker under en tävling. Trevlig lyssning! Kram! https://www.instagram.com/sprutlarsson/  Andreas Instagram

Många svenska tätorter ligger nedanför kraftverksdammar och kan vid ett dammbrott bli översvämmade. Risken är låg men nu förstärks många dammar då extrema flöden väntas bli vanligare i framtiden. Lyssna på alla avsnitt i Sveriges Radio Play. Göteborg, Umeå, Sollefteå, Luleå, Karlstad, Mora, Skellefteå – alla ligger de vid vattendrag som kommer översvämmas våldsamt om det skulle bli ett haveri på en stor damm, högt upp i respektive vattendrag.Risken är låg men dammbrott kan inte att uteslutas. När nu många stora svenska kraftverksdammar renoveras och förstärks beror det på två saker – dels börjar dammarna bli gamla, dels förväntas extrema flöden bli vanligare i framtiden.Sveriges högsta damm (125 m), den i Trängslet har dels förstärkts med mer material i själva dammvallen, dels har möjligheterna att släppa ut vatten från dammen ökats.I Lilla Edet i Göta älv ersätts den gamla kraftverksdammen med en ny.Dammen får fyra stora luckor 16x6 meter stora. Det gäller att luckorna kan manövreras i alla lägen då dessa är den enda möjligheten att släppa förbi vatten i Lilla Edet.Dammolyckan i Braskereidfoss i Norge 9 augusti 2023 berodde på att dammluckorna inte gick att öppna. Där fanns ingen alternativ utsläppsmöjlighet. Men de flesta stora dammar i Norge är försedda med ett så kallat överfallsutskov, dvs en kant vid sidan av dammen, placerad något lägre än dammkrönet, över vilken vatten kan rinna över när dammen är full – utan att luckor behöver öppnas.– Vi ska kunna köra luckorna i Lilla Edet och har reservsystem för att alltid kunna göra det, säger Yvonne Björnström, teknikchef på Vattenfall vattenkraft.– Det är bra att ha en annan lösning också, i fall det av nån anledning inte går att manövrera dammluckorna, menar Maria Bartsch som är dammsäkerhetsspecialist på Svenska Kraftnät.Medverkande: Yvonne Björnström, teknikchef på Vattenfall vattenkraft, Maria Bartsch, dammsäkerhetsspecialist på Svenska Kraftnät, Per Fektenberg, projektledare Trängslet Fortum, Johanna Pettersson, boende Älvdalen, Andreas Larsson, projektledare Lilla Edet Vattenfall Programledare: Mats Carlsson LénartProducenter: Björn Gunérbjorn.guner@sverigesradio.seCamilla Widebeckcamilla.widebeck@sverigesradio.se

My guest this week is Andreas Larsson, creative director and partner of Berg & Berg.Andreas and I discuss the nordic perspective on clothing, why he walked away from football for fashion, building Berg & Berg, getting fits off at Pitti, throwing clothes in the Disney vault, and why he's able to get dressed in so fast every day.*Sponsored by Standard & Strange – Get the facts on loopwheel

The Wine Pinnacle Awards is a prestigious award held yearly.  The Technical Committee comprises five internationally renowned wine experts, Committee Chairwoman Ms. Jeannie Cho Lee of Hong Kong, Mr. Andreas Larsson of Sweden, Mr.Doug Frost of the United States, Mr. Kenichi Ohashi of Japan, and Mr Oz Clarke of the United Kingdom. Mr. Doug Frost will explain the process and winners from this year.

Andreas Larsson, psykolog och lektor vid Mittuniversitetet, pratar med Lars om värderingar i föräldraskap. Vad är skillnad mellan att sätta upp ett mål för sig själv, och att formulera sina värden? See acast.com/privacy for privacy and opt-out information.

2015 årgangen fra Meursault fortjener hummerSkalldyr smaker best om vinteren, og Jon Trygve og Svein har lyst på hummer på nyåret. Men hvilken vin passer godt til hummer? Svaret finner de i Meursault i Burgund i ukens podcast. 2015-årgangen fra Guy Bocard er et stjerneeksempel på et røverkjøp i dagens burgundmarked. Vinen fremstår i en moden klassisk stil som viser at Meursault er på sitt beste når vinene får noen år i kjelleren. Temaet i podcasten skifter når Jon Trygve og Svein begynner å snakke om verdens beste vinkelner, Andreas Larsson. Han ga noen veldig gode råd om pris og kvalitet som gjør det verdt å lytte på podcasten alene.Guy Bocard Meursault Vielles Vignes 2015 kr 469Ps: Om 2015 årgangen er utsolgt, prøv 2016 årgangen. Minst like god See acast.com/privacy for privacy and opt-out information.

Många av oss lever livet på autopilot, vi kopierar det vi ser och lär oss inget annat under vår uppväxt. Vi tar in det som blir vår sanning, men är det verkligen vår sanning? Ett filosofiskt samtal och samtidigt brutala sanningar varvat med ifrågasättande och kniviga frågor. Vi är båda sökare som fann svaren inom oss själva och nu vill vi få dig att hitta Din väg. För att nå Andreas och boka coaching hör av Dig till andy@uppvaknandet.nu, hemsidan hittar du här: https://www.uppvaknandet.nu/ Och Instagram är @uppvaknandet.nu För dig som vill stötta mitt arbete med denna podd gå till www.patreon.com/bakomfasadenpodden

Många andades ut när restriktioner lättades igår. Men är Sverige berett på den mer smittsamma deltavarianten av coronaviruset? Vetenskapsradions medicinreporter Annika Östman gav sig ut i Visbynatten för att se hur turister och bofasta agerar. Smittskyddsläkaren Maria Amér och Andreas Larsson, chef för tillsynsenheten vid region Gotland, analyserar läget den första kvällen med de lättade restriktionerna. Läkaren och utredaren Elisabeth Bernspång vid Läkemedelsverket reder ut hur vaccinen fungerar mot den mer smittsamma deltavarianten av pandemiviruset som väntas bli dominerande i Sverige. Smittskyddsläkaren Anders Nystedt i Norrbotten förklarar varför hans område länge toppat smittspridningen i Sverige. Programledare Annika Östman annika.ostman@sverigesradio.se Producent Björn Gunér bjorn.guner@sverigesradio.se

Zeitgenössische Reviews in den Magazinen beschrieben das 1991 erschienene Eye of the Beholder gerne als hübschen Dungeon-Master-Klon, was dem Erfolg und heutigen Nachruhm nicht entgegen stand: Der Dungeon-Crawler von Westwood/SSI gilt heute als absoluter Klassiker des Genres. Da bereits seit einigen Jahren ein kleines, motiviertes Team rund um Andreas Larsson an einer C64-Portierung arbeiten und der Release noch in 2021 bevorsteht, wollten wir doch mal mit einem der Macher hinter dem Projekt sprechen: Pixelmagier Oliver Lindau, auch bekannt als V3to. In dieser Folge sprechen wir über Olis Werdegang sowie seine bisherigen Projekte (ua Caren and the Tangled Tentacles) und tauchen dann tief ein in Eye of the Beholder für den C64. Seid auf einige Überraschungen gespannt, was Featureumfang und den Blick hinter die Kulissen angeht... Viel Spaß beim Hören! Lust direkt über diese Folge zu diskutieren ? Schau doch mal im Nerdwelten Discord Kanal oder auf unserer Facebook Seite vorbei ! Wir freuen uns über dein Feedback ! Auch für eure Unterstützung sind wie sehr dankbar, mehr Infos gibt es HIER Die Nerdwelten Musik stammt von Ben

Andreas and I go back five or ten years. He hired me as a coach when he was selling his share of a business he cofounded. He appears in my book Initiative about that experience and what he's done since.I invited him as a guest for two reasons:One, he started the Leadership and the Environment Sweden podcast. I shared with him my vision of working on sustainability in a way to help people become valuable in their communities. I coached him on podcasting. He's still ramping up with only a few guests so far, but you'll hear in this episode his experiences, how shy and introverted he felt before starting, and how much the training led him to enjoy it.Two, he's taken on challenges to act on environmental challenges to where he looks forward to taking on more. He talks about his challenges to avoid plastic, sleeping outdoors once a month, limiting his meat, and the unexpected joy they've brought him. You'll hear how acting changes his perspective from expecting a burden or chore to enjoying the process, from feeling disconnected to learning more about himself. He's starting, so I look forward to bringing him on again after he's reflected more.I hope you'll listen actively, thinking about communities you'd like to bring joy and stewardship to and how strong his fears were thathe's enjoyed getting over. If you'd like to start a Leadership and the Environment offshoot, contact me, let's start training you, and let's start you meeting, befriending, and becoming a peer of the most important people you can think of.Andreas said,You might find it interesting how my no plastic challenge is developing. Yesterday I went to a summer party with my now former colleagues. And I've consumed very little plastic these past few months and I've gotten used to and it feels good to not do that. So when they bring in all the food they've ordered for everyone, all of it packaged in plastic, with plastic forks and plastic cups I feel horrified. I keep seeing the mountains of plastic in India from that documentary you recommended, and the plastic beaches in the Philippines. My rule was no plastic when I buy food in the store but now I think I need to step it up.I can't tell you how heartwarming hearing someone share how my influence helped someone improve his life feels. I'm not sure what you heard, but I heard profound change in many areas---personal leadership, environmental stewardship, meeting people, self-expressionMost of all, I heard deep connection with something powerful through connecting more with nature. I heard him struggling to put into words the feelings propelling him to keep doing more, to look for more motivation even if it means seeing horrifying things, to share withothers.Ledarskap och miljön Sverige (in English Leadership and the Environment Sweden) See acast.com/privacy for privacy and opt-out information.

This week, Aleks sits down with Andreas Larsson, the creative director of Scandinavian tailoring brand, Berg & Berg, which offers well-dressed men “a contemporary approach to classic style with a Nordic point of view”. We’d not met Andreas before, so we simply wanted to know what this means, and how he approaches his work as a designer and clothing creative.We caught him during Pitti Uomo in January 2020, and grabbed a quick 40 minutes between meetings to learn a little more about his route into menswear, his work for Berg & Berg, and to get his take on why the fashion industry needs to think differently about sustainability today.***HandCut Radio is proud to be sponsored by Thomas Mason, an historic mill that’s been supplying famous designers, shirtmakers and tailors with world class shirting fabrics since 1796.***Show Notes:Andreas Larsson — Instagram | Website[05:10] Gieves & Hawkes[05:36] Berg & Berg[05:47] Vitale Barberis Canonico[26:19] Johnstons of Elgin[27:47] Arnold Trousers by Berg & Berg[28:52] Raglan Coat by Berg & Berg[34:22] Milad Abedi on HandCut Radio---HandCut Radio is produced by Birch, a London based creative agency. Our theme music is by Joe Boyd.

Rick Valicenti (founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities), Iker Gil (architect, director of MAS Studio, editor in chief of the quarterly design journal, MAS Context), and Jenn Stucker (associate professor and division chair of graphic design at BGSU, founding board member of the American Institute of Graphic Arts, AIGA Toledo) discuss community-based collaborative design.    Transcript: Introduction: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Intro Song Lyrics: I'm going to show you this with a wonderful experiment. Jolie Sheffer: Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Sheffer, associate professor of English and american culture studies and the director of ICS. Today we're joined by three guests working in collaborative design fields. First is Rick Valicenti, the founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities. His work has been exhibited in the Museum of Modern Art and resides in the permanent collections of the Yale University Library, Denver Art Museum, and the Art Institute of Chicago. In 2011, he was honored by the White House with the Smithsonian Cooper-Hewitt National Design Award for communication design. Jolie Sheffer: We're also joined by Iker Gil, an architect, the director of MAS Studio, editor in chief of the quarterly design journal, MAS Context, and the editor of the book, Shanghai Transforming. He curated the exhibition, Bold: Alternative Scenarios for Chicago, included in the inaugural Chicago Architecture Biennial. Iker is the associate curator of the US Pavilion at the 16th Annual Venice Architecture Biennale. In 2010, he received the Emerging Visions Award from the Chicago Architectural Club. Jolie Sheffer: Finally, I'd like to welcome Jenn Stucker an associate professor and division chair of graphic design at BGSU. Her work has been published in several books on design and she's received various awards including two international design awards from How Magazine for her community based works in Toledo. She's also a founding board member of the American Institute of Graphic Arts, AIGA Toledo. And she previously co-chaired two national AIGA design education conferences. Jolie Sheffer: The three of them are here to talk to me as part of the Edwin H. Simmons Creative Minds series. Thank you and welcome to BGSU. I'm thrilled to discuss more of your work on creativity and collaboration. I like to start by having you each give a little background on your current work and how you came into the kind of design work that you're doing. So Rick, how did your career change from your time as a student at BGSU to your work now? What are some of those major u-turns or forks in the road for you? Rick Valicenti: Well, thank you. That's a good question. That's a really good question. Okay, so let me fast backwards to 1973 when I graduated from Bowling Green. I went back to Pittsburgh, spent some time in a steel mill for two years, went to graduate school at the University of Iowa. Came to Chicago afterwards with two graduate degrees in photography and discovered that I was not interested in photographing hotdogs, cornflakes and beer. So with that I thought I would leverage a time in the writer's workshop doing a little bit of letter press work as well as my time at Bowling Green studying design. And I thought I'll be a designer. It wasn't that easy. But it has been a journey for now almost four decades since then to get to a place where I feel there's relevance in what I do. And that has been the challenge, and it continues to be the challenge. Design, as you know, is a practice that has at its core, or patronage, somebody else. Rick Valicenti: In fact, it's been said you have to be given permission to practice graphic design. Not necessarily the case, you can do self-initiated projects. And it was in leveraging what I learned in graduate school, which was how to make up a project, how to provide for myself a thesis and then create work in response to that. That has allowed me to both do that on my own as well as in collaboration with other people. And then to encourage younger designers under some guidance to do the same. And of late, the more interesting work has been work that has been related to an issue, not unlike the work that Jenn practices in her classwork. But to me that's the most fulfilling and it was unfortunately not the work that I showed because it was work I was prepared to end the evening with. But I chose because we had been blabbing for so long last night to just stop early. But it's okay. Jolie Sheffer: Tell me what led you to start your own firm? Rick Valicenti: I was one of those lucky designers who, while it was difficult to crack the Chicago design scene, two years of doing what I would refer to as thankless design work, design work where I was asked to do something prescriptive. Like do this by Friday. Yes, I could do that. I was quite good at it. I lucked out by having the opportunity to be the dark room guy for a very reputable Chicago designer, who was at that time 63 years old. And so in his last three and a half years of practice I had moved from the new guy in the studio to the last employee he had. And it was a fantastic experience to be in the company of real design practice. Design practice that understood the history, it understood the present, and it was looking out to the future. This guy was connected to the other thought leaders in the Chicago design community and I had access to them even though it was vicarious. Jolie Sheffer: Great. Thank you. Iker, tell us about your journey into Chicago architecture and the current kinds of collaboration you do. How has your approach to design changed over time and what were some of those key junctures for you? Iker: So I'm originally from Bilbao, which is a city in the North of Spain in the Basque country. And I think a lot of the changes in design and a lot of the ways that I've been thinking had been motivated also by the change of place or how the people that I've encounter or any other aspects that really change as I move from other places. So from Bilbao I went to Barcelona to study architecture. I had the chance there to not only have the professors that were faculty there, but also other visiting professors, like David Chipperfield and Kazuyo Sejima. So that was a way of beginning to connect with other experiences that maybe were not the local ones. And I was very interested in expanding that. And I've had the luck to get a scholarship from IIT in Chicago to go there for a year. Iker: So it was a little bit coincidentally in a way that I ended up in Chicago. And I was there for a year as an exchange student, I still had to do my thesis so I went back to Spain. But there was something about Chicago, a apart from my girlfriend that now is my wife, who is from Chicago. But there was something very intriguing about the city, a lot of potential, very different from being in Barcelona. But there was something always in Barcelona that was interesting for me about the cultural aspect of architecture. There was the aspects of people building a significant building or just a civic building that there was always a publication and an exhibition, a way of coming together to talk about why those things were important. Iker: So when I went to Chicago, when I moved back and I did my master's, I worked for an office. I was always interested in the ADL, the community, the design community, the architecture community. How do you strengthen that and how do you create the platforms to do that beyond what you can design? So I decided at some point that I really wanted to make sure that I did both of those things. And I went on my own about 11 years ago just to make sure that I could create the designs within my office, but create other platforms for others to have that conversation. And more recently I've been able to create the structures to support or organize design competitions and really began being interested in not only the final product, but how do you structure the conditions for those things to happen. Jolie Sheffer: So you're talking about not just designing buildings, but designing communities and relationships. Iker: Yep. And I think that's a role of, in my case, an architect or designers. Like the work that you do, but also the work in the city that you do. And how are you part of the community, and also how are you proactive shaping that community? Not something that you want to benefit from someone else's effort to structure something. What is what you can do and why you can give to the community back? Jolie Sheffer: Great. Jenn, talk to us about your path into graphic design and how your approach has shifted over time. Jenn Stucker: So I was at graduate here at BGSU. Very proud of the training and the experience that I had from Ron Giacomini, a chair that Rick also had the opportunity to study under. And when I graduated I went right out into the field, I got a job in graphic design. And I think was pretty good at my craft and pretty good at making. And also at the same time pursuing this educational path. I am originally a transplant from Colorado, I guess you could say. And one of the things about the Toledo area is there's this "neh" mentality. It's the rust belt. I- Jolie Sheffer: Better days are behind us. Jenn Stucker: Yeah. [crosstalk 00:09:16]. Yes. It's definitely like, why did you move from Colorado to Toledo? Is usually the question that I get asked. And I'm always like, wow, there's so many great things here. You're four hours from Chicago, you're this far from Toronto, you're this far from here. In Colorado you're four hours from the border of Wyoming, at least where I live. Right? And you're looking at the same topography and you're not getting any cultural change. And so for me, my family was here. My husband and his family. And so I was here for the long haul. Jenn Stucker: So the idea really just became, I need to bloom where I'm planted. I need to make this space and place better, and contribute to it and work towards that. Changing the attitude, how do we create positivity in this community? And so I started getting involved in creating projects that really illuminated Toledo in a positive way. And so then I reflected back on the fact that I wasn't necessarily armed with that as a student, with that understanding of the fact that I had agency and power that I could do something. I didn't necessarily have training with, how do you collaborate and get a, you know, writing a grant to get the funding for this? And who do I need to talk to and who needs to bring this to the table? And all of those things. Jenn Stucker: So part of that I think now is coming to what I do as an educator, is to show those students. I tell them, I have no idea what I'm doing. I'm completely fumbling through this. I don't know what I'm doing. This dots project in Toledo that I'm literally the one that's going to be photographing all the dots around Toledo, or trying to find spaces in January and it's cold. And then actually putting them down on the ground and actually taking them off the ground and doing these sort of things. I don't know that when I'm creating the idea. But I know it has to get done and I'm going to do that. And the fact that I'm just Jenn is what I tell them. I'm just one person, I'm not any different than you. And so I try to give them a lot of power that they can do that thing that they want to make change for. Jolie Sheffer: You're all talking about very place-based design practices, or in different ways your work is all very much about locating yourself, right? And building in relationship to that community, and creating community. Could you give an example, Rick, of one of your projects that had a very Chicago-centric, and how that place shaped the process and the collaborations that you developed? Rick Valicenti: With pleasure. In 2016, I was the artist in residence at Loyola University. And there we devoted an entire year to prototyping empathetic ways of grieving for those who were left behind by gun violence. That was a very Chicago-centric theme. And it was something that I was curious about beyond the candle vigil, right? Or the protest march. Are there other ways we can come together both as community led by design in order to acknowledge and honor the life lost? And of course help the healing process for the families left behind. That was a very place specific design assignment. The difference was we were doing it on the North side, and a lot of the activity, gun violent activity was happening on the South side. Not all of it because in the building that we were located, in the alley right next door one of the students had been shot. Rick Valicenti: Down the street the young photographer had been shot and killed on that street. So as they call it, the franchising of gun violence had migrated North to the Rogers Park and Edgewater area, which is where Loyola is located. It made it more real and more tangible, but the prototyping of these empathetic gestures was, I think, healing for all of us. And I've been rewarded by that project ever since. And I really want to see now if something like that can migrate to other cities. And I've been talking to a few people like, wouldn't El Paso benefit from this kind of intervention? Dayton, Ohio, would they not benefit from it? Jolie Sheffer: And could you talk through what that project actually ended up looking like? Rick Valicenti: I'll give you an example. There were 20 students in the class, half of them were from the fine arts area, half of them were from design related fields. And so they all had different approaches to it. And every class began with somebody from the outside. Rick Valicenti: Okay? And I thought this was important. And Iker knows this model of practice that I use, I call it moving design is what I have named the umbrella. But I'll give you an example of three kinds of people who came to the class. One person we arranged for a car to pick up the head of the emergency room at Stroger, which is the hospital, Cook County hospital. And this guy was picked up in a car, came to our class in his [Ohar 00:14:07] blacks with his red tennis shoes. And it was the day after a very violent weekend. This guy showed up shell shocked. You could just see the trauma in his face. He never made eye contact with the students. He was a young guy, maybe 38 or something, had his head down as he spoke. And that was a moving moment. More for me, I think, than anybody else. Rick Valicenti: But it was like, oh my God, here's a first responder who's there and he told us of some of the things that he had seen that have kept him from sleeping. We also had Emory Douglas, who was the communication director, minister of the Black Panthers. So Emory talked about the use of graphic design to move an agenda. And how an unskilled, unfunded initiative of communication design could migrate into the public through the printed ephemera. And he was there to really rally these students. That was fantastic. And then another woman, her name was Cecelia Williams. Cecelia Williams was 28 years old. She is an activist. She's a mother. And in her 28 years she has lost 29 family and friends to gun violence. The first one was her second grade teacher. She came to the class, again, with her version of PTSD. Moved the students and begged the students to do something. Rick Valicenti: Just something. It was in the form of just write the mothers of one of these victims a sympathy card after you hear the headline. Right? That's a simple thing. Or, gather all your cards and one person just take it to the funeral home and leave it in the basket. Simple moment. If you'd like I could share you an example of one of the projects, how we manifested our work at the end. We had lots of installations and interventions around the area, but one in particular was a community based exercise. I showed them an image of logging in Wisconsin. Tree logging. And those images that we're all familiar with are the felled trees in the shallow water, and the guys are standing on the tree trunks. And I said, it wasn't too much earlier before that picture was taken that those were living organisms, but now they're felled to the ground. And let's just imagine that we use the tree trunk as a symbol of those who are fallen. Rick Valicenti: And we've returned them to their vertical position. So that was the form of it. And then we started to talk about, well what could we put on those and what is the form? Are we going to be having tree trunks, that seems wrong. So we ordered lots of very long and very huge custom mailing tubes from a firm in Chicago called Chicago Mailing Tubes. And they made 24 inch, 18 inch and 12 inch mailing tubes of varying lengths. We had them wrapped in white paper and then the students took the grid of Chicago and wrapped each of those trees with black tape to suggest, not replicate, the grid of the city. And then we invited the community to come. And we had the list of the 760 some victims from the previous year to write their first names in whatever black calligraphy we could, whether it was with a Sharpie or whether it was with a brush pen. Rick Valicenti: And to see the community members come together with the students, honoring everybody with the names. And so, okay, that's one facet of it. And we have all these tubes now, and we put end caps on the tubes and the students started to talk about things that they would like to say. If you had to say something to a mother, to a community, to just reduce the pain of gun violence, what might it sound like? Everyone is a hero. I miss you, I miss you, I miss you. Whatever those messages were. And they typeset them in a black and white type, in all caps in a Gothic typeface on an orange disk. That orange disk had a hole cut in the middle and there was an orange piece of a cord, nylon cord, that we knotted. And that provided now these tree trunk-like forms to be carried. Rick Valicenti: And so there was a procession around town into the quad of the campus until they... Oh, I'm sorry. When the morning started all of the trunks were there in the center of the quad. That's right. Like the felled tree trunks. And then the procession started. And there were prayers read, and some music played, and some dancers from the music school came and they did a performative dance. A kind of celebration and resurrection, if you will. And then we were all invited to grab the chords and walk the trunks back to the alley where this student had been shot in the back, and return them to their vertical position. And there, I don't know, there we just reflected on it. But it was all quite moving. And we had it filmed and photographed and there was the record of it that could carry on. Rick Valicenti: We thought that could live in other places. The alderman, I'm sorry if I'm going on so long, I'm taking up this whole hour. But the alderman, his name is Harry Osterman, he was also invited to come. And he said, you know what, I would like that to be re-installed in my local park. And sure enough we installed it in his park and complete with all of the rides that a kid would have, the seesaw on the slide. A couple weeks later we get a call from alderman Osterman's office saying, it seems that there has been some violence in the park and your display has been vandalized. In fact, it has been destroyed. It has been cut up. It has been sawed. It has been smashed. Rick Valicenti: And I thought immediately, oh my God, the last thing we need is for Loyola to be a headline. And this good intention to be diminished. So we quickly scrambled and we went and we cleaned up the site and we got a chainsaw, we rented a chainsaw and we cut the things up so that we could transport it. And here what had happened was the other gang from the other side of the street was upset that, right, there had been some franchise in some retaliation of a recent shooting and this was the way that they could mark their territory. So there's lots healing that needs to be done, but design was certainly there to put a mirror to it. To make a good intention. And to certainly reveal the scab or the wound. Jolie Sheffer: Iker, can you give us an example of some of your place specific work? Maybe one particular project. You talked last night about the Marina Towers. I don't know if you want to talk about that or feel free to take that in a different direction. Iker: Yeah. Maybe one thing that I think is more important is structurally I think being in Chicago is what has saved my practice. I think a lot of the opportunities of doing self-initiated projects or projects that I was particularly interested are allowed to happen in Chicago because maybe there is not the pressure that there is in New York or any other places. And I think the idea of having space as a designer and an architect to think about things was something that I found very important and very unique to Chicago. Iker: So I think in a way, the way I was trained and the way I practice right now is different because of being in Chicago. And particularly that project of Marina City, I think it's one that it's very specific to the idea of Chicago about how it reflects how I work and how the projects evolve. And taking one icon of the city and really using that for me as a personal interest in understanding not only the building but understanding the architect, the ambitions of the architect. Why that building was so forward thinking when it opened in the early 60s. And then beginning to understand, how do you capture that value? Iker: How do you tell that story to people who are not architects? What are the tools that you have? And in that case I worked with Andreas Larsson, a photographer, to really begin to capture the diversity of the community. And it was a way of saying, you don't have to read plans in sections and elevations or use models to communicate the value of a building. There are other ways that maybe you can engage. And then through that you can learn some of the other things. Iker: And then that was exhibited, and then it has continued in doing then renovations in the building with Ellipsis Architecture. So always in collaboration with someone else. And the idea there is that, how do you celebrate the spacial qualities of the marina architect, but at the same time making it modern so new people can be living there. So it's an interesting project that has been ongoing for 10 years. And it just summarizes my interest in Bertrand Goldberg. And then as you work with other people, as you evolve or you have other skills, you can really begin to communicate that in different ways. And I can see that he's probably not going to be the last renovation or not the last project in some shape or form that I'm going to do about that building and that architect, which I think it's fantastic. Jolie Sheffer: Well there's something really interesting. You said something about this at your talk about how a project never really ends, it just sort of evolves into some new shape. Right? And clearly that work is an example of that notion that you never really have an end point. And your example too, Rick, went that way. That it takes on a new form and it may be not what you intended or what you imagined, but you have to let that life go on. Iker: I think in the end they are like your own personal obsessions. They are your interest, but it's sometimes it's an interest and sometimes it's an obsession. And they are in the back of your mind and then there is something that happens that it comes forward again, you have the opportunity to do it and then he goes back. But there are things that obviously you have a certain attachment. And then you realize that there are a lot of buildings, in this case, that share some of the ambitions because they were built in the same period. And then you can make a comparison or connect it to other experiences in other cities. So something that is very local and particular you can engage in a conversation with something that is happening in other cities. So I find it very particular, I never let go of those interests. It's just they transform and the outcome is very different. Jolie Sheffer: And Jenn, you mentioned the dots project. Could you talk about what that was and how that was very much play specific to Toledo? Jenn Stucker: Absolutely. So the genesis of that project came from the Arts Commission. I'd previously had done a banner project for them collaboratively with my colleague Amy Fiddler. And at the time I was president of AIG Toledo. And they came to us to say, oh we're having the GAS conference, the Glass Art Society is going to be coming. It's an international conference and maybe you could do some banners again. And I thought about that and really wanted to do something different. And one of the things about banners is the passivity that it has. And you have to be looking up, kind of encountering those. And so I've always been fascinated with maps and the "you are here" dot specifically. When I go to museums, when I go to zoos, wherever I'm going, I look for that and it gives me a sense of place. And the idea of sense of place seemed very important here at this time. Jenn Stucker: They were going to have people coming from all over the world. What is our sense of place? What is Toledo? And knowing that I wanted people to discover the city, and hopefully through walking. And how could I branch out into various places? So thinking about this dot of "you are here" and wanting people to discover the city, came up with this idea of three foot circular dots that had artwork on them created by a hundred different artists in Toledo that were site specific to that place. So working with the Arts Commission, what are the signature places in Toledo? The Toledo public library, the San Marcos Taqueria. It could be anywhere within the Toledo area, Point Place. So they helped curate that list. We talked about signature points, reached out to all of those establishments to say, more or less, congratulations, you're going to be part of this project. So that they would know that there was going to be a dot in front of their place. Jenn Stucker: And then having artists participate in creating those dots. And then on the dots was a QR code, and this was 2012, so it was still kind of cool then. And the idea was that you would scan the dot and you could then get the background information about the place in which you were standing. So you would learn about St. Patrick's Cathedral and get more information. And then to also give honor to the artist that they too would have their artist statement and what inspired the artwork that they created. And so one of the things about public art is that oftentimes if it's a sculpture, it's a very place specific, and only if you go to that place. And it's typically usually one artist. And so what I really liked about this project was that it was a hundred different artists that were participating in this. Jenn Stucker: And it was originally developed for outsiders to discover Toledo. The things that happened secondarily to that were amazing, where I was getting emails from people that had read about it in the newspaper. And one couple in particular said, we've read about this, we went out to start looking for these dots. They collected 25 of them and ended up at San Marcos Taqueria, said they had the best tacos they've ever had, had no idea it was even there. And they said they were looking forward to discovering more of their city. And I was like, that's a mic drop kind of moment. It couldn't have been any better than having people really realize the great things that we have in the community. So the byproduct of that was just, like I said, people seeing the great things that were here. Jenn Stucker: I wish I'd partnered with a cell phone company at the time because we had people that are actually buying cell phones. Because really, the iPhone had only come out, what, 2007 or something. So we're not too far to not everybody having a smartphone. There were people that were going out to buy a smart phone so that they could participate in this project. And there was a scavenger hunt component too, so we had an app for it. And the first hundred people to digitally collect 25 dots got a custom silkscreened edition poster. And so people are posting on Facebook and finding this dot and taking their children out. And I don't know, couldn't ask for a better project. Jolie Sheffer: We're going to take a short break. Thank you for listening to the BG Ideas podcast. Speaker 1: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Welcome back. Today I'm talking with Rick Valicenti, Iker Gil, and Jenn Stucker about the importance of interdisciplinary collaboration in creative fields. One of the things that you both talked about during your visit was the idea that the form of a given project will change, right? And I think Iker, you put it as something like, what's the story I want to tell and what's going to be the best form to tell that story? So how do you go about, what is part of your process and figuring out that answer to that question of the relationship between form and story? Iker: Yeah, I think that came out about the work and the way we structure MAS Context. And then really the first thing is just framing what the topic that we want to do, and then who should be the voices that need to be part of that issue. And sometimes you realize that you need something that sets the ground and it might be more academic. It might be an essay that really gives the shape to that. And then there are many other elements that can compliment, that can contra, that could take another direction that comes in the form of a short essay. And you need to be very aware. I think that a lot of the work that I do is actually paying attention to what other people are doing in their work. So whenever there is an issue that is coming together, I know I already have in my head what's the work that everybody's doing so I can make those connections. Iker: So it's really understanding how they work, what they are trying to say, what's the shape that it can be. And we've had, in the issues, we have long essays, short essays, photo essays, diagrams, poems. But also the people who write, they don't come from all the academic world. And some of the most interesting articles have come from people who are just residents in a building. And they can tell a story much better than an academic that has talk about housing. And one of the examples is we've done this for 10 years, and then the most read article is about Cabrini–Green, about our resident who grew up there and live there. And we walk with him, with Andreas Larsson actually. And we told him just let's walk around the neighborhood and tell us the stories of what are the meaningful places for you here that you grew up here and your families. Iker: And we just took photographs of that and we made captions of that. And it really was a way for us to understand what it means to leave there. Yes, there are some negative things, but there are many other positive things about Cabrini–Green that they all mask under headlines and other things from other people who have no relationship. So yes, there are many people who write about public housing, about Cabrini–Green, but his point of view and the way to talk about it in a very clear, succinct, and just experiential way of there. It was remarkable and it obviously resonated with the rest of the people because it's still the most read article. And it was in issue three, 10 years ago. Rick Valicenti: We should also keep in mind that Cabrini–Green, if we're talking about form, no longer exists. That building complex has been raised and it's gone. Now it's a Target. Is it not? Iker: Yep. It is. So it's like, when you demolish buildings you just don't demolish the actual building, you demolish the structures, the society, the relationship, everything that is built around that. So the void that it's in the city with the destruction of public housing is not just the building, it's all the fabric, the social fabric that got destroyed. And it's very complicated to regain. And unfortunately nothing really... It's happening at the level that it should be done. Rick Valicenti: And at the time you had an idea that it was going to be demolished or did you not know it was going to be demolished at that time? Iker: I did know that it was going to get demolished. Rick Valicenti: Oh, you did. Okay. But in either case you have left behind through the medium of design and this documentation a real important record of what it was like there at that moment. Iker: Yeah. Because in a way, these stories are not just headlines that once the headline leaves the story leaves. These are people who this is the place where they grew up. Where they live. Where they have their family. And then once the buildings are remove, they have to keep going with their life. They have to do other things. So it is really unfair to just live through headline after headline. The city is a much more complex thing. And I think one of the goals that we tried to do with the journal is really, yes, talk about issues that are important. But that there is a legacy that those things are looked in depth, that someone can go back 40 years later and finding that it's still relevant because there's another situation that contextualizes in a new way. Iker: So this is just a series of thinking that evolves and it grows and builds from each other. But I think there needs to be some, like paying attention to all these issues and build from those rather than be surprised by the latest thing that happens. And then once it goes, it just, oh, it's all sold. Jolie Sheffer: Could you talk, Rick, about your own forays into book work, as you describe it, and why that form made sense for some of those projects? Rick Valicenti: The book format I particularly love, I love its linearity but I also love its ability to be opened at any page. I also love its form, its tactile nature, its ability to change voices and change perceptions as you change the tactile experience when your hand touches a page. Change the paper, change the size of it. All of those things are available tools to find engagement in that which is being communicated and that which is being received. So you know, perhaps as a writer, you're able to capture your thinking in your typing. Jolie Sheffer: Absolutely. I don't know what I'm thinking until I'm typing it. Rick Valicenti: That's right. Until after maybe you've read it and say, oh my God, that's really special. But the designer takes that source material, if you will, and either amplifies it or adds harmony to it in a harmonic sound, or adds depth to it, or adds another perspective. And so I'm keenly aware when I'm making a book that it's not a typesetting assignment, that it really is a duet at the most basic level with the content. Whether it's with the author, whether it's with a photographer, whether it's with both. And how can you bring something to life in a way that under different hands or different perspectives or different budgets or whatever, it would sound different. Rick Valicenti: And just like you can do that when you're reading a poem, or a kid reading a kid's book, you know it sounds different than the parent. It happens when people perform songs, other than the person who wrote the song. So I like the book form, but I really like its linearity. And I must admit, when non-linearity was all the rage with interactive media, I was like, what's that about here? What's happening? I'm getting used to it, but that doesn't mean I need to like it. Jolie Sheffer: What about you Jenn? You've published work in book form. What for you is your particular process in thinking about that as a medium? Jenn Stucker: Well most of the publications, I guess probably been a little bit similar, it's been mostly for documentation that this happening happened has been a big part of that. The other part is most of the work has been with recent alums or with students, and so there's something about creating the object that adds that secondary level of, I guess, accomplishment, right? Or achievement, or that this thing... I guess the same thing is it happened. And so if we have evidence of that. I taught at SACI in Florence, Italy, through our program here at BGSU, last summer and we self published a book out of that called the FLRX times 14. Or 14 of us and putting material together to sort of, what was our experience here in Florence? All being American citizens coming into this place and space. And I don't see those students again. Right? They were from University of Michigan, Penn State, Parsons, couple from BGSU, Marshall. And it was a nice moment to capture and make a capsule, I guess, of that experience. Jolie Sheffer: Well, I want to thank you so much for taking the time to talk with me. It has been a real delight. Our producers for this podcast are Chris Covera and Marco Mendoza with help from Aaron Dufala, Hannah Santiago and Kaleah Ivory. Research assistants for this podcast was provided by ICS undergraduate intern Tay Sauer. This conversation was recorded in the Stanton audio recording studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

Andreas Larsson is the Engineering Director of Electrolux, a 100 year-old Swedish company whose products include washers/dryers, ovens, refrigerators, and vacuum cleaners. His company uses the values and principles of agile and lean to develop high quality products and services that help customers be more successful. See acast.com/privacy for privacy and opt-out information.

Göteborgs enda renodlade lokalfotbollspodd - Rasta Möter - tar sig ett snack med 4B-laget Öckerö IF:s tränare Andreas Larsson. Vi pratar om Hälsö-karriären, tränarambitionerna och svårigheterna att locka spelare till skärgården. Det blir även prat om rivaliteten mellan de olika ö-lagen och förbjudna övergångar! Självklart hinner vi även med att snack om det unga ÖIF:s chanser i årets 4B! Ett intressant avsnitt när podden lämnar fastlandet! Mycket nöje! Podden produceras som vanligt av Joachim Frej och Daniel Svärd.  

Andreas Larsson is the Engineering Director of Electrolux, a 100 year-old Swedish company whose products include washers/dryers, ovens, refrigerators, and vacuum cleaners. His company uses the values and principles of agile and lean to develop high quality products and services that help customers be more successful. See acast.com/privacy for privacy and opt-out information.

I dagens avsnitt kommer John Valencia och Johan Andreas Larsson på besök! Dessa killar har verkligen många strängar på sina lyror och sysslar bland annat med bloggar, Instagram, podcast och musik. Vi pratar mycket om influencer-världen och PR men självklart klämmer vi in en hel del hår, skönhet och mode också. Trevlig lyssning!   

11. Om Du Umgås Med Ankor by Mike Blixt & Andreas Larsson

00. Förord by Mike Blixt & Andreas Larsson

16. Olika Persontyper by Mike Blixt & Andreas Larsson

15. Offerkofta by Mike Blixt & Andreas Larsson

14. Sanningens Väg by Mike Blixt & Andreas Larsson

10. Vad Är Du Villig Att Offra? by Mike Blixt & Andreas Larsson

12. Trygghetsnarkomaner by Mike Blixt & Andreas Larsson

13. Storstädning Av Negativ Energi by Mike Blixt & Andreas Larsson

00. Om Oss by Mike Blixt & Andreas Larsson

07. Vad Är Lycka by Mike Blixt & Andreas Larsson

09. 24 Timmar Precis Som Alla Andra by Mike Blixt & Andreas Larsson

01. Stjärnögon by Mike Blixt & Andreas Larsson

08. Pessimisten by Mike Blixt & Andreas Larsson

05. Att Misslyckas Är Lärorikt by Mike Blixt & Andreas Larsson

06. Vad Är Det Värsta Som Kan Hända? by Mike Blixt & Andreas Larsson

04. Mål by Mike Blixt & Andreas Larsson

03. Drömmar by Mike Blixt & Andreas Larsson

02. Vem Lyssnar Du På? by Mike Blixt & Andreas Larsson

I det femte avsnittet så pratar jag med teaterlärar-assistenten, musikern och vännen Andreas Larsson. Vi pratar mycket om teater, vänskap, sanning och lögn samt mycket mer. Mycket intressant blev det så det är bara att ta och lyssna vet jag. Fotot är taget av Akira Öberg. Glöm inte att gilla på facebook om ni gillar det ni hör. Mig går att nå på pestilium_n21@hotmail.com

I veckans avsnitt av Radiosportens hockeypodd, Istid: SHL:s serieledare Frölunda har som enda ishockeyklubb i världen deltagit i en forskningsstudie med syftet att hitta den perfekta skridskoåkningen. Vi hör en hel del av Andreas Larsson, skridskotränare åt Frölunda. Studien presenteras senare i vår och följs intresserat av NHL.Gör Västerås rätt i att sparka sportchef och huvudtränare? Vilka SHL-klubbar få kvalspela i vår och vilka tar sig till kvartsfinal, L-G Jansson? Och så får Färjestad sig en släng av sleven av Magnus Wahlman. Redaktör och programledare: Martin Sundelius.

Företagsinkubatorns Åsa Ahlgren Peters träffar en entreprenör som arrangerar actionsportläger. Vad är erbjudandet?, vem riktar han sig till?, hur når han sin kundgrupp och varför ska de komma just till Snowcamp? Möt en företagare med stort engagemang!

Vi får besök av Anna Bergström, ordförande för Gröna Kusten och mamma bland många andra saker. Vi pratar manligt/kvinnligt, familj och så förstås om Utflyktsvägen och turism. Medverkande: Dick Lundberg, Andreas Larsson och Richard Karlsson. Inspelat 16 november 2014. Program 29 - 12 december 2014 (1 timme, 10 minuter)

Sören Polonius, wellknown sommelier, winedirector, sommelier coach, has been Working with chef Mathias Dahlgren and the sommelier Andreas Larsson, is now leaving F12 and starts working at Esperanto Group. At the same time he´s coaching Europes Best Sommelier 2013 towards World Cup in Argentina 2016 and has created the Swedish National team for Sommeliers SWEESOM.

Andreas kom till podcastredaktionen med ett problem - sin åldersnoja - och naturligtvis hjälpte vi till så gott vi kunde. Medverkande: Dick Lundberg, Andreas Larsson och Richard Karlsson. Inspelat 6 april.Program 22, 17 april 2014 (1 timme, 8 minuter)

Ett spännande program där vi får besök av Jonatan Blixt, en unik man på många sätt som hjälper oss att reda ut vem som egentligen är annorlunda och varför. Vi pratar om att vara kortväxt, om ADHD, om autism - och hur det är att vara helt normal, men ändå inte som folk. Ja, det blev ett långt program, men det kändes liksom som att vi sa viktiga saker. Medverkande: Dick Lundberg, Andreas Larsson, Richard Karlsson och Jonatan Blixt. Inspelat i mörka december 2013.Program 18, 16 januari 2014 (1 timme och 33 minuter)

Andreas Larsson, Richard Karlsson och vår ständige prao Mattias Lindh möter upp med Hanna Viklund aka Syster Synd i det satanistiska Anti Kristerz. Vad vi får reda på är huruvida medlemmarna Anti Kristerz dricker blod och vad som Syster Synd räknar som sin allra största synd. Don't miss it!Som vi säger det podcast, program 16 (1 timme 19 minuter)

Mattias och Magnus Lindh gästar oss för att prata om Facebook och olika personlighetstyper man kan möta om man råkar hänga där ibland. Det blev kaffe, kladdkaka och kattmys! Allra sist i programmet blir det extramateriel med Andreas Larsson som inte kunde vara med i programmet i övrigt.Som vi säger det podcast, program 8 (1 timme 12 minuter)