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1

Szmery, szepty i krzyki. Muzyka wenecka

100%
Czaja D.
Prace Kulturoznawcze
|
2012
|
vol. 13
57-59
EN
Innumerable accounts by travellers as well as literary and film works demonstrate that Venice is primarily an eye-centred space. In the “Venetian text” the activity of the other senses may not be as intense as that of the eye, yet it does undoubtedly exist! What comes to the fore is hearing, a Venice made of sounds. Careful readers will note that authors writing about Venice not only s e e but also h e a r the city and are happy to record their aural impressions. The Venetian audiosphere is a rich, varied and unequivocal space. It is a transgressive phenomenon, going far beyond the physiology of hearing and simple phenomenology. The Venetian soundscape clearly refers to semantics that goes beyond the senses and purely aural impressions.
2

Audiosfera powojennego Wrocławia w relacjach autobiograficznych pierwszych jego mieszkańców

100%
Tańczuk R.
Prace Kulturoznawcze
|
2012
|
vol. 13
171-183
EN
The article is an analysis of selected autobiographical accounts of the first inhabitants of post-war Wrocław from 1945–1946 with regard to phonic descriptions contained in them. The analysis reveals several problems that a researcher reconstructing the city audiosphere on the basis of such texts must face, e.g. scarcity of descriptions of the city sounds, especially in memoirs, the fact that the authors limited themselves to noting down the sounds they heard without characterising them. Any future diary and memoir based research into the audiosphere of cities should aim at the identification of typical situations, the descriptions of which include sounds. This will make it possible to indicate factors that encourage people to listen to sounds and provide their extensive descriptions. Studies into the reconstruction of the city audiosphere must take into account all locations the sounds of which were noted down. A comparison of various texts in this respect may be helpful in creating a map of the city audiosphere as received by its residents, indicating significant similarities in the reception of the soundscape of urban space.
3

Zarządzanie krajobrazem dźwiękowym miast

88%
Bernat S.
Prace Kulturoznawcze
|
2012
|
vol. 13
19-30
EN
The aim of the paper is to present actions related to the management of the sound quality of landscapes. The author tries to answer the following research questions: how to increase the value of soundscapes, what instruments to use, who should be involved in the management process? The article is based mainly on an analysis of the available literature and internet websites. The author examines the protection of quiet areas as well as the acoustic design of public spaces. The empirical part of the paper includes an analysis of surveys concerning soundscapes in the city of Lublin. Sound quality management is associated with the participation of the society in the process. What is essential in this process is the cooperation between academic circles and local governments. An opportunity for creating a new quality of soundscapes is provided by the inclusion of acoustic design and protection of quiet areas in urban policies. What is necessary is an integration of measures indicated by the author with spatial planning, revitalisation, environmental protection, culture, sports and education. Management of sound quality is a challenge for cities related to the concern for quality of life and to the creation of a friendly image.
4

Foniczne ingerencje w miejskiej przestrzeni. Instalacja dźwiękowa „(Od)głosy w zaułkach”

75%
Losiak R.
Prace Kulturoznawcze
|
2012
|
vol. 13
79-88
EN
The article is an attempt to present and analyse an artistic project carried out in Wrocław’s public space in May 2010 by Maciej Bączyk and Paweł Romańczuk in the form of sound installations entitled „Backstreet sounds.” The authors intended the installations, accompanying the Contemporary Polish Music Festival, not only to be a form of artistic expression but also to provoke the audience — passer-by — with audio references to the history of the city and its soundscape. Thus the installations became a form of manifestation, the aim of which was to interest the audience in the problem of the city audiosphere. In interpreting this event, it was important to take into account the research conducted during the project by cultural studies students of the University of Wrocław based on questionnaires, interviews and observation of the participants’ behaviour. The results of this research seem to be interesting for the formulation of broader conclusions concerning the relations between people and their sound environment.
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