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1

Recenzja: Katarzyna Krakowiak, Andrzej Kłosak (red.), Słuchawy. Projektowanie dla ucha. Fundacja Bęc Zmiana, Warszawa 2009

100%

Janikowska A.

Audiosfera. Koncepcje – Badania – Praktyki

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2016

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issue 2(4)

100-105

2

Sound Art: materialność dźwięku

89%

Sitko A.

ER(R)GO: Teoria – Literatura – Kultura

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2016

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issue 33

EN

Sound art is a term used to classify works which incorporate sound as the main artistic means of communication with the audience. If we look at the presence of sound in art from a historical viewpoint, our attention can be drawn by Cabaret Voltaire and the performances of Dadaist on its stage. Sound became also an element of performances, and constituted an integral part of many of them. However, it only accompanied the artworks and was not an independent object of art. The text focuses on materiality which is an integral part of Sergei Tcherepin’s sound artworks. In his artworks, a material object and sound constitute a specific unity.

PL

Sound art to pojęcie określające prace, w których dźwięk jest dominującym środkiem artystycznym. Z historycznego punktu widzenia, naszą uwagę może przyciągnąć Cabaret Voltaire i występy dadaistów na jego scenie. Dźwięk stał się też elementem performansów i stanowił integralną część wielu z nich. Jednakże stanowił element „towarzyszący”, a nie był samodzielnym „obiektem” sztuki. Artykuł skupia się na materialnym elemencie towarzyszącym pracom Sergeia Tcherepina, amerykańskiego artysty, którego twórczość zaliczana jest do sound art. W jego pracach materialny obiekt i dźwięk stanowią swoistą jedność.

3

Rheo: Japanese sound art interrogating digital mediality

88%

Vandsø A.

Acta Universitatis Sapientiae, Film and Media Studies

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2014

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vol. 9

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issue 1

141-154

EN

The article asks in what way the Japanese sound artist, Ryoichi Kurokawa’s audiovisual installation, Rheo: 5 Horisonz (2010), is “digital.” Using professor Lars Elleström’s concept of “mediality,” the main claim in this article is that Rheo not only uses digital technology but also interrogates digital mediality as such. This argument is pursued in an analysis of Rheo that draws in various descriptions of digital media by N. Catherine Hayles, Lev Manovic, Bolter, and Grusin among other. The article will show how the critical potential in Rheo is directed both towards digital media as a language (Meyrowitz) (or a place for representation) and towards the digital as a milieu (Meyrowitz) or as our culture (Gere). The overall goal of the article is not just analyse this singular art work, but also to show how such a sound art work can contribute to our understanding of our own contemporary culture as a digital culture.

4

Słuchanie zawsze na nowo

75%

Brożek D.

Audiosfera. Koncepcje – Badania – Praktyki

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2016

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issue 2(4)

51-59

EN

François Bayle’s theoretical and technological experiments in the perception and nature of sound went hand in hand with incredibly profound and syste- matic work. He composed over 100 works – many of them (such as his renow- ned series entitled L’Expérience Acoustique 1969–1972; Son Vitesse-Lumière, 1980–1983) are oft en mentioned in the same breath as Ferrari’s Presque Rien, Parmegani’s De Natura Sonorum, Xenakis’s Concret PH, and Henry’s Le Voy- age. His work epitomizes the modernist quest for the new in the world of sound, from musique concrète, through electroacoustics, acousmatics and octophony which examine the relation between sound and space, to the theory of the nature and perception of sound, which explores the notion of time in music (light speed sound, images-of-sound).

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2 Audiosfera. Koncepcje – Badania – Praktyki

1 Acta Universitatis Sapientiae, Film and Media Studies

1 ER(R)GO: Teoria – Literatura – Kultura

1 Brożek D.

1 Janikowska A.

1 Sitko A.

1 Vandsø A.

3 2016

1 2014

Recenzja: Katarzyna Krakowiak, Andrzej Kłosak (red.), Słuchawy. Projektowanie dla ucha. Fundacja Bęc Zmiana, Warszawa 2009

Sound Art: materialność dźwięku

Rheo: Japanese sound art interrogating digital mediality

Słuchanie zawsze na nowo