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1
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Performatywność ciszy – strategia uciszania w działaniach artystycznych

100%
Stasiowska J. A.
ER(R)GO: Teoria – Literatura – Kultura
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2016
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issue 33
EN
Treating silence as an effect created in a frame of work with manipulation of audience perception helps to overcome the dichotomized opposition of silence and sound. The way audience perception is manipulated helps to create a sphere of silence as in the series of Blackout performances by artist Tres, where all the devices in the building are gradually shut down. The point of departure of the panel comes from  treating this category as performative. This perspective become the foundation for reflection on the active role of audience in a work of art and further departure in power relations in sphere framed as silenced
PL
Abstrakt Traktując ciszę jako efekt wynikający z specyficznej formy ramowania sytuacji w działaniach artystycznych i społecznych artykuł analizuje przykłady „uciszania” odrzucają dychotomiczną opozycję na dźwięk i ciszę. Manipulacja percepcją odbiorcy pozwala na wytworzenie stany ciszy w określonej przestrzenie, jak w przypadku serii performansów pod nazwą Blackout. W ramach konwencji koncertu artysta Tres wyłącza wszystkie działające systemu danego budynku próbując doprowadzić do wyciszenia całości konstrukcji. To działanie fizyczne połączone jest z symboliczną redukcją ukazując jak sama publiczność wytwarza określony stan. Wykorzystując perspektywę performatyki chciałabym skupić się na uciszaniu jako procesie kolonizowania przestrzeni i narzucania określonego porządku poprzez wykorzystywanie technik i technologii w działaniach artystycznych.
2
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Przedstawienie oraz antropomorfizacja w dyskursie naukowym na przykładzie projektu sonocytologii

71%
Stasiowska J.
Audiosfera. Koncepcje – Badania – Praktyki
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2015
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issue 2
85-96
EN
Presentation and Anthropomorphization in the Scientific Discourse. The Case of Sonocytology The article focuses on the use sonification in hard sciences. Referring to works by Jonathan Sterne and Mitchell Akiyama, I will analyse strategies of auditory display in sonocytology in the context of translation in scientific discourse. The article aims to broaden Bruno Latour’s perspective on the visualisation and framing in the context of sound representation, which will enable me to analyse the process of creating a representation of an organism. Following the Sophia Roosth’s work on sonocytology I will focus on the categories of autonomy and agency, and on the process of animation of research objects.
3
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„Mikroskop dla uszu”. O XIX-wiecznym słuchaniu Chopina

71%
Janicki M.
Audiosfera. Koncepcje – Badania – Praktyki
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2015
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issue 1
42-51
EN
In Paris in the first half of the 19th century, the social and urban changes were accompanied by the development of two basic sonic strategies: the first (represented by Berlioz, Musard, Liszt and others, who conquered the mass public in large concert halls) was aimed at competing with the ever more aggressive, modern city soundscape, while the second (represented among others by Chopin) relied on an intimate contact between the artist and listeners gathered in a modestly sized salon. The salon becomes a ‘microscope for ears’, and Chopin’s improvisations may be read as a stream of consciousness. Listening to those improvisations in half­darkness, receiving the sound with the entire body, and ascribing to the music a mission from ‘ideal’ worlds is testimony to certain ways of musical listening being maintained, and simultaneously a change in music’s position within the hierarchy of arts, as well as a crystallization of a modern social distinction that perspired in the disciplining of the listener’s body and constructing his or her class and environmental ‘sonic identity’.
4
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„Ku formom życia dźwięku i kulturom słyszenia”

71%
Łukasiewicz K.
Audiosfera. Koncepcje – Badania – Praktyki
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2015
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issue 1
85-90
EN
Kultur. Von den Cultural Studies bis zu den Visual Studies (Bielefeld 2012), a propaedeutic and synthetic book edited by Stephan Moebius, contains a chapter on sound studies, which was written by Holger Schulze. Arguing that no model of a homogeneous science of sound can be maintained, Schulze advocates studies that retain processuality, performativity, heterogeneity and hybridity of the cognitive process. Subsequently, when he was presenting the development of sound studies, he was able to take into account the experiences of the musical avant­garde, the development of theoretical research on sound, and various practical consequences and transformations of ethnomusicology. Schulze devoted the most attention to what it meant, means and will mean to study the world of sound, i.e. the world of sounds and the sounding world.
5
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Przedmioty dźwiękowe i produkty dźwiękowe: standardy nowej kultury słuchania w pierwszej połowie XX wieku

63%
Hui A.
ER(R)GO: Teoria – Literatura – Kultura
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2016
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issue 33
EN
Translated by Justyna Stasiowska, Alexandra Hui's text analyses the emergence of sound objects with regard to the changes that musical culture of the 19th and 20th centuries have undergone and the impact that the invention of a phonograph has had on it. She introduces a new concept of reception, "threshold listening";  it is neither active nor passive act of listening, but rather it marks a psychological and physical response to the stimuli which does not necessarily entail their conscious reception.  
PL
Tłumaczenie tekstu Aleksandry Hui autorstwa Justyny Stasiowskiej. Badaczka analizuje proces powstawania przedmiotów dźwiękowych poprzez skupienie się na zmianach w obrębie kultury muzycznej XIX/XX wieku oraz wpływ jaki miał na nią wynalazek fonografu. Badaczka prowadza pojęcie nowego typu odbioru, czyli słuchania progowego nie będącego ani aktywnym wsłuchiwaniem się ani pasywnym słuchaniem lecz psychofizycznym reagowaniem na bodźce bez konieczności świadomego odbioru ich.
6
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Dźwięk w naszych domach. O akustycznych strategiach marketingowych marki IKEA

62%
Guzy M.
Didaskalia. Gazeta Teatralna
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2021
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issue 163/164
163-192
EN
The article aims to analyse a sonic turn in IKEA marketing practices that can be observed since 2017. The selection of advertisements that are presented in the paper is studied from two perspectives. Firstly, as a capitalist strategy of producing a demand for a certain product allowing to reperform acoustic harmony that is inherently connected to the notion of a home in western culture. Secondly, in quite the opposite way, as a possible aesthetic impulse capable of changing the consumers’ perception of indoor soundscapes. The frame for this research is mainly Brandon LaBelle’s sound studies theory and Chantal Mouffe’s political theory.
7
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Dyskursy, performanse tekstowe i narracje transmedialne polskich piosenek rockowych

62%
Tański P.
Tematy i Konteksty
|
2018
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vol. 13
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issue 8
522-540
EN
There are a few reasons why a song, in its broad sense, is not the main focus of the present study, but its variety – a particular attention is devoted to the genre of the so-called rock music. Firstly, in my opinion, this work of art currently seems to be the most interesting, resonating, as well as artistically and aesthetically valuable. Secondly, the qualitative and quantitative intensity of the genre is priceless. Thirdly and finally, the influence of this very sort of musical activity on the 20th century is commonly known not only through a powerful impact of various counterculture areas in which rock music found its own reason for existence, but mostly owing to being what it is – a performative artistic output in which different areas of art – music, lyrics, visuals and others – correspond with one another. Awarding the Nobel Prize in Literature in 2016 to Bob Dylan has marked a significant moment in cultural history – the musician gained recognition among the honourable Academy and, by the same token, the song – Dylan’s most commonly used artistic medium has raised cultural awareness, reaching out to a wider public. But did it really have to reach out to listeners? Is it not true that a song has been a soundtrack to our lives being constantly present in them? Maybe the decision which the Academy has made was only a formality – lyrics are very important and it is only up to us what meaning we assign to them. This paper aims to interpret selected lyrics of Polish rock songs, considering them as a significant part of the history of the Polish literature.
8
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Wstęp. Antropologia rocka – antropologia codziennych dźwięków

51%
Tański P.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2021
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vol. 114
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issue 2
10-15
EN
Rock is an important part of culture. Song studies, a subdiscipline of sound studies and an interesting context in contemporary humanities, have sought to enter the Polish discourse of cultural science for some time now. The anthropology of rock is a topic still in need of studying. Polish research in this respect is rather modest compared to other parts of the world, particularly the English speaking countries, where reflection on rock has been popular for many years. In Poland, its origins date back to 2009 when the first nationwide conference ‘Unisono na pomieszane języki’ [Language mix in unison], organised by Radosław Marcinkiewicz, took place in Tułowice near Opole. Eleven editions of the conference have been held so far – since the third session under the motto ‘Unisono w wielogłosie’ [Polyphony in unison]. Six volumes of the conference materials have been published (2010–2014, 2019). Their significance results not only from the fact that they are the first series of such studies in Poland but also that they have laid the foundations for Polish rock music studies. A few years earlier, in 2003, A po co nam rock? Między duszą a ciałem [What do we need rock for? Between soul and body], edited by Wojciech Burszta and Marcin Rychlewski, came out as the first multi-authored monograph on the topic. This shows that rock anthropology research is a relatively young discipline in Poland – not even 18 years old yet. In this issue we will focus on studies by Polish researchers. Ten years before the release of A po co nam rock?, Wojciech Siwak published his pioneering work, Estetyka rocka [The aesthetics of rock] (1993). The last decade (2009–2019) has seen a real flood of works on rock culture.
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Rozporuplná interakce: o vztahu zvukových studií a literární vědy

36%
Filipowicz M.
Česká literatura (Czech Literature)
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2023
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vol. 71
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issue 5
640-656
EN
The aim of this article is to map out the mutual relations between literary studies and sound studies, which has rapidly developed as part of humanities worldwide over the last two decades. Sound studies are of an interdisciplinary nature, drawing on the achievements of various scientific disciplines, whereas literary studies definitely do not rank among the most influential kind. It should be noted that the relationship between the two disciplines is complicated, to say the least, if not downright aporetic. The question arises whether the perspective of sound studies is actually compatible with literary studies, or if it is not just another theoretical turn, which, apart from a few novel terms, will not actually bring anything new to literary studies that we did not already know.
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