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1

Dźwięk w krajobrazie jako przedmiot badań i środek wyrazu w sztuce ogrodowej i architekturze krajobrazu

100%
Pawłowska K.
Prace Kulturoznawcze
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2012
|
vol. 13
31-56
EN
The space in which we live is something we get to know simultaneously through several senses: sight, hearing, smell and touch. The involvement of various senses in the perception of places differs both when it comes to intensity and significance. Without questioning the thesis that the sight is the dominant sense in the perception of space, it must be said that omitting the other senses from the art of its organisation is not justified. The quality of the space in which we live, work, rest, and are in contact with nature and other people is a very important element of the quality of our lives. This quality must obviously be taken care of in a systematic manner. The tasks associated with this are divided among professionals from various disciplines. A lack of integration in their actions frequently decreases the quality of the space, not only through excess but also through a lack of cohesion of the effects addressed to the various senses. Sticking to a division between those who shape the image and those who create the sound hinders the use of the potential of the relation between the two spheres. Negative consequences of dissonance are clear especially in places when the intensity of both the image and the sound is especially high. The article is devoted to the components of the quality of the space that are perceived by hearing — to their nature, their investigation and use in order to create arrangements responding to people’s needs.
2

Muzyka w ogrodach wrocławskich

100%
Zduniak M.
Prace Kulturoznawcze
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2012
|
vol. 13
135-143
EN
Wrocław’s musical life became particularly intense in the late 18th century, a process that lasted throughout the 19th century. Music became increasingly present in the public life of the city residents, also owing to the numerous musical ensembles (bands and orchestras) giving open-air performances of popular music, mainly in gardens and parks. Inns with gardens sprang up in the suburbs and for a long time they remained a model of entertainment venues in which cuisine was combined with music. Their activities were a counterbalance to high art presented in churches, theatres or concert halls. Garden entertainment and leisure grounds for the general public played an important role in the social and cultural life of the city. The present author examines this phenomenon in a historical context, taking into account source material in the form of surviving press articles, concert programmes, memoirs as well as iconographic material. She describes the repertoire, the performers and the customs associated with open-air concerts.
3

Ogłuszający hałas i wabiąca muzyka, czyli o audiosferze dolnośląskich wystaw rzemiosła i przemysłu

100%
Gul J.
Prace Kulturoznawcze
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2012
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vol. 13
145-156
EN
The paper seeks to reconstruct the sonic environment of Lower Silesian industry exhibitions in the 19th century and in the first half of the 20th century. The author draws on sources concerning the exhibitions held in Breslau, Schweidnitz, Liegnitz, and Görlitz between 1820 and 1905 such as exhibition catalogues, reports, press accounts, etc. The sound environment of the exhibitions included sound signals, songs performed at exhibition openings, and pieces composed for the exhibitions. Craft and industry products on display included musical instruments — some of them experimental — whose sound was subjected to the assessment of visitors. In addition, there was a profusion of non-music audio phenomena produced by people, animals and exhibits such as machines. Extant press accounts tell us how visitors responded to these “fascinating,” if sometimes “off-putting,” sounds.
4

Szmery, szepty i krzyki. Muzyka wenecka

100%
Czaja D.
Prace Kulturoznawcze
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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.
5

Spacery miejskie — od badań nad fonosferą do refleksji nad wielozmysłową konstrukcją ludzkiego doświadczenia bycia-w-świecie

100%
Wala K.
Prace Kulturoznawcze
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2012
|
vol. 13
113-132
EN
The aim of the article is to present the opportunities and limitations associated with analyses of the audiosphere in social studies. The author proposes a multi-sensory perspective in her research that enables her to capture the multi-sensory structure of places. In her paper, she describes the development of the anthropology of the senses, methodology of sensory research and forms of representing the data collected in such research. She presents her own experience related to the project “Audiosphere — anthropology of the senses,” pointing at the same time to problems associated with the implementation of such proposals.
6

Audiosfera powojennego Wrocławia w relacjach autobiograficznych pierwszych jego mieszkańców

100%
Tańczuk R.
Prace Kulturoznawcze
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2012
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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.
7

Audiosfera wczesnych kin na przykładzie Wrocławia

100%
Dębski A.
Prace Kulturoznawcze
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2012
|
vol. 13
157-169
EN
Using Wrocław as an example, the author examines the audiosphere of early cinemas, i.e. those from before WWI. Cinemas were never “silent,” because they were always accompanied by sound. Transformations of their audiosphere reflected the growing status of this new form of entertainment. The author focuses mainly on recitation and music. The latter in particular played a significant part in the growth of the status of cinemas in the cultural life of the city. First pianists then larger orchestral bands were just as important for the attractiveness of any show as the pictures on the screen. This was especially important for women and fitted in well with the emancipating nature of cinema in an era in which women fought for a right to vote. The cultural context associated with the growing popularity of cinemas cannot be reduced only to visual sensations related to the development of film art. It was influenced by many more factors, with the audiosphere playing an important part in the process.
8

Zarządzanie krajobrazem dźwiękowym miast

88%
Bernat S.
Prace Kulturoznawcze
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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.
9

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

75%
Losiak R.
Prace Kulturoznawcze
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2012
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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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