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Po co urbanistyce transparentność dźwięku? Uwagi na marginesie polskiej ekspozycji na 13. Międzynarodowej Wystawie Architektury w Wenecji

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Popek P.

Estetyka i Krytyka

2016

issue 3(42)

127-144

Reception of the word through the sound is commonly apprehended as a form of a supplement together with discernible content of the work. Elusiveness of the sensation spectrum, which is created by sound interventions in the public sphere, constitutes uncanny dynamism of such events. By means of the interpretation of Katarzyna Krakowiak’s sound sculpture dealing with etherealness of the sound, which took place in Pawilon Polski in 2012, not only is a change in the perspective of experiencing the pure art using sound induced, but also in determining the philosophy of hearing. What sort of ‘view’ or rather ‘sort of perception’ is activated by works whose the core essence is hearing sensation? What emotional, cognitive and practical dimension does interpreting such a sphere with sound have to post-communist city dwellers? What kind of transparency, then also clarity and visibility creates sound? Those inquiries indicate the range of exploration which determines issues addressed in the article.

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1 Estetyka i Krytyka

1 2016

1 Popek P.

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Po co urbanistyce transparentność dźwięku? Uwagi na marginesie polskiej ekspozycji na 13. Międzynarodowej Wystawie Architektury w Wenecji