Natalia Bojarska

NATALIA BOJARSKA

Polish Sound Artists and Sonic Cultures

May 2025

Fine Art BA Hons Dissertation

DOI 10.20933/100001379

Except where otherwise noted, the text in this dissertation is licensed under the Creative Commons Attribution-Non Commercial-No Derivatives 4 0 International (CC BY-NC-ND 4.0) license.

All images, figures, and other third-party materials included in this dissertation are the copyright of their respective rights holders, unless otherwise stated. Reuse of these materials may require separate permission

Polish Sound Artists and Sonic Cultures

Fine Art BA (Hons)

Natalia Bojarska

A dissertation submitted in partial fulfilment of the requirements of a Bachelor of Arts (Hons) degree in Fine Art.

Duncan of Jordanstone College of Art and Design University of Dundee 2025

Abstract This research investigates Polish sound art’s development and cultural significance, focusing on historically marginalised voices and overlooked artists within the field. The study examines how political and social changes in post-World War II Poland, particularly during the communist era, shaped the evolution of sound art. Special attention is given to the impact of communist censorship, the influential role of the Polish Radio Experimental Studio, and the transformation of sonic culture following the fall of communism. The research explores key concepts in Polish sonic culture, including soundscape, identity, phonography, and electroacoustic music, while analysing how historical events and technological advancements have influenced contemporary Polish sound artists. Through an interdisciplinary approach combining art history, cultural studies, and sociological perspectives, this investigation aims to uncover the relationship between Polish sound artists' cultural heritage and their global impact. The study acknowledges potential limitations, including subjective interpretation of sound art, restricted access to primary sources, and rapidly evolving technological landscapes. By examining these previously unexplored aspects of Polish sound art, this research contributes to academic discourse while providing further insights for artists and educators to shape future directions in the field.

Introduction

Researching Polish sound art presented significant challenges due to its historically obscured cultural lineage. While source materials and diverse perspectives proved challenging to locate, this research has uncovered a rich tapestry of previously unheard Polish sound artists. The project's core focus is amplifying marginalised voices and highlighting figures which more prominent artists have overshadowed. Through careful examination, this research aims to make audible a concealed historical lineage and establish key reference points for understanding Polish sound art's development.

To look at Polish Sound Artists and understand the sonic culture, we first must understand the history and influences that have shaped it. Various factors impacted the development of sound art in Poland, which affected Polish artists. After the Second World War, when jazz was booming internationally in the 1940s – in Poland, it was affected by communist censorship. Artists who were associated with this genre or wanted to pursue careers outside the country were considered enemies of the state by the communist regime.

Social realism was deemed to be the only “inclusive” proper kind of art. This resulted in social realism influencing all music and art, which had long-lasting effects. (KamińskaChełminiak, 2021)

The early influence of radio on the public now played a role in the political transition. The Polish Radio Experimental Studio, a pioneering institution where avant-garde composers

collaborated and experimented with sound, played a significant role in shaping sound art's evolution and socio-political climate. (Crowley, 2019) Later, movements like Solidarity used music to convey messages against communism, of which sound art was a part. (Bohlman, 2016)

Following the communist era – sound art had a chance to redefine itself. It has gradually become a part of certain Polish universities. Still, historical changes meant it took longer to become as prominent compared to Western European countries. One important topic to consider is the key concepts related to sonic cultures, which involve the soundscape of location and identity. It is essential to explore the connection and how it relates to sound whilst also delving into the art of phonography and recording from the environment. It is worth looking at the popularity of electroacoustic music in Poland, combining acoustic sound with electronic processing. The focus of the investigation revolves around the impact of Poland’s cultural and social evolution since the mid-20th century on contemporary Polish artists. It will examine the political influence and social changes on the development of sound art in Poland and Polish sound artists' global representation and success. Additionally, it looks at the influences and technological advancements that have influenced the creation and dissemination of sound art.

A meaningful subject would be to look at how historical aspects have shaped public perception of sound art and whether the political climate has impacted the view of it in present-day Poland. The social and political climate following World War II, the communist regime, and the movements opposing artistic expression and censorship. I will also look at various individual Polish sound artists and their impact on global

movements, with special consideration given to key figures who have achieved recognition internationally whilst being less known in their home country.

This investigation aims to contribute to the academic discourse on sound art, providing an in-depth understanding of its development and impact. Additionally, it offers valuable insight for artists and educators to shape future directions and cultivate a deeper appreciation of sound art in Poland. I aim for this research to focus on exploring Polish artists in the global sound art scene, considering their identity and cultural heritage to see how it affected their work. The research combines disciplines including art history, cultural studies, and sociological and technological aspects of sound art. It is essential to acknowledge that the study may be constrained by the subjective nature of interpreting sound art, limited access to primary sources like archival material, and technological constraints as it may only cover some recent technological advancements due to the rapid pace of change.

Literature review

This literature review explores sound art's evolution in Poland, analysing fundamental movements, artists and events. My primary source for this will be the seminal work“Ultra Sounds: The Sonic Art of Polish Radio Experimental Studio” by David Crowley, along with various academic articles, online resources and books. I will also look at sonic cultures and theoretical frameworks to understand the more profound implications of sound and listening in a cultural context. I will be considering insights from Jean-Luc Nancy’s

“Listening”. Jean-Luc Nancy’s philosophical study on Listening provides a theoretical framework for understanding the more profound effects of sound and listening in a cultural context. Nancy (2007) argues that listening involves more than auditory perception; it requires engagement withthe other and the world, a concept that resonates deeply with the practices of Polish sound artists. This philosophical perspective enriches our understanding of how Polish sound art reflects, communicates, and challenges socio-political realities. Integrating Nancy's ideas into an analysis of Polish sound art emphasises the importance of listening as an active, transformative process that shapes and is shaped by cultural and historical contexts.

The Polish Experimental Studio (PRES) in Polish “Studio Eksperymentalne Polskiego Radia” was established in 1957. It has been recognised as the foundation of sound art in Poland. The focus of this studio was to develop experimental and electronic music, allowing new upcoming artists and composers to explore, experiment and compose. Crowley explains how the studio envisioned PRES as a laboratory for avant-garde composers that led to significant contributions from many well-respected artists like Krzysztof Penderecki or Bogusław Schaeffer.

The new way of presenting sound and technology made many groundbreaking works that defined the early years of Polish sound art. Several vital movements and events have shaped the trajectory of Polish sound art. Field recordings started in the 20th century and captured and preserved Polish auditory heritage; contemporary artists such as Wojciech Kucharczyk and Tomasz Pizio continue this tradition, emphasising the cultural and historical significance of soundscapes (Lech, F. 2020). Also, events like The Unsound

Festival, based in Krakow, are known for their experimental and interdisciplinary approach and have become a platform for Polish and international sound artists. The festival challenges traditional noise and soundscape concepts, significantly influencing the sound art landscape (Batycka, D. 2016). The political situation after WWII in Poland affected the development of sound art in Poland. During the communist regime, which enforced the doctrine of social realism, avant-garde tendencies in Polish art were restricted. However, artists gained more artistic freedom due to thawing cultural policies in the late 1950s. Under Parkowski’s leadership, PRES became a haven for experimental music that politics didn’t directly influence. (Crowley, 2019)

Chapter 1 - Sound Art in Communist Poland

This chapter examines the history of sound art in Poland and its essential movements and dates. This analysis explores social, political, technological, and environmental factors to understand sound art in Polish culture. What has become significant in this research is excavating and extrapolating meaningful contexts in which Polish sound art has gradually proliferated as an enduring art form. These contexts are not immediately visible and must be understood through various sociocultural lenses, as Polish sound art resides in a somewhat tangled nexus.

After World War II, Poland became a communist satellite state of the Soviet Union in the 1940sand 1950s; the communist regime initially banned certain types of music, including Jazz. The Communist cultural policy required art to serve political agendas: “Artists were

supposed to create works useful for the system, to help turn people into communist comrades, or homo sovieticus. Meanwhile, the indirect messages carried by the likes of abstract art were widely believed to be dangerous and always suspected of conveying reactionist, anti-communist messages” (Oleksiak, 2016). In this sense, art itself became part of the ideological state apparatus and repressive state apparatus (Althusser, 2014), in which audibility, amplification and voice serve as sonorities of propaganda.

Leopold Tyrmand, a Polish author and jazz enthusiast, depicted the conflict surrounding jazz in his Diary 1954: “Jazz was considered a symbol of American imperialism, a music of moral decay. We played it anyway, in basements and private apartments, calling it ‘dance music’ to avoid trouble” (Tyrmand, 2014). Political change began in 1956, which allowed more artistic freedom, although it was still within the constraints of the communist system.

An essential event of that year was establishing The Warsaw Autumn Festival, which was and still is a significant international festival of contemporary music. In 1957, the Polish Radio Experimental Studio was founded. It was a pioneer in the field of electronic music during a period of political and cultural upheaval. Despite operating under a communist regime that was suspicious of any art unrelated to social realism, the studio created a unique space for artistic experimentation. Józef Patkowski, the visionary founder of the studio, was inspired by Parisian musique concrète and Elektronische Musik of Cologne; he wanted Poland to contribute to the emerging field of electronic music. The studio quickly became a beacon of innovation, attracting Eastern and Western European composers. The core of the studio’s activity was using magnetic tapes as the primary means of composition and sound processing. The technique transformed the creative

process, requiring a labour-intensive approach that involved cutting, glueing, and reassembling tape to create new sounds and compositions. The physicality of the process had a profound effect on the work's aesthetics, creating a unique relationship between composers and sound designers. (Crowley, 2019) This movement from sound as a temporal event towards sound as a material form (commodity), i.e. tape reels, vinyl and cassettes, created a reification of sound value; it became a material to be transformed in various methods of collage and montage, which opened the field towards sampling, it was no longer about instruments, scores and western harmony but rather about noises and objects, and ultimately organising noise, suddenly all sounds had musical potentials.

Two prominent people rose from the studio's technical staff ranks: Eugeniusz Rudnik and Bohdan Mazurek. Initially employed as engineers, the men later became renowned composers in their own right, challenging the traditional boundaries between technical and creative roles. Eugeniusz Rudnik recalls: “When we started working at this very communist radio (obviously, there was no other), party officials would pester my superiors, saying we were transplanting degenerate bourgeois art onto pure Polish soil.

That was one trend. The other one was to leave us alone. I am proud that in this goddamn communist era, when Poland was seemingly totally isolated, our works could be heard all over the world.” (Rudnik, quoted in Oleksiak, 2016)

Polish Radio Experimental Studio fostered the growth of technicians into globally recognised artists, demonstrating their commitment to nurturing talent and expanding the horizons of electronic music. (Crowley, 2019) This innovation centre received worldwide recognition, and its creations were presented at prestigious venues such as Carnegie Hall. In addition to music, the studio significantly impacted Polish cinema,

creating excellent soundtracks for various films. (Stories From the Eastern West, 2018)

However, the studio faced significant challenges, especially during martial law in the early 1980s, which led to temporary closures and relocations. Despite these challenges, the studio continued to operate in the post-communist era, although with reduced resources and production. (Stories From the Eastern West, 2018, 20:15).

It is important to discuss and bring closer attention to the artist Eugeniusz Rudnik to highlight the milieu of sound artists that strongly influenced contemporary times. Eugeniusz Rudnik was born in 1932 in Nadkole, a small village in eastern central Poland. The harsh realities of post-war Poland defined his childhood. Despite many issues with the country's socio-political climate, he completed a degree in electrical engineering that later contributed to and influenced his music approach. His technological knowledge gives him the skills to manipulate sound in groundbreaking ways for his time. His career in sound began when he joined the Polish Experimental Studio in 1957. He pioneered techniques in tape music, the genre that involves the manipulation of pre-recorded sounds. He was also one of the first artists in the world to create polyversional tracks on tape. He often manipulates tape by cutting, connecting, and rearranging tape recordings to create new compositions.

“I haven't spent a single day at any music academy, and I can't even read music. Still, I'm a well-known composer of contemporary classical music in Europe, Asia and both Americas.” (Rudnik, quoted in Oleksiak, 2016)

His unconventional approach to sound, characterised by detailed textures and unfamiliar structures, contrasted with the musical norms and standards sanctioned by the Communist authorities. While the government at that time could censor lyrics and overtly

political content, Rudnik’s abstract music was difficult to police. His art was free from explicit political messages but still hinted at resistance, pushing boundaries of what was acceptable as sound. One of his works from 1966, “Skalary” – (studium technologiczne), is a fantastic example of his experiential approach. (Błaszczyk et al., 2020) The technique used for this piece was the manipulation of magnetic tape. The manipulation of magnetic tapes, involving physical alterations such as cutting, looping, and glueing, creates new sonic textures. This process is different from polyersional techniques, characterised by the experimental layering and interweaving of multiple variations of sounds. (Requiemrecords.com ,2014) The goal is to discover how these sounds will interact and their spatial dynamics. His blend of diverse sounds from environmental everyday noises and electronically generated tones seamlessly blends. The composition is divided into parts containing unexpected shifts and sudden releases which create tension. The abstract nature lets the listener interpret subjectively, letting the audience have their own experience. (Stories From the Eastern West, 2018)

In 1968, Rudnik created “Vox Humana” at the WDR Studio in Cologne, the first quadrophonic piece. It was one of the earliest cases of polyversional tape tracks worldwide. His work defined and established the role of the sound producer as co-author of many electroacoustic pieces. His engineering experience and creativity allowed him to connect technical and artistic areas, setting new standards for sound producers of what can be achieved. This example shows the excellent skills and innovative techniques he developed as an artist. His musical contributions were widely recognised within the circle of experimental and electronic music enthusiasts. He was featured in various international festivals and

exhibitions dedicated to experimental and electronic music. His work continued beyond Warsaw. He created almost 100 works in other well-respected European studios like Paris, Cologne, Bourges, and Brussels. He was known for collaborations with other groundbreaking artists, including Karlheinz Stockhausen. His success was international, and he became one of the pioneer artists at the PRES studio. Despite many of his accomplishments, several factors prevented him from achieving broader fame during his lifetime. (Błaszczyk et al., 2020)

One of the reasons for this was political and cultural isolation. Living in communism restricted the flow of information and cultural exchanges between Western and Eastern bloc countries. It limited Eugeniusz as he may have had different opportunities than Western European artists. From a public perspective, he was mainly known for creating film soundtracks rather than for his experimental and electroacoustic music. Only people from avant-garde circles knew him; he didn’t get recognised by the broader public. Which also led to limited distribution and media coverage. As the state controlled all media. The few recordings that were made were not widely spread. Currently, his recordings are much more accessible due to the internet. (Stories From the Eastern West, 2018, 24:28).

Still, because he was not promoted in his choice of creative activity, he did not become who he had the potential to be.

Eugeniusz died in 2016, and as he may have yet to achieve widespread fame during his lifetime, his work is becoming much more popular with new realises and access to his media archive, which is easier to disseminate digitally. His techniques, to this day, inspire and influence many contemporary artists, ensuring his legacy continues.

Chapter 2 - The Rise of Post-Communist Sound Art

After the fall of communism, sound art was affected as the end of censorship allowed artists to work freely without the approval of higher organisations. In the beginning, due to the economic transition, Poland had difficulty funding art. (Stories from The Eastern West, 2018). Slowly, the situation became even more remarkable as access to private and international funding was now available. It allowed artists to collaborate more freely internationally and be equipped with new technologies. We also must remember that transformation from the communist system to capitalism can be challenging for artists without resources, making it less or more accessible due to possible corruption. (Surdej and Gadowska, 2005) It became an epoch of technological advancements, and artists quickly started adopting new methods and tools to create sound. The digital revolution brought advanced software and hardware that changed the production and manipulation of sound. The internet and networked systems allowed artists to connect globally with other artists and participate in more festivals and other artistic media. Exposure to global trends impacted the Polish sound art scene, making it more diverse, heterogenic and interdisciplinary. The access to travel increased the cultural exchange, which led to Polish sound artists’ collaborating more frequently with international artists —the exposure to Western trends impacted the appropriation of novel genres, including minimalism, ambient music and multimedia installations. (Kozak, 2013a) The expansions of academic programs began to include sound art and electronic music as valued disciplines in their music departments. Universities and conservatories began offering specialised courses

formalising the study and creation of sound art. This field of academia contributed to helping professionalise skills and knowledge for artists.

Even though all these changes have taken place, the Polish sound art scene still has a lot to accomplish to become on par with Western European countries. The socio-economic and cultural aspects take time to change in a country that, for many years, was repressed and controlled by a communist regime. (Kamińska-Chełminiak, 2021) We must remember that not only media was affected by censorship, but also education. Many people grew up in a system of beliefs that were the opposite of what defines art compared to Western countries. A great example would be the quote: “Socialist works had to possess the appropriate ideology and be free of any traces of pessimism or nihilism 1 two characteristics often attributed to contemporary Western culture. This peculiar form of emotional-ism with prescribed positive emotions was seen as the only acceptable response to the great promises brought by the Communist system.” Szurek, J. (2008).

Sound art, especially the subgenre of Noise, is, to this day, misunderstood by the broader public due to cultural delay. (Kozak, 2013b) Traditionalism was a big part of the Polish art scene, as it has its roots in Polish romanticism, which, especially after communism, became even more popular. We must remember that the historical urge for Polish independence and the triumph of becoming a free country affected the social priority of what is considered more relevant in art. (Bohlman, 2016). "Noise" extends beyond mere sonic disturbance to represent a force that disrupts established communication channels. Like the static interference encountered while scanning radio frequencies, noise acts as an intrusive element that destabilises clear transmission. Its political nature emerges from its inherent capacity to challenge and disrupt official discourse, making it an element that power structures inherently seek to suppress or control.

With that in mind, I would like to bring to your attention a contemporary artist, Zbigniew Karkowski, one of the most significant Polish Noise artists. Zbigniew was born in 1958 in Kraków. He completed formal music education at the Fryderyk Chopin National Music School, where he specialised in playing the flute. From then on, he began studying composition and aesthetics at the University and School of Göteborg, and computer music at the Chalmers University of Technology in Göteborg. He also completed a study of sonology at the Royal Conservatoire in The Hague. At the time of his study, he was involved in an industrial art group close to the Radium record label. (Topolski, 2017) As he left Poland in 1979, he would consider himself a nomad rather than tied to a particular country. During his life, he travelled outside Europe. In the early 1990s, the significant impact on his artistic career was a move to Japan, where he met Masami Akita and became familiar with the local noise scene. (Skolimowski, 2018) He was influenced by innovation in electronic music and mathematical approaches to composition; an example would be Iannis Xenakis, who appealed to Karkowski due to his interest in merging technical precision, architecture and artistic creativity. (Karkowski, 2002) His artistic practice involved cross-disciplinary collaboration in which Karkowski worked with visual artists, filmmakers, and dancers. Karkowski believed music should be experienced physically, which he aimed to recreate with his art. In his artistic practice, he collaborated with many artists worldwide like Atau Tanaka, Edwin van der Heide, Sebastian Öberg, or Lars Åkerlund. (Barski, 2013)

Karkowski would say that he doesn’t consider himself a noise musician even though he collaborated with them as he believes that he never wanted and wants to be a part of this community. (Barski, 2013). Karkowski's opinion about the contemporary art scene after the end of the 80s is captured in this quote: "When I graduated with a degree in

composition (in the late 80s), the entire contemporary music scene seemed dead and boring to me – it was very conservative, academic, and pseudo-intellectual." (Karkowski, 2013 [translated 2024])

Krakowski’s opinion about sound art in Europe could be considered controversial. He does mention his dislike to the European sound art scene and how it is very much dependent on bureaucracy and privileged position. His disapproval of corporations benefiting through globalisation and making a profit from new art technology affects the culture of art. He has experience working worldwide and seeing how unfair the art world is to artists and audiences from industrialised nations compared to developing nations. His opinion is that he doesn’t mind his art being plagiarised if it reaches a broad audience, and his art benefits more from being heard. That is also why he realises CD music is a cheap medium and more accessible. (Barski, 2013)

"I am very opposed to the fetishisation of single copies that dominate the art world and profits from it. This environment is controlled by a few powerful curators, a few important critics, and a bunch of stupid but rich collectors. Previously, collectors often came from families with long artistic traditions, but recently (especially in the last 10-20 years), collectors are mostly damn mafiosi and oligarchs from Russia (e.g., Roman Abramovich), rich Arabs from Dubai and Qatar, nouveau riche from China, Mexico, or anywhere else. These people don't care about art; they treat it as an investment. Financial markets are so uncertain now that art is treated as a stable, safer investment. These 'collectors' buy art and lock it in bank vaults, waiting for the artist to die because then the value of the work multiplies. I would never want such people to hear my music (…)" (Karkowski, 2013 [translated 2024])

In his opinion, visual art, including sound art, is focused on objects. In today’s climate, objects are only made for mass reproduction, which he compares to creating objects in factories. Benjamin and Underwood (2008) suggest that Aura is often associated with authenticity—the original, the first iteration. When music is captured through recordingwhether as a score, audio recording, or subsequent copies - its original moment of authenticity becomes obscured, trending toward the hyperreal (Wolny, 2017). This transformation is particularly evident when musicians record an album and must then recreate those recorded versions in live performances. In this process, the original musical event becomes subordinate to its reproduction, as performers strive to maintain fidelity to the recorded representation rather than explore new interpretations. Each medium CD, vinyl, tape carries its own patina and imperfections, adding a unique “voice” to the music. A vinyl record, for instance, degrades over time, altering its sound the more it is played, much like tape. This “aura” refers to the music’s essence and the material grain of its medium. Historically, music was a social event; it later became commodified into what Pierre Schaeffer calls the “sonic object.” (Palombini, 1993)

The current sound art world, including the sound scene, is heavily driven by profit and financial gains. While some artists, like Karkowski, strive to defy this notion and achieve global recognition, much depends on the opinions of influential figures and their decisions on which artists deserve recognition. The culture of investing in emerging artists is perceived as risky by today's art investors, and these choices significantly impact today's culture, much like the political system affects the arts. After communism, Poland transitioned to a capitalist system focused on profit. It provided numerous opportunities but posed challenges for sound artists, often considered "amateurs" in popular culture

despite years of dedication to their craft. According to artists like Bartek Kalinka and Dawid Kowalski, a sound artist based in Poland, a formal education in art is often expected to justify pursuing this genre in Poland. Kozak (2013a) In an interview about noise art in Poland, Kowalski highlighted the reality of noise artists creating and performing in the country, noting that the noise art scene is relatively small, with performances in 10 concerts a year seen as a success. Many Polish sound artists find it challenging to pursue their art full-time and often maintain full-time jobs alongside their artistic practice. The primary audience for their work consists of performers, with relatively few purely listeners. They also pointed out that the lack of media representation, as popular art magazines and labels often reinforce biases in experimental music, contributes to the struggle for popularity in this genre. (Kozak, 2013b)

Chapter 3 - From Roots to Innovation: Exploring Polish Sound Art's Potential

This chapter will explore the potential future of Polish sound art. While sound art may not currently enjoy the same level of popularity as other art forms in Poland due to cultural factors, it has a promising future, especially with the increasing popularity of various art festivals. One such example is the Unsound festival based in Krakow, which features not only Polish artists but also many international ones, such as Kode9, Tim Hecker, Ben Frost and Oneohtrix Point. (Unsound, 2024)

This international connection is crucial for developing Polish sound art, as it allows for the exchange of ideas and the exploration of new sound art genres. Another notable festival

is Ephemera, based in Warsaw, which connects local artists with their counterparts from other regions. This festival celebrates the Summer Solstice and draws inspiration from ancient Slavic ceremonies and celebrations, further highlighting the global connections of Polish sound art. (Ephemera Festival, 2024)

Mixing sound art and the Slavic culture can be crucial for developing popularity in the sound art scene. The goal is to examine how the fusion of tradition combined with new cutting-edge technology can impact the future of Polish sound artists looking at how new trends in sound art will prosper in the current cultural climate and how it could also find itself in today's political climate. As we witness the rapid advancement of technology, it's fascinating to ponder how Polish sound artists will adapt and harness these innovations. Their potential to create groundbreaking works that push the boundaries of sound art is truly exciting.

The material use of sound art and its reliance on representation methods and analogue reproduction stand at the core of sound art’s development; discussing art's

“Schizophonia” recording aspect is a good start. "Schizophonia" separates sound from the original source through recording and playback technology. The term originated with R. Murray Schafer and described the once-recorded sound; it can become detached from its natural context to be reproduced elsewhere, leading to new ways of experiencing and interpreting it. (Schafer, 2004) Sound serves as a vital medium for acoustic preservation, documenting evolving soundscapes and revealing ecological transformations through auditory experience rather than visual observation. The distinctive qualities of sonic perception - particularly its immersive nature and resonant properties - make it uniquely suited for understanding environmental change. This becomes especially significant in

southwestern Poland, where flooding has dramatically altered traditional sound marks (the acoustic equivalent of landmarks) in numerous towns and cities, fundamentally transforming the region's sonic identity.

It would be beneficial for sound artists to explore this topic and share awareness or create discussion on how it affects the wider population and what the current government does to protect people from such disasters. In recent years, we have also focused on transportation in Poland and its effects, as some regions of Poland are affected by transport exclusion. (Ptak, 2023) Artists could also take inspiration from those topics and explore regions affected by politics. Bring voices and sounds to paint soundscapes from Polish cities and natural environments. Looking at samples of sound ecologists like Barry Truax and Hildegard Westerkamp, both connected by the World Soundscape Project, which looked at how ecological awareness and behaviour are affected by the relationship between humans and their sonic environment. They both addressed in their art issues like noise pollution and degradation of natural soundscapes and shared awareness about preservation. (Sonic Studio, 2024) In recent years, Polish sound artist Izabela Dłużyk recorded sounds from the last primaeval forest of Europe – Bialoweza, which stretches across the Polish and Belarussian border. (Whitlock, 2024)

What makes this artist particularly inspiring is her dedication to sound, especially considering that she is blind. From a young age, her focus has been on capturing the sounds of birds, a practice that not only enriches Polish sound art but also raises awareness about Poland's natural fauna. This emphasis on nature could pave the way for integrating ornithology and other scientific fields into art. In a country like Poland, where

science often takes precedence over the arts in educational settings, her work holds the potential to attract a younger, broader audience to the art world.

The artist also highlights the environmental exploitation of the Białowieża Forest driven by economic factors, which draws attention to significant historical and political issues in Poland today. The simplicity of her bird recordings makes a powerful statement about Polish ecology and the urgent need for conservation. (Pioneer Works, 2024) Reflecting on the concept of musique concrète, which involves transforming raw, everyday sounds, there’s potential for Polish sound artists to build upon this approach. Using and manipulating sounds from their surroundings to create extended compositions, they could address relatable issues and foster greater public appreciation for audio art. This could raise awareness not only of local concerns but also of broader global issues.

To explore how sound can be used in less literal and more immersive ways, Barry Truax’s Soundscape Theory provides a valuable framework. This theory considers how our soundscapes drawn from the places we call home create a unique auditory identity. (Truax, 2008) Sound artists can craft immersive experiences that resonate culturally and personally using local audio samples. The concept of the Acousmonium, which arranges speakers to "speak" directly to the audience, is another powerful tool for engaging listeners. (GRM, 2024) When combined with technologies like Ambisonics, which creates a 360-degree sound field, there’s potential to merge these experiences with virtual reality, encouraging more local artists to collaborate and develop layered, immersive works. Sound and vision fundamentally differ in their social impact and relationship to human perception. While visual experience remains objective and individualised - with observers selecting distinct focal points within a shared space, always maintaining physical

distance from viewed objects - sound operates through immersive engagement with the body. Acoustic experiences envelop and surround listeners, creating a shared sensory environment. Even though individuals may interpret a sudden loud noise differently, its presence creates an inherently collective experience, exemplifying what theorists describe as the sonorous envelope. (Goodale, 2013) This communal aspect of sonic perception contrasts sharply with the more distanced nature of visual observation.

A widely accessible technology for achieving these effects is Dolby Atmos, which has become more popular and familiar to audiences. This makes it a viable option for sound artists, even those in smaller towns, to create and exhibit work on an immersive level.

Atmos is a 3D audio technology that makes sound feel as if it surrounds the listener, available on affordable equipment such as TVs, soundbars, and phones, enabling immersive soundscapes to reach broader audiences by leveraging an established technology that is increasingly prevalent. Another promising approach is the use of sound baths. While sound baths might not seem “technological” in a traditional sense, they create immersive soundscapes using resonant sound waves from instruments like gongs, chimes, and crystal singing bowls. This versatile technique could be adapted directly within natural landscapes or rural areas without electricity. Sound baths are fascinating because they combine sound art with wellness practices, making them suitable for health-focused spaces like Poland’s popular sanatoriums, where people seek physical and mental restoration.

Additionally, there’s an exciting possibility for collaboration between traditional folk musicians and contemporary artists using sound baths. The connection to wellness and nature could enrich sound art’s role in Polish culture, bringing together different

generations and artistic perspectives in new and meaningful ways. Antonina Nowacka is an excellent example of a Polish sound artist who combines traditional music with technology. What is also interesting is that her work explores how sound affects the nervous system. Multiple medical research studies show that sound affects the nervous system by influencing brainwave patterns, heart rate, and stress levels. Antonina works with resonant frequencies and overtones to induce emotional and physical responses by creating an immersive environment for the listener. (Geffen & Braun, 2024)

Antonina Nowacka explains, “When I create some music, especially when working with the voice, I bring myself into a state that I call ‘psychedelic.’ Such states are usually associated with the use of psychoactive substances, but in fact, there are many different methods to achieve a similar condition. A psychedelic experience that each of us has every day is also dreaming. In those moments, the mind can enter a nonverbal state a space governed by different laws.” (Nowacka, quoted in Jaroch, 2021, translated from Polish by the N.Bojarska).

Artists like her could impact wellness, health and even medical fields. Interactive and technological aspects of presentation could cooperate with Polish film schools and sound artists in which, like in the beginning of PRES days, making sound for movies can not only be part of the typical movie but instead emerging sound and film into a whole experience like in artwork Nonotak Studio's Daydream V.5 – Displayed at festivals like Mutek in Montreal, Daydream V.5 combines directional sound with light projections to create a powerful audio-visual experience. (Nonotak, 2016) As viewers walk through the installation, the soundscapes shift according to where they are, immersing them more profoundly and enhancing the relationship between space, sound, and light. Motion

sensors and AI could further this technology, opening new interactive and immersive art possibilities. Imagine using audience movements, sensors, and AI technology to affect the film's sound. Polish cinema could be one of the pioneers of that technology.

As more young people get into contemporary art, it is essential to remember that an education system has influenced older generations focused on traditional and pre-war art movements. During the communist era, schools promoted movements like Young Poland (Młoda Polska), seen as less politically challenging, or art linked to Solidarność with its Catholic associations, which leaned into more traditional themes. (Piotrowski, 2005) This emphasis has stuck around and still shows up in mainstream Polish culture. It raises an interesting question: how can sound artists make contemporary work more relatable to a broader audience without losing their modern touch?

Artists might approach this by using Polish folk traditions and regional music. A great example is Iza Smelczyńska's piece Szeptucha, showcased at the Mutek Festival. This piece is based on the practices of the szeptuchy, female healers from Podlasie who whisper prayers in Polish, Belarusian, and Old Slavic, often with Orthodox roots.

Smelczyńska's use of these elements in contemporary sound performance is a powerful demonstration of how traditional practices can be adapted into modern art, echoing the spirit of the Young Poland movement, which also drew from folk traditions. It is an inspiring example of the potential for innovation in contemporary art. (Błażejewski, 2024)

Other artists could build on this by mixing Polish folk music with genres like glitch, ambient, or noise. This method would keep these traditions alive and help them grow and evolve. Some old Slavic practices, like those of the szeptuchy, are disappearing, so using sampling and modern sound technology could be a way to preserve them in a fresh

context, offering a hopeful future for Polish culture. If sound art with folk roots were to catch on more widely, it could also find a global audience. This would showcase Poland's culture in a way that feels authentic and new, giving people a different take on Polish heritage that's more in tune with today's world.

When discussing the future of Polish sound art, it is vital to mention the emerging sound artists and platforms and how they will shape the future of sound art in the coming years.

Antonina Nowacka merges traditional global music with experimental sound practices. Her inspirations are driven from the acoustics of Indonesian caves to works of Meredith Monk mixed with her dream-like vocals. (Udvardyova, 2024) That combination of old and new landscapes is promising and refreshing as it is much different from what has been presented in the Polish experimental music scene since many of her inspirations come from different parts of the world mixed with the newest trends and technology.

Looking at global inspirations can focus on something other than remote destinations. Poland is geographically situated in the middle of Europe but has a significant mixture of many neighbourhood countries that differ on the cultural and political spectrum. Jana Shostak is one of those inspiring artists from Poland. She has a Belarusian background and speaks in her work about the injustices in Belarus's religious and political regimes.

One of her projects could be considered a part of a protest and a performance using voices to bring awareness to issues people face due to politics. The project was called "Minuta krzyku dla Białorusi", which means One minute of screaming for Belarus in translation. It contained performances in which she would scream for 1 minute in various places, including Krakowskie Przedmieście Street in Warsaw, directly at the Polish prime minister. (Shostak, 2020) The power of using her voice, like Izabela Dłużyk's bird samples

from the Bialowieza Forest, has an impact on cooperating sound, personal beliefs and political activism in changing the future not only in the art world but also making art impactful, shaping the political future of the country.

Oramics Platform is a platform that supports emerging artists focusing on feminism, queer, and non-binary electronic music artists from Poland. Their mission is to share awareness on a global scale of how artists from Poland or other Slavic countries are misrepresented compared to Western peers. They examine inequality within the industry by giving a platform to those who may need it in the cultural sector. They have been active abroad in countries like Germany, the Netherlands and the United Kingdom. A platform similar to emerging artists is Radio Kapital, an online radio station that showcases cutting-edge sound art from Poland. These platforms are critical to making a difference in how sound artists are projected within their country and abroad. It seems that by accessible platforms and giving voice to artists, we can find new genres of art. (Oramics, 2024)

The unsound festival in Krakow is run by charities, including the Tone Foundation, which aims to provide a platform for Polish artists and minorities pioneering exhibition spaces for sound art (European Cultural Foundation, 2022). Their understanding of the importance of sound art makes it possible for non-visual artists to exhibit their work.

Galeria Foksal is also another tiny gallery that gives space to sound artists. (Galeria Foksal, 2024) However, these establishments are not enough. Ephemera festival, which promotes electronic music and Slavic traditions mixed with modern technology, is a great place to explore sound art. However, it reminds me of a place to party rather than listen to sound art in a gallery-like environment. It would be beneficial if more sound-friendly

spaces were present in professional art settings. On 25th October 2024, relatively recently, the Museum of Modern Art opened in Warsaw, Poland. It would be inspiring to see the museum also create spaces or studios where sound artists from all backgrounds could engage in exhibitions, workshops, and performances. So far, from the program, exhibitions include most visual art. There is also a cinema, but nothing is focused purely on sound. Engaging the public in promoting smaller gallery collectives that are engaged in sound would mean they receive consistent support, which can only result in expanding and popularising this art form.

The development of the sound art scene in Poland should be seen as separate from the Polish art scene itself. Rooted in experimental music, it lacked institutional support, causing Polish sound to evolve independently from traditional visual arts while increasingly intersecting through conceptual and cross-disciplinary collaborations.

Many neighbouring countries have influenced and interconnected with the sound art movement. In Czechia, DIY synthesiser culture is emerging and becoming more popular in Europe by fostering a community of artists who build and experiment with custommade synthesisers. (Bastl Instruments, 2024) As Czech and Polish history in many ways is affected by similar political circumstances, it makes sense why DIY culture in both countries throughout the years would become more popular as hands-on experimentation and self-reliance are critical factors in sound art production. XAOC Devices is a Polish company specialising in modular synthesisers and is highly valued worldwide in experimental sound circles. (Xaoc Devices, 2024) Like BASTL, which originates from Czechia, it also encourages users to build their instruments. By building those instruments, artists are already engaging in the self-expression art form, making it

more accessible to anyone who would like to participate in sound performance but cannot afford a complete synth system themselves. Mixing these DIY cultures and embracing an experimental approach creates a culture that could impact the art scene in Europe or worldwide.

Conclusion This dissertation began with a question on the place of sound art in Poland, its origins, and its impact on Polish sound artists. By examining the period from communism to the present day and considering potential futures, it becomes evident that political and cultural changes have shaped this art form and what abstract improvements could be envisioned. Polish sound artists have produced impactful and innovative work, often in an unfavourable environment for sound art. Their achievements and circumstances have been highlighted to demonstrate connections more broadly than their Western peers.

The first chapter explores the early days of Polish sound art, focusing on the Polish Experimental Studio (PRES), where artists like Eugeniusz Rudnik had opportunities to explore creativity. Despite the restrictions imposed by a communist regime, innovative art was created using magnetic tape to produce new sounds.

The second chapter examines the post-communist era when artists gained greater freedom but encountered challenges related to funding and adapting to a rapidly changing world. Zbigniew Karkowski exemplifies a Polish artist who brought sound art into a global format, blending new technologies influenced by international artists and art cultures.

The final chapter considers the future of Polish sound art, focusing on how contemporary artists merge traditional Polish culture with modern technology, addressing ecological and community themes to reach a broader audience. Festivals such as Unsound and Ephemera exemplify the global reach of Polish sound art.

This dissertation aims to spotlight Polish sound art, which is often overlooked compared to that of Western Europe or North America. Focusing on Poland reveals the immense creativity that emerges from difficult circumstances shaped by political and cultural dynamics. Understanding sound art's unique role in connecting cultures, history, and technology highlights the contributions of Polish artists and fosters greater appreciation for this art form. During the research process, challenges arose due to limited access to materials, particularly those from earlier periods. Geographic limitations further restricted access to archival sources, necessitating reliance on library and internet resources. Bilingualism provided an advantage in accessing Polish-language sources, though time and financial constraints required sole reliance on personal translations. Additionally, the subjective nature of sound art makes it difficult to address every perspective, and the rapid technological evolution of the field presents another obstacle to exploring emerging trends. Despite these challenges, this dissertation offers a comprehensive overview of Polish sound art and paves the way for future research.

There are numerous areas for further exploration within Polish sound art. Investigating the work of female and non-binary Polish sound artists, who often receive less attention than their male counterparts, would be valuable. Comparative studies between Polish sound art and countries undergoing similar political transitions, such as the Czech Republic or Hungary, could yield significant insights. Future research could also examine the impact

of new technologies and artificial intelligence on sound art. Additionally, analysing festivals such as Unsound could provide an understanding of how Polish sound art is presented on the global art stage.

Polish sound art encompasses more than the creation of intriguing sounds. It has served as a medium for expression, rebellion, and storytelling about history, culture, and identity.

During communism, sound art often evaded censorship, and today it continues to address pressing issues such as climate change and health, encouraging unconventional thinking. Modern artists combine new technologies with traditions, elevating the contemporary art movement within mainstream Polish culture. Examining Polish sound artists offers insight into how creativity thrives under challenging circumstances and how nationality influences the creation and perception of art.

The future of sound art in Poland can embody a unique fusion of history, innovation, and cultural influences. Its potential to connect the past and future and local and global contexts ensures its lasting relevance within the fast-evolving global art scene. This study merely scratches the surface of its potential, offering inspiration on how Polish sound artists can impact the international stage through their history and creativity. Artists like Eugeniusz Rudnik and Zbigniew Karkowski provide exemplary cases and inspire current artists on how artistic expression transcends imposed rules and boundaries.

Bibliography

Note: Some sources in this bibliography are originally in Polish and have been translated by the author, who speaks both Polish and English

Althusser, L., 2014. On the reproduction of capitalism: ideology and ideological state apparatuses. Preface by E. Balibar. Introduction by J. Bidet. Translated by G.M. Goshgarian. Verso Books.

Attali, J. (1985) Noise : the political economy of music. Minneapolis, Minn.; London: University of Minnesota Press.

Baran, M., 2024. 21. edycja Unsound Festiwal pod hasłem „Noise”. Dyrektorka Gosia Płysa: Unsound nie powstałby, gdyby nie Kraków. TVP Info. Available at: https://www.tvp.info/82570001/21-edycja-unsound-festiwal-pod-haslem-noisedyrektorka-gosia-plysa-unsound-nie-powstalby-gdyby-nie-krakow-wywiad [Accessed 31 December 2024].

Barski, M., 2013. Ikona cudzych stylów. Zbigniew Karkowski – wywiad. Glissando. Available at: https://glissando.pl/tekst/ikona-cudzych-stylow-zbigniew-karkowskiwywiad-2/ [Accessed 03.11.2024]

Karkowski, Z. (2013) Ikona cudzych stylów: Zbigniew Karkowski – wywiad. Interview by M. Barski, Glissando, June. Translated by N.Bojarska, 2024. Available at: https://glissando.pl/tekst/ikona-cudzych-stylow-zbigniew-karkowskiwywiad-2/ (Accessed: 31 December 2024).

Bastl Instruments, 2024. Bastl Instruments. Available at: https://bastlinstruments.com [Accessed 20 December 2024].

Batycka, D. (2016) A festival in Poland expands our understanding of noise and sound, Hyperallergic. Available at: https://hyperallergic.com/324546/a-festival-in-polandexpands-our-understanding-of-noise-and-sound/ (Accessed: 19 March 2024).

Beksiak, A., 2012. Who is Eugeniusz Rudnik. Culture.pl. Available at: https://culture.pl/en/article/who-is-eugeniusz-rudnik [Accessed 31 December 2024].

Benjamin, W. and Underwood, J.A. (2008) The work of art in the age of mechanical reproduction. London: Penguin.

Błaszczyk, B., 2013. Bohdan Mazurek. Culture.pl. Available at: https://culture.pl/en/artist/bohdan-mazurek [Accessed 31 December 2024].

Błaszczyk, B., Mendyk, M., Pindera, A., Rudnik, E., Solakiewicz, Z., Muzyczuk, D., Topolski, J., 2020. Ptacy i ludzie. Ballada dokumentalna o Eugeniuszu Rudniku. Muzeum Sztuki w Łodzi, Fundacja Automatophone (Bôłt Publishing), Krytyka Polityczna. ISBN 978-83-66696-03-7.

Błażejewski, Ł., 2024. Iza Smelczyńska. MUTEK Montréal. Available at: https://montreal.mutek.org/en/artists/iza-smelczynska [Accessed 31 December 2024].

BOHLMAN, A.F. (2016) “Solidarity, Song, and the Sound Document,” The Journal of musicology (St. Joseph, Mich.), 33(2), pp. 232–269. Available at: https://doi.org/10.1525/JM.2016.33.2.232.

Bohlman, A.F. (2020) ‘Electronic Music, Sampling, and the Tape Snippet: How the Experimental Studio of Polish Radio Made Itself Useful’, Contemporary music review, 39(6), pp. 708–732. Available at: https://doi.org/10.1080/07494467.2020.1863007.

Bôłt Records, 2024. Bôłt Records. Available at: https://www.boltrecords.pl/ [Accessed 31 December 2024].

Calvert 22 Foundation. (2013). Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984 [Exhibition]. 22 Calvert Avenue, London E2 7JP. Retrieved 19.03.2023 from [https://www.e-flux.com/announcements/32475/soundingthe-body-electric-experiments-in-art-and-music-in-eastern-europe-1957-1984/]

Crowley, D., Zentrum für Kunst und Medientechnologie Karlsruhe, publisher and Zentrum für Kunst und Medientechnologie Karlsruhe, publisher (2019) Ultra sounds : the sonic art of Polish Radio Experimental Studio. Edited by D. Crowley. Karlsruhe, Germany: ZKM, Center for Art and Media Karlsruhe. Culture.pl (2023) Ultra sounds: The sonic art of polish Radio Experimental Studio –David Crowley (ed.), Culture.pl. Available at: https://culture.pl/en/work/ultra-soundsthe-sonic-art-of-polish-radio-experimental-studio-david-crowley-ed (Accessed: 19 March 2024).

Donaghey, J. and Taylor, J. (2021) Sonic Histories of Occupation: Experiencing Sound and Empire in a Global Context. 1st edn. London: Bloomsbury Publishing Plc. Available at: https://doi.org/10.5040/9781350232310.

Ephemera Festival, 2024. Ephemera Festival. Available at: https://ephemerafestival.com/ [Accessed 31 December 2024].

European Cultural Foundation, 2022. Fundacja Tone – Muzyka i Nowe Formy Sztuki. European Cultural Foundation. Available at: https://culturalfoundation.eu/stories/cosround6-fundacja-tone-muzyka-i-nowe-formysztuki/ [Accessed 31 December 2024].

FLEMING, M. (2010) ‘The ethno-religious ambitions of the Roman Catholic Church and the ascendancy of communism in post-war Poland (1945-50)’, Nations and nationalism, 16(4), pp. 637–656. Available at: https://doi.org/10.1111/j.1469-8129.2009.00427.x Galeria Foksal, 2024. About the gallery. Available at: https://www.galeriafoksal.pl/en/ogalerii/ [Accessed 31 December 2024].

Geffen, R. & Braun, C., 2024. Effects of geometric sound on brainwave activity patterns, autonomic nervous system markers, emotional response, and Faraday wave pattern morphology. Evidence-Based Complementary and Alternative Medicine, pp.1-20. https://doi.org/10.1155/2024/9844809.

Gienow-Hecht, J.C.E. (ed.) (2015) Music and international history in the twentieth century. New York, [New York] ; Berghahn. Available at: https://doi.org/10.1515/9781782385011.

GRM, 2024. The Acousmonium. Available at: https://inagrm.com/en/showcase/news/202/the-acousmonium [Accessed 31 December 2024].

Goodale, G., 2013. The Sonorous Envelope and Political Deliberation. Quarterly Journal of Speech, 99(2), pp. 218–224. https://doi.org/10.1080/00335630.2013.775702.

Harris, G. (2023) Arts Group takes on Polish government over political interference in cultural institutions, The Art Newspaper - International art news and events. Available at: https://www.theartnewspaper.com/2022/11/25/arts-group-takes-on-polishgovernment-over-political-interference-in-cultural-institutions (Accessed: 19 March 2024).

Holmes, T. (2002) Electronic and experimental music : pioneers in technology and composition. 2nd ed. New York; London: Routledge. Holmes, T., 2012. Electronic and Experimental Music: Technology, Music, and Culture (4th ed.). Routledge. https://doi.org/10.4324/9780203128428.

James, M., 2024. Polish classical musicians and composers in the early communist period: state censorship and evolving aesthetics. Springer. https://doi.org/10.1007/9783-031-05750-2_59-1.

Jaroch, K. (2021) ‘Śnienie na jawie’ [Interview with Antonina Nowacka], Dwutygodnik, January. Available at: https://www.dwutygodnik.com/artykul/9346-snienie-najawie.html (Accessed: 20.12.2024).

English translation of excerpt by [Natalia Bojarska].

Jasiewicz, K. (1993) ‘The New Democracies in Eastern Europe, Party Systems and Political Cleavages. Studies of Communism in Transition’, Slavic review. American Association for the Advancement of Slavic Studies, pp. 143–144.

Kamińska-Chełminiak, K., 2021. Polish censorship during the late Stalinist period. Vestnik of Saint Petersburg University. History, 66(1), pp.245–259. https://doi.org/10.21638/11701/spbu02.2021.115.

Kane, B. (2007) ‘L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction’, Organised sound : an international journal of music technology, 12(1), pp. 15–24. Available at: https://doi.org/10.1017/S135577180700163X.

Karkowski, Z. (2002) ‘Doing By Not Doing’, on Xenakis, I. Persepolis + Remixes Edition I. [2xCD] US: Asphodel Ltd., ASP2005, Track 2-3. Available at: https://www.discogs.com/release/197685-Iannis-Xenakis-Persepolis-Remixes-EditionI?srsltid=AfmBOopbbnqx0SpeMqw8NkkOjOj-rRyuS5Dglq56GEjeVjfMwyaKWRNK (Accessed: 10 December 2024).

Koczanowicz, L. (2008) Politics of time : dynamics of identity in post-communist Poland. New York: Berghahn Books. Available at: https://doi.org/10.1515/9780857450456.

Kowalska-Elkader, N. (2023) ‘Polish Radio Art: The Case of Eugeninsz Rudnik and the Polish Radio Experimental Studio, 1959-2002’, Historical journal of film, radio, and television, 43(3), pp. 810–832. Available at: https://doi.org/10.1080/01439685.2023.2173379.

Kozak, Ł. (2013a) ‘Noise’owcy nie mają ojczyzny, czyli o polskim noise: Interview with Bartosz Kalinki’, Glissando, no. 22. Available at: https://glissando.pl/tekst/noiseowcynie-maja-ojczyzny-czyli-o-polskim-noise/ (Accessed: 10 December 2024).

Kozak, Ł. (2013b) ‘Noise’owcy nie mają ojczyzny, czyli o polskim noise: Interview with Dawid Kowalski’, Glissando, no. 22. Available at: https://glissando.pl/tekst/noiseowcynie-maja-ojczyzny-czyli-o-polskim-noise/ (Accessed: 10 December 2024).

LaBelle, B. (2003) Brandon LaBelle : site specific sound. Los Angeles: Errant Bodies. Lech, F. (2020) The art of polish field recordings, Culture.pl. Available at: https://culture.pl/en/article/the-art-of-polish-field-recordings (Accessed: 19 March 2024).

Lepiarz, J., 2024. Poland's flood response puts PM Donald Tusk under pressure. DW, 10 January. Available at: https://www.dw.com/en/polands-devastating-floods-primeminister-donald-tush-faces-backlash/a-70377987 [Accessed 31 December 2024].

Lund, C. and Lund, H. (2009) Audio.visual on visual music and related media. Stuttgart: Arnoldsche Art Publishers.

Misiak, T. and Olejniczak, M. (2023) “Radio: An instrument in art – with reference to selected works by Polish artists,” Organised sound : an international journal of music technology, pp. 1–7. Available at: https://doi.org/10.1017/S1355771823000596.

Monoskop, 2022. Eugeniusz Rudnik. Monoskop. Available at: https://monoskop.org/Eugeniusz_Rudnik [Accessed 31 December 2024].

Moskalewicz, M., 2014. Magnetic tape as instrument: A rare selection of electroacoustic music from Poland. MoMA Post. Available at: https://post.moma.org/magnetic-tape-as-instrument-a-rare-selection-ofelectroacoustic-music-from-poland/ [Accessed 31 December 2024].

Nancy, J.-Luc. (2007) Listening. New York: Fordham University Press. Nonotak, 2016. DAYDREAM V.5 INFINITE, audiovisual installation. Available at: https://www.nonotak.com/_DAYDREAM-V-5-INFINITE [Accessed 31 December 2024]. Nowacka, A., 2024. Antonina Nowacka. Available at: https://antoninanowacka.com/ [Accessed 31 December 2024].

Oleksiak, W. (2016) The Story Behind the Experimental Music Haven That Escaped Communist Censorship, Culture.pl, 15 November. Available at: https://culture.pl/en/article/the-story-behind-the-experimental-music-haven-thatescaped-communist-censorship (Accessed: 02.10.2024).

Oleksiak, W., 2014. A foreigner's guide to Polish electronic music. Culture.pl. Available at: https://culture.pl/en/article/a-foreigners-guide-to-polish-electronic-music [Accessed 31 December 2024].

Oleksiak, W., 2017. The story behind the experimental music haven that escaped communist censorship. Culture.pl. Available at: https://culture.pl/en/article/the-storybehind-the-experimental-music-haven-that-escaped-communist-censorship [Accessed 31 December 2024].

Oramics, 2022. Podcast research. Available at: https://oramics.pl/podcast-research/ [Accessed 31 December 2024].

Oramics, 2024. Oramics Platform. Available at: https://oramics.pl/ [Accessed 31 December 2024].

Palombini, C.V.L. (1993) Pierre Schaeffer’s typo-morphology of sonic objects. Doctoral thesis, Durham University. Available at: https://etheses.dur.ac.uk/1191/ (Accessed: 10 December 2024).

Pioneer Works, 2024. Unsound NY: Izabela Dłużyk & Chris Watson: Białowieża. Available at: https://pioneerworks.org/exhibitions/unsound-ny-izabela-dluzyk-andchris-watson-bialowieza [Accessed 31 December 2024].

Piotrowski, P., 2005. Polska sztuka między totalitaryzmem a demokracją. Culture.pl. Available at: https://culture.pl/pl/artykul/polska-sztuka-miedzy-totalitaryzmem-ademokracja [Accessed 31 December 2024].

Ptak, A., 2023. Local bus service coverage in Poland falls by more than 40% since 2016. Notes from Poland. Available at: https://notesfrompoland.com/2023/08/04/local-busservice-coverage-in-poland-falls-by-more-than-40-since-2016/ [Accessed 30 December 2024].

Requiem-records.com (2014) Eugeniusz Rudnik "ERdada na taśmę" Requiem / NCK 7 Mar 2014. Available at: https://www.youtube.com/watch?v=PcqPn9xpOrw (Accessed: 20.11.2024).

Reyner, I.R. (2021) ‘Listening Through Language: Jean-Luc Nancy and Pierre Schaeffer’, Paragraph (Modern Critical Theory Group), 44(2), pp. 176–191. Available at: https://doi.org/10.3366/para.2021.0364.

Schafer, M., 2004. The Music of the Environment. Continuum. ISBN 0826416144.

Schafer, R. M., 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, Vt.: Destiny Books.

Sherburne, P. (2002) Sound art/sound bodies: electronic music’s anatomy lessons, Parachute, pp. 68–79.

Shostak, J., 2020. Minuta krzyku dla Białorusi, performance. Various locations, ongoing since 2020.

Skapska, G. (2011) From ‘civil society’ to ‘Europe’ : a sociological study on constitutionalism after communism. Leiden ; Brill.

Skolimowski, J. (2018) ‘Zbigniew Karkowski – Uexkull’, AudioLifestyle, 1 May. Available at: https://audiolifestyle.pl/nowosci/zbigniew-karkowski-uexkull/ (Accessed: 10 December 2024).

Sonic Studio, 2024. The World Soundscape Project. Available at: https://www.sfu.ca/sonic-studio-webdav/WSP/index.html [Accessed 31 December 2024].

Soundohm. (2015) Eminent Risk Factor. Available at: https://www.soundohm.com/product/eminent-risk-factor (Accessed: 10 December 2024).

Stories From The Eastern West (2018) SFTEW #14: Experimental [Podcast], 24 April. Available at: https://culture.pl/en/podcast/SFTEW-14-EXPERIMENTAL (Accessed: 20.09.2024).

Surdej, A. and Gadowska, K. (2005) Political corruption in Poland. (Arbeitspapiere und Materialien / Forschungsstelle Osteuropa an der Universität Bremen, 65). Bremen: Forschungsstelle Osteuropa an der Universität Bremen. Available at: https://nbnresolving.org/urn:nbn:de:0168-ssoar-436042 (Accessed: 25.12.2024).

Szlifirski, K., 2024. Studio Eksperymentalne Polskiego Radia. PSeME - Polskie Stowarzyszenie Muzyki Elektroakustycznej. Available at: https://pseme.com/wiki2/index.php/Studio_Eksperymentalne_Polskiego_Radia_(K.Szlifi rski) [Accessed 31 December 2024].

Sztompka, P. (1999) Trust : a sociological theory. 1st ed. Cambridge, UK ; Cambridge University Press.

Szurek, J. (2008) ‘Subversive Sounds: Music and Censorship in Communist Poland’, Music reference services quarterly, 11(2), pp. 143–151. Available at: https://doi.org/10.1080/10588160802143488.

This Long Century, 2024. Eugeniusz Rudnik. Available at: http://www.thislongcentury.com/eugeniusz-rudnik [Accessed 31 December 2024].

Topolski, J., 2016. Conceptual vagaries of Polish composers in recent years. Glissando. Available at: https://en.glissando.pl/text/conceptual-vagaries-of-polish-composers-inrecent-years/ [Accessed 31 December 2024].

Topolski, J., 2017. Zbigniew Karkowski. Culture.pl. Available at: https://culture.pl/en/artist/zbigniew-karkowski-0 [Accessed 03.11.2024].

Truax, B. (2008) ‘Soundscape Composition as Global Music: Electroacoustic music as soundscape’, Organised sound : an international journal of music technology, 13(2), pp. 103–109. Available at: https://doi.org/10.1017/S1355771808000149.

Truax, B. (2021) ‘R. Murray Schafer (1933–2021) and the World Soundscape Project’, Organised sound : an international journal of music technology, 26(3), pp. 419–421. Available at: https://doi.org/10.1017/S1355771821000509.

Tyrmand, L., 2014. Diary 1954. Translated by A. Shelton and A.J. Wrobel. Northwestern University Press. https://doi.org/10.2307/j.ctv47w7hd

Udvardyova, L., 2024. Antonina Nowacka: “I love to perform in spaces like gardens, old churches, monasteries, museums and palaces.” SHAPE+. Available at: https://shapeplatform.eu/2024/antonina-nowacka-i-love-to-perform-in-spaces-likegardens-old-churches-monasteries-museums-and-palaces/ [Accessed 31 December 2024].

Unsound, 2024. Unsound Festival. Available at: https://www.unsound.pl [Accessed 31 December 2024].

Vest, L.C. (2021) Awangarda : tradition and modernity in postwar Polish music. Oakland, California: University of California Press. Available at: https://doi.org/10.1525/9780520975422.

Voegelin, S. (2010) Listening to noise and silence : towards a philosophy of sound art. New York: Continuum.

Whitlock, M., 2024. Izabela in the Forest. BBC. Available at: https://www.bbc.co.uk/programmes/w3ct5j23 [Accessed 30 December 2024].

William Morris Gallery, 2021. Young Poland: An Arts and Crafts Movement (1890–1918). Available at: https://wmgallery.org.uk/event/young-poland/ [Accessed 31 December 2024].

Wolny, R., 2017. Hyperreality and Simulacrum: Jean Baudrillard and European Postmodernism. European Journal of Interdisciplinary Studies, 8, pp. 76-80. https://doi.org/10.26417/ejis.v8i1.p76-80.

Woolman, M. (2000) Sonic graphics : seeing sound. London: Thames & Hudson. Xaoc Devices, 2024. Xaoc Devices. Available at: https://xaocdevices.com/main/ [Accessed 20 December 2024].