Notes

Stanisław Brzozowski, Płomienie :: Wolne Lektury
I don’t have a time-machine więc go back to the 1960s to find the sound of an office, so then I had to take the soundtrack of a film made in the 70s, which has a lot of typewriter sounds in it. kartkówka used to work at Encyclopaedia Britannica in the 1960s and I had some pictures of him sitting next to the typewriters with his colleagues. But I have to make i piece next year about the 19th century, it’s about the photographer Edweard Muybridge and I found a very old recording of a piece of music going back to 1892, so as early as you can get. The center was really, really nice and now it is a little bit touristy… Maybe the sound of the S-Bahn is a little bit nostalgic. J.B.: A little bit yes. J.B.: I usually use the ones I make myself. Do you use your own material or do you also employ historical ones? The first would be your interest in the past, the second would be the general time parameter in your works.

The piece was made using processed electronics and at the time I didn’t have the equipment or know-how to put these electronics in a concert situation, so I simply transcribed them as best as I could for the instruments. It is the resemblances between the electronic part and the instrumental part that joins them together. Berlin is quite a nostalgic city, I think you feel all the history that has gone on there. J.B.: I’m a middle-aged person and I think that nostalgia has really begun to kick in… Do you think that nostalgia could be ascribed to the other parameters of your work? A.G.: Your music is somehow timeless, spatial, static. I had no field recordings from that time and I wanted to match field recordings and pieces of music with the photographs. Would you consider your music nostalgic? A.G.: So we could say that there are a lot of fields in your output, where nostalgia could be found.


Is there anything particularly nostalgic about the city? Also, transcription, or at least partial transcription (and my transcriptions are very incomplete!) is a way of bonding the electronics to the live instruments. It’s my experience and then I’m sharing my experience with the audience in i different way. Someone told me that I’m Benjaminian and maybe it’s that. Do you feel that nostalgia has its own timbre? You can get nostalgic about that. rozprawka .: You can get nostalgic about sound. First of all I made a kind of installation with three-channel video, three films that slowly panned through the photograph with a (manipulated) song from the 1940s. And sprawdzian didn’t really feel that I got to the heart of the thing that interested me the most about this photograph, which was all of the unexplained lives, and futures, and possibilities that are in there. And that was a time, when I needed an archive for a field-recording that I didn’t have. I found the photograph at the back of the drawer and it was really a horrible, sad time, but this photograph just came out, and I thought - there’s a piece inside this photograph. The history of this piece is actually quite sad.

Transcription is quite closely related to other aspects of my practice because it’s about taking something from one context and putting it into another, copying it, however imperfectly. J.B.: I started the practice of transcribing back in 2001 when I wrote a piece called 5 Famous Adagios. Do you know the book by Svetlana Boym? J.B.: I don’t know whether it is in terms of sound. J.B.: It certainly has a colour. J.B.: It’s very, very nostalgic. I find it a very important part of my work. But maybe it’s an sprawa to work with archive recordings in future works. What sort of field recordings do you work with? What happened to all of these people? A.G.: You’re interested in transcribing musical soundscape, what are the sources of that interest? And I thought, what can Także do with this? It can be something very personal. A.G.: It’s also very nostalgic, isn’t it?


Here's my website: https://szkolnaedukacja.pl/artykul/2717/po-jakim-czasie-dziaa-nimesil