On Thursday, November 20th, Bunkier Sztuki in Krakow will host a traditional electroacoustic marathon, part of the Audio Art Festival. The program will also include my composition 3085 Days, its world premiere performance. The marathon begins at 6:00 PM, while its finale, the CIME/PSeME/SME+ concert, will begin a little later and will undoubtedly last... a very long time. More information:  https://www.audio.art.pl/

This week, I'm working at the Electroacoustic Music Studio at the Academy of Music in Kraków, and this visit is made possible thanks to the support my project, "From Studio to Network – Developing Creative Competences in the Age of Technology" received as part of the KPO for Culture program. I became familiar with the studio's unique features, its equipment (truly interesting and, in no small part, already historic), and its software. Years of working in my own electroacoustic studio allowed me to develop my own techniques and working methods, but a more in-depth understanding of the workflows at other centers is an incredibly valuable experience. This time also allowed me to gather a wealth of audio material that will be used in new compositions. I would like to thank Mateusz Bień, a professor at the Academy of Music in Kraków, for inviting me and warmly welcoming to the SME, explaining all the ins and outs of the studio and its specifics – thanks to which I quickly felt at home here.

The project was co-financed by the European Union's NextGenerationEU fund as part of the National Recovery Plan.

#KorzyściDlaCiebie #NextGenerationEU #FunduszeUE #KPOdlaKultury #electroacousticmusic #sounddesign #AIinMusic #musicinnovation #creativeAI #newmusic

Following the signing of an agreement with the National Institute of Music and Dance, as part of the KPO for Culture program, I would like to share a few details about my current project titled From Studio to Network – Developing Creative Competences in the Age of Technology. The goal of this project is to enhance my creative and technological skills, enabling me to navigate the rapidly changing music landscape and stay current with the tools that are essential for electroacoustic composition. Within the project, I am implementing a range of new digital solutions – from immersive sound technologies to the creative use of artificial intelligence in sound synthesis and processing.

The KPO for Culture program gives me an opportunity to stay at the forefront of key technological innovations. As part of the project, I plan four study visits to specialized centers: the Department of Composition at HAMU in Prague (already completed), the Chopin University Electronic Music Studio in Warsaw, the Department of New Media at the Academy of Music in Wrocław, and the Electroacoustic Music Studio at the Academy of Music in Kraków.

In parallel, I will hold consultations with Polish and international experts in the field of contemporary wind performance, as one of the project’s outcomes will be the composition of two new pieces written for specific performers. I am also completing two online courses – one of them, a comprehensive course on the use of AI in creative work, is already finished – and another on digital music distribution.

Finally, I will publish an open-access online article on the use of artificial intelligence in sound work. The program also enables me to upgrade my studio and concert setup with new tools that will be used in future compositions.

Thanks to the KPO for Culture program, I can further develop my creative work through modern technologies and immersive sound, combining art with innovation.

The project was co-financed by the European Union's NextGenerationEU fund as part of the National Recovery Plan.

#KorzyściDlaCiebie #NextGenerationEU #FunduszeUE #KPOdlaKultury #electroacousticmusic #sounddesign #AIinMusic #musicinnovation #creativeAI #newmusic

On November 8th, I performed in a trio with Blanka Lea Dembosz and Natalia Kunikowska as part of the Voice and Speech Festival / Sea of ​​Sounds. Our performance was titled Gdańsk Concert – Polyphony from the Sounds of a City by the Sea, for voices, tape, and live electronics. The trio appeared on stage: Blanka Lea Dembosz – voice, Natalia Kunikowska – voice, Dariusz Mazurowski – synthesizers, samples, effects, laptop. Venue: Scena Supernova, ul. Zyblikiewicza 12/4, Kraków.

On November 5th, a concert took place at the Církev Bratrska venue as part of the Echofluxx 2025 festival. The program also included the piece VIVA L'autunno, again with a brilliant video by Remigiusz Wojaczek. More information here: https://echofluxx.org/ECHOFLUXX25/index.html

On Tuesday, November 4th, a concert will take place at the Galérie HAMU (Hudební a taneční fakulta AMU) in Prague, which will also feature a performance of my electroacoustic composition Bye, Bye, See You Tomorrow. More information can be found on the event website, beginning at 7:30 PM.

https://www.hamu.cz/cs/udalosti/laugsonoris-fallenleaves-2565/

On October 22nd, I performed at an event combining a concert and a literary evening, held at the City Culture Institute in Gdańsk under the slogan "Men Are from the Sun, and Women Are from the Sun." The dialogue was based on selected, pre-prepared but unconfirmed literary texts, as well as on sound improvisations and compositions by the performers. This format makes each encounter unpredictable and surprising. And its drama builds itself, as it were, from the fusion of four subjective, self-interested, open, and attentive worlds. On stage: Rita Jankowska, Maja Miro, Dorota Androsz, and Dariusz Mazurowski. Photo by Dmitriy Sviatashov.

On October 3, the program Electroacoustic Music hosted by Marek Kwiatkowski on EL-Stacja radio aired premiere of my project titled Urbs Memoriarum, a radio play with electroacoustic music. Urbs Memoriarum is, if I may put it this way, a hybrid form that combines the traits of a documentary-style radio play with elements of electroacoustic music and field recording. Its aim is to capture the memories of Gdańsk’s seniors in sound - an electroacoustic impression that intertwines the musical layer with fragments of their own stories, told in their own voices. How they remember the city of the past, how it changed before their eyes, which places hold special meaning, and the events tied to them. The concept evolved significantly during the process. At first, I envisioned it as a spoken-and-musical form, with many short statements, each only a few sentences, so that the piece would not exceed the planned length of about an hour. But as I began recording, I realized that I couldn’t just cut out fragments and strip them of their context, of the emotions that build gradually. Each person’s life and insights are fascinating, and they deserve space and voice. That’s why in the end, Urbs Memoriarum was built around the stories of four Gdańsk residents - though at times their narratives extend beyond the city itself. I recorded each of them in their natural environment, at home or at work - since some are still professionally active. That’s why I deliberately left the surrounding sounds in the background: cars passing outside, voices from nearby offices, a barking dog, and so on. The whole piece is framed by an imaginary concert of ship horns, with the sound of the sea and seagulls in the background. Urbs Memoriarum was created as part of the 2025 Gdańsk Cultural Scholarship / Creative Fund.