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Marcin Pietruszewski

@marcinpiet

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Today is the first day of After Sampling Culture: Synthetic Media as Culture in Twenty-First Century Music (SYNCULTURE). The project examines the metaphor and technique of 'synthesis' as it has arisen in contemporary media after generative AI. Our hypothesis is that music, through its long history of engaging with synthetic materials, can offer insight into synthetic media's aesthetics and poetics. It takes us beyond the narrow realist framing of real vs fake that dominates popular commentary, and beyond the hoary frame of 'sampling culture' inherited from debates around the status of art in the age of mechanical reproduction. We situate today's signal processing within a much longer history: from Max Mathews and Harold Bode in the 1950s, through the commercial synthesiser boom of the 1980s, to deepfake pop of the present. Six studies run across musical practice, vernacular discourse, theories of representation, engineering practice, and intellectual property. Each is at once historical and contemporary. Our approach is a slow digital humanities, built on reflection, reevaluation, and dialogue, with monthly workshops convening the team, an advisory board, and an international community of engineers, humanists, and practice-researchers. Principal investigator Christopher Haworth (@christopherhaworth), University of Birmingham, with Erik Nystroฬˆm (@doktortexton), Maria Perevedentseva (@midnight_mary), Marcin Pietruszewski (@marcinpiet), Ezra Teboul (@youcanlivethereforever), and Antonia Torfs-Leibman. 2026 to 2031. ๐ŸŽฌ + ๐ŸŽบ by @marcinpiet by @marcinpiet
5
17 hours ago
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Join us on 12 September at @silent.green for a free Resynthesising the Traditional evening of Unstable Hallucinations, curated as part of Transgressive Memory Festival 2026. Opening the third ear, @marcinpiet and @lukasdeclerckckโ€™s ยปOto Aulosยซ resurrects and morphs the ancient double-reeded aulos. Processed by Pietruszewski as De Clerck plays and sent back into the space in altered form, the aurality of the aulos folds into itself, multiplying and acquiring dimensions beyond the pipes themselves. Irretrievable historical reality is transmogged into archeological listening for psychonauts. Theyโ€™re joined by @beyond_counterpoint and @dania_paralaxe for a night that promises unraveled states and speculative reanimation. โ€บ Details via biolink โ˜ฟ โŸก โ™† by @marcinpiet
15
a month ago
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NORMIFICATION (DIAG 071) Double CD, a collaborative project between myself, Florian Hecker, and the graphic design studio NORM (Zurich), will be released on September 12th via Diagonal Records (London). The release comprises 115 tracks mastered by Rashad Becker. NORMIFICATION is presented via double CD, packaged in a double jewel case and accompanied by 2 x 16-page booklets. Product, packaging and sleeve design by NORM, Zurich. Initiated in 2016, NORMIFICATION investigates the transposition of graphic design procedures and algorithmic formalisms into the domain of sound synthesis and composition. Central to the work is an experimental engagement with auditory display, the field concerned with rendering non-speech information perceptible as sound. In this context, the operations of graphic formalization are reconfigured as temporal, rhythmic, and spectral processes. I am delighted that NORMIFICATION will be released after nearly a decade of initial experiments with alternative approaches to auditory display that Hecker and I conducted at the Edinburgh College of Art. by @marcinpiet
18
a year ago
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Hvordan laฬŠter egentlig en aulos โ€“ et over 2000 aฬŠr gammelt gresk blaฬŠseinstrument som ble brukt i greske tragedier og idrettsleker โ€“ naฬŠr den bygges og spilles i en ny sammenheng? Og hva skjer naฬŠr den mรธter den norske munnharpa? Hรธr Thov Wetterhus, Lukas De Clerck og Marcin Pietruszewski fortelle om tankene bak ๐˜“๐˜ฐ๐˜ด๐˜ต ๐˜š๐˜ช๐˜จ๐˜ฏ๐˜ข๐˜ญ๐˜ด ๐˜ž๐˜ฆ๐˜ข๐˜ท๐˜ฆ ๐˜ข ๐˜›๐˜ณ๐˜ข๐˜ฏ๐˜ค๐˜ฆ, produsert av nyMusikk, Riksscena og Ultima. 15. september paฬŠ Riksscena kan du oppleve et mรธte mellom gamle instrumenter og ny teknologi paฬŠ Ultima! by @marcinpiet
2
17 days ago
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How does a building sound? What is the sound of architecture? What does it tell us? The city is an atmospheric system. Surfaces, bodies, built forms operate as membranes, receiving and transmitting the cosmological field that moves through them, part of an order that exceeds ordinary perception. Exegenic Apparatus proposes sensory activation as a mode of encounter with the energetic systems that exceed civic perception. This project is a mediating membrane between cosmic conditions and embodied life, transducing environmental forces into vibrational and energetic phenomena for collective perception. A body in space senses it, together, atmospheric infrastructures made perceptible, the cosmological returned to the scale of lived experience. a design-research project for climate-responsive architecture by @antheacaddy @mikefritsch_ @marcinpiet supported by @kulturlx and @sonicacts graphic identity @florianbrennemann ft. @diplomatie.studio by @marcinpiet
0
a month ago
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Perceptual Disconnection and the Climate Crisis Buildings, cities, and bodies are threaded through with invisible infrastructures, atmospheric, electromagnetic, particulate, gravitational, registered in ways that exceed conscious awareness. Architecture renders these forces abstract, quantified through metrics and performance data rather than lived experience. We inhabit cities that conceal the very atmospheric and electromagnetic systems they generate, producing a structural sensory disconnection from planetary processes. Surrounded by invisible flows, carbon saturation, electromagnetic fluctuation, particulate density, pressure differentials, our civic environments offer little perceptual access to the conditions that move through them. The spaces that shape daily life have become, in effect, an infrastructure of invisibility. The dominant response has been technical: enhanced thermal performance, emissions modelling, efficiency metrics, tools that address the scale of the problem without making it perceptible. These measures are necessary, but they deepen the underlying condition: climate knowledge remains the province of specialists, legible only through data dashboards, inaccessible to embodied experience. When a planetary crisis cannot be felt, it remains cognitively distant, something to be managed by systems rather than understood by bodies. Exegenic Apparatus asks whether civic infrastructure itself might become a medium of perceptual access: not concealing atmospheric conditions but making them present, felt, and energetically alive. a design-research project for climate-responsive architecture by @antheacaddy @mikefritsch_ @marcinpiet supported by @kulturlx and @sonicacts graphic identity @florianbrennemann ft. @diplomatie.studio by @marcinpiet
1
a month ago
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very excited to present a third iteration of Oto Aulos with @lukasdeclerckck at Betonhalle @silent.green as part of the Transgressive Memory Festival organised by @ecommemoration @koerberstiftung. The artistic program is curated by @ctmfestival and it also includes amazing @dania_paralaxe and @beyond_counterpoint !!! Design: @sophia_krasomil by @marcinpiet
4
2 months ago
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Friends and colleagues in (or near) Weimar: happy to invite you to a public sound happening on 11 June, the outcome of a workshop Iโ€™m running with students this semester at the @bauhaus_uni ๐“๐‡๐„ ๐”๐๐๐€๐Œ๐€๐๐‹๐„: ๐€๐‹๐Ž๐†๐Ž๐’ ยท ๐€ ๐’๐จ๐ฎ๐ง๐ ๐‡๐š๐ฉ๐ฉ๐ž๐ง๐ข๐ง๐  Take a square. Its side and its diagonal share no common measure: no unit, however small, fits whole into both. The Greeks called this ๐‘Ž๐‘™๐‘œ๐‘”๐‘œ๐‘ : irrational, without ratio, without speech. They were said to have drowned the man who revealed it. That diagonal cuts forward. In philosophy, as the persistent failure of ๐‘™๐‘œ๐‘”๐‘œ๐‘  to close around its object, the unsayable that every system of reason leaves at its edge. In Beckett, as the voice of ๐‘‡โ„Ž๐‘’ ๐‘ˆ๐‘›๐‘›๐‘Ž๐‘š๐‘Ž๐‘๐‘™๐‘’ (1953), going on where it cannot go on: โ€œ๐ผ, ๐‘ ๐‘Ž๐‘ฆ ๐ผ. ๐‘ˆ๐‘›๐‘๐‘’๐‘™๐‘–๐‘’๐‘ฃ๐‘–๐‘›๐‘”.โ€ In finance, as the contemporary irrational: exuberance, debt, derivatives, magnitudes that no longer measure any thing. The diagonal we still cannot square. anything And in sound, finally, as a method. Not to explain the unnameable but to bring it into the body, the street, the register of intuition. What cannot be calculated can still be heard. A public sound happening. Outcome of the joint seminar ๐ผ๐‘›๐‘ ๐‘ก๐‘Ÿ๐‘ข๐‘š๐‘’๐‘›๐‘ก๐‘Ž๐‘™๐‘–๐‘ก๐‘–๐‘’๐‘  ๐‘“๐‘œ๐‘Ÿ ๐ด๐‘๐‘œ๐‘ข๐‘ ๐‘ก๐‘–๐‘ ๐ธ๐‘๐‘œ๐‘™๐‘œ๐‘”๐‘–๐‘’๐‘  & ๐‘…๐‘Ž๐‘‘๐‘–๐‘œ ๐‘‡๐‘œ๐‘๐‘œ๐‘™๐‘œ๐‘”๐‘–๐‘’๐‘  (Bauhaus-Universitaฬˆt Weimar, Akustische Oฬˆkologien und Sound Studies + Experimentelles Radio). ๐Ÿ“… 11.06.2026 ยท 15:00โ€“17:00 ๐Ÿ“ Atelier Cafeฬ ยท M18 ยท Geschwister-Scholl-StraรŸe ยท Weimar by @marcinpiet
1
4 months ago
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ALOGOS โ€” The Ear as Limit: Mathematics, Sound, and the Unmeasurable On Tuesday the 9th of June Iโ€™m giving a short public class at the Bauhaus University in Weimar. It opens the !RRATIONALE workshop arc that runs throughout the week. The Greek alogos meant not only โ€œwithout ratioโ€ but also โ€œunspeakable.โ€ When the Pythagoreans discovered that the diagonal of the unit square couldnโ€™t be written as a ratio of whole numbers, the story goes that they killed Hippasus for letting it out. Incommensurability was, from the start, a political problem โ€” a wound in the order of measure that the community did not know how to hold open. That wound has not closed. Whatever resists being brought to a common standard โ€” qualitative difference, embodied knowledge, ecological time, lives that refuse equivalence โ€” sits in the same structural position as the irrational number. To listen to incommensurability, and to refuse to resolve it into rational approximation, is also a political gesture. In the class weโ€™ll move between continued-fraction sonifications of ฯ€, e, โˆš2, and ฯ† in SuperCollider; the non-linearities of the ear that generate frequencies that arenโ€™t there; and short readings of Theophanidis and Esposito on what it means for a community to be founded on the absence of a common measure. No mathematical background needed โ€” the listening carries the weight. ๐Ÿ—“ Tuesday 9 June, 14:00โ€“15:30 ๐Ÿ“ Klanglabor (Room 204), Bauhaus-Universitaฬˆt Weimar, Marienstrasse 5, Weimar Open to all. by @marcinpiet
2
4 months ago
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ยปOto Aulosยซ by @marcinpiet and @lukasdeclerckck opened ears in entirely new ways during our 2026 festival edition. Be sure not to miss them April 18 at @archipelgeneve! You can find out more about the fascinating history of the aulosโ€”an instrument for which we have no sonic recordโ€”in @marcinpietโ€™s article for CTM Magazine, Ear Elisions: Subtraction, Slippage, Refraction. โ€บ Read it now via biolink ๐Ÿ‘‚ CTM 2026 photos: @udosiegfriedt Marcin Pietruszewski and Lukas de Clerck at @sonicactsโ€™ Spatial Sound Studio by Angelina Nikolayeva. Commissioned by CTM in collaboration with @ultimafestivalen, @nymusikk, @sonicacts, and @archipelgeneve. by @marcinpiet
2
6 months ago
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S3 E5. Marcin Pietruszewski. Marcin is a Berlin based composer, researcher, and teacher working at Bauhaus University in Weimar. An important aspect of Marcinโ€™s work has been to reveal the inner workings of the sound-making device via sonification. He uses things such as buffer sizes or sample rates as the raw data for affecting the properties of synthesised sounds. In this episode, we talked about the project Normification, the result of a nine-year-collaboration with Florian Hecker in which the pair worked with the graphic design company Norm. The project investigated the transposition of graphic design procedures and algorithmic formalisms into synthesis and composition. Marcin also told me about a new, currently untitled project, which will be released on the Cologne based label Sonig. We also talked about the impact of the worldโ€™s political shift towards right-wing populism, resulting in cuts in the arts and education, as well as the importance of spending time with family. In this episode we listen to six tracks: the first five are the opening tracks from the album Normification and the final track is a currently untitled work. Image 2 by Kamila Lozinska Image 3 by NORM, Zurich Image 4 by Sonig by @marcinpiet
2
7 months ago
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Marcin Pietruszewski and Lukas De Clerck joined the Spatial Sound Residency to develop โ€˜Oto Aulosโ€™, a new work which will be part of the โ€˜Listening Roomโ€™ sound exhibition at Sonic Acts Biennial. Pietruszewski works with computer-based synthesis and composition, while De Clerckโ€™s practice focuses on the aulos, an ancient double-reeded pipe he has reimagined through ongoing research and instrument building. During their residency last November, they brought together the breath-driven character of the aulos with computational processing and spatial sound.ย  In our interview they speak about their collaboration and how working with the aulos through modern technology creates volatile, spatially shifting sonic experiences.ย  ๐Ÿ”ŠWatch the full interview on our YouTube channel or head to the link in bio to get a ticket for the โ€˜Listening Roomโ€™. The work by Pietruszewski & De Clerck is co-commissioned with CTM Festival, Archipel Festival, nyMusikk, and Ultima Oslo Contemporary Music Festival, and is part of โ€˜New Perspectives for Actionโ€™, a project by Re-Imagine Europe, co-funded by the European Union. by @marcinpiet
1
8 months ago
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