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p> I went there for the first time in 2000, with Matthew actually, and it has changed so much since that time. 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 second just dwells on the idea that everything passes… It’s turning up in everything Także do now, it is just everywhere. Everything else is made-up. I wanted to make something else from them. But generally I like to make things with stuff that I recorded myself, so that I have a close connection with the material. A.G.: So you feel a sort of intimate connection with the recordings you make? Berlin is quite a nostalgic city, I think you feel all the history that has gone on there. Maybe the sound of the S-Bahn is a little bit nostalgic.</p><p> J.B.: I don’t know whether it is in terms of sound. J.B.: A little bit yes. The center was really, really nice and now it is a little bit touristy… And of course it’s not possible to find that out… I don’t have a time-machine zatem 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. And that’s something that interests me a lot, trying to find the colour of an experience or a situation. J.B.: I’m i middle-aged person and I think that nostalgia has really begun to kick in… That’s the person called John, he does not have any surname, he’s got quite a long, real biography. So he is the first person the pianist talks about. 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 I 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.</p><p> The first would be your interest in the past, the second would be the general time parameter in your works. But maybe it’s an rzecz to work with archive recordings in future works. Maybe I like this difference, be it explicit or implied between the original ‘real’ thing and whatever it is that we listen to or see in the concert situation. Someone told me that I’m Benjaminian and maybe it’s that. 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. Do you think that nostalgia could be ascribed to the other parameters of your work? 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? 2018 and there is a long section about nostalgia.</p><p> J.B.: It’s a huge photograph, about one meter long. J.B.: It certainly has a colour. Do you feel that nostalgia has its own timbre? I dream a lot and I try to write down my dreams as well, I feel that each dream has a particular, as you said, timbre, which is very difficult to explain. She talks about two kinds of nostalgia: restorative and reflective. A.G.: In her book she also examines the feeling of nostalgia in a few post-communist cities. Do you know the book by Svetlana Boym? J.B.: I usually use the ones I make myself. J.B.: It’s very, very nostalgic. J.B.: I started the practice of transcribing back in 2001 when I wrote i piece called 5 Famous Adagios. It is the resemblances between the electronic part and the instrumental part that joins them together. https://licedu.pl/artykul/4262/karta-pracy-dodawanie-i-odejmowanie-uamkow-dziesietnych ’s my experience and then I’m sharing my experience with the audience in i different way. I try to turn them into a completely different kind of music.</p><img width="412" src=""><p> I had no field recordings from that time and I wanted to match field recordings and pieces of music with the photographs. And I thought, what can Także do with this? What sort of field recordings do you work with? He used to work at Encyclopaedia Britannica in the 1960s and I had some pictures of him sitting next to the typewriters with his colleagues. 111. Gordon: C., Kielan-Jaworowska, Z., and Cifelli R. L. 2000. Early Cretaceous multituberculates from Western North America . But I have to make a 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. Also, transcription, or at least partial transcription (and my transcriptions are very incomplete!) is a way of bonding the electronics to the live instruments. 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 i concert situation, so I simply transcribed them as best as I could for the instruments.</p>