between the so-called rigorous hardness of crystal, geometrically configured, and the fluidity of soft and sliding molecules, there is an intermediary material which tradition leaves to the female, and is thus thought little of by philosophers, with the exception perhaps of Lucretius: veil, canvas, tissue, chiffon, fabric, goatskin and sheepskin, known as parchment, the flayed hide of a calf, known as vellum, paper, supple and fragile, linens and silks, all the forms of planes or twists in space, bodily envelopes or writing supports, able to flutter like a curtain, neither liquid nor solid, to be sure, but participating in both conditions. Pliable. tearable, stretchable…topological. - Michel Serres "Atlas" 1994: 45.

Plate VIII The Most Conspicuous Object In Nature

It is for these moments that their coloration is best adapted, and, when looked at from the point of view of enemy or prey, as the case may be, proves to he ' obliterative.'
All experiment corroborates our supposition that human and animal eyes
bear essentially similar relations to light vibrations. (And, in fact, almost all
theories about the functions of animal's colors are based on this hypothesis.)
All naturalists perceive the wonderful perfection of the twig mimicry by
an inchworm, or of bark by a moth, or of a dead leaf by the Kallima butterfly.
It is now apparent that almost equally marvelous concealment-devices,
in one shape or another, are general throughout the animal kingdom; the
most gorgeous costumes being, in their own way, climaxes of ohliterative coloration scarcely surpassed even by moths or inchworms.

Plate VI Environments May Be Deciphered From Their Coloration

The ghostly elusiveness of a counter-shaded creature's appearance is at
its best under a diffused sky-light, such as that in the forest, or the open fields on a cloudy day, because no color gradation can adequately cope with the full and concentrated light of the sun itself, which produces sharply contrasted areas of light and shadow, rather than a graduated shading. Even in full sunlight, however, the light from the wide expanse of sky is still the principal factor. To understand this, the reader should compare the difference between a sunlit patch of ground and a neighboring one which is cut off from the direct sunlight, with the difference between the latter and the mouth of a deep hole which is cut off from both sun- and sky-light. The one is the slight difference between a sunny and a shady spot, the other is the vast difference between night and day. A patch of bright sky no bigger than the sun is far less brilliant, but the vast sum of such patches which the entire expanse of sky contains, yield a far greater light than the sun itself. (This is analogous to the principle of sound, which makes the sum of the concurrent echoes of a clap of thunder far louder than the initial sharp electrical report itself.)

Plate V Obliteration Vs Mimicry

Also, a single instant of successful disguise suffices to protect an animal from a swiftly passing marauder, a hawk, for instance. In a rapacious animal's case there must be an eternally shifting balance between greed and inertia. Doubtless a sufficiently strong incentive—a very obvious chance—^might rouse even the most gorged of hawks to attempt another capture; while, on the other hand, one that was starving, or whose young were, would achieve marvels of daring and power.

Plate IV Shifting Balance Between Greed And Inertia

In short, the so-called "nuptial colors," etc., are confined to situations where the same colors are to be found in the wearer's background, either at certain periods of his life, or all the time. Apparently, not one "mimicry" mark, nor one "warning color" or "banner mark," nor one of Gadow's light-and-shadow-begotten marks, nor any "sexually selected" color, exists anywhere in the world where there is not every reason to believe it the very best conceivable device for the concealment of its wearer, either throughout the main part of this wearer's life, or under certain peculiarly important circumstances.*
These deceptive patterns, painted by Nature on the exteriors of almost all
animals, will prove to be an inexhaustible field for studying their psychology.
Stevenson makes Alan Breck say "Them that cannae tell the truth, should
be aye mindful to leave an honest, handy lee behind them. If folk dinnae
ken what ye're doing, Davie, they're terrible taken up with it; but if they think
they ken, they care nae mair for it than what I do for pease porridge." The
psychological principle in this lies deep in Nature's artifices for concealing
animals. Wherever, for instance, the animals are habitually to feed amidst
brilliant vegetation, she is apt to give brilliant marks rather than simply equipping them to match the soberer interstices amidst the brilliant details. The principle is, evidently, that amidst a large number of similar striking objects, an imitation  of these has the support of the credit of all the real ones.

Plate III  Principles Of Objects' Distinguishability

Given a sufiscient freedom of motion on the part of object or beholder, and, aside from changes in the object's own illumination, its backgrounds are bound to range through this whole scale of variations and contrasts, from earth and its darkest shadows to sky and its brightest lights. Patterns on animals' coats are the utmost that Nature can do in opposition to these potent vicissitudes of silhouetting.

Plate 1 Vicissitudes Of Silhouetting

exorbitantly expensive

Parasiting on
- https://www.youtube.com/watch?v=R_dzvJYDZXM&t=258s
- https://ubusound.memoryoftheworld.org/ono_yoko/Ono-Yoko_Cough-Piece_1961.mp3

Perscibing Coughs, Cries, Complains (Arousal Of Speaking Systems)

SusanSontagIsTheNewDonnaSummer

Dom Juan says: I am not the one who is breaking the promise; it is you
who have failed to live up to your vows. And the extreme conclusion
follows: I am not the hypocrite; the whole of society is an imposture.
If it is enough to offer tobacco, let us smoke and continue our caprices.
The dog, the Turk, the madman, the heretic, the devil dubs the society
of reasonable men and Spanish Christians a cabal of heretics, of
demons, of mad dogs. The Other designates the Same as Other: you follow
my law and threaten me for not following it. Hypocrisy implies a distance
which is the best criterion for making visible, for representing
society as it is. What does one do to be a Turk? At this distance, one
gives an objective description of morals and customs. No, Dom Juan
does not become devout; he remains a sociologist, specializing in
Ottoman customs and archaic rituals of exchange . . .The hero of
modernity designates contemporary society as a tribe of primitives.
(MIchel Serres Hermes, Literature, Philosophy 11–12)

open the gift and you will not fail to be disappointed

desire sample parasited from Alain Resnais "la vie est un roman"

Desire, Immanence, Motivation, And The Absence

Plate X White Flamingoes, Red Flamingoes And The Skies They Simulate

I'm interested in translating visual poetics into sound focusing on notions of mimicry and countershading. The sound piece is inspired by Abbott H. Thayer countershading theory and thinking about sounds as layering of material and moving of light. I think of countershading in sound as  work with reverberation, distortion and panning and using layers of constalty reverbing materialities. It's like looking at  still life with a mgnifying glass that show movement of entropy.

Plate IX Obliteration Vs Mimicry

—The Earl of Shaftesbury, Soliloquy or Advice to an Author

The Most Ingenious Way Of Becoming Foolish Is By A System

WHEN A MEASUREMENT DOESN’T WORK … A MORE INTIMATE NOTION OF SPACE BEGININGS…

do|ng theory through sound 

2024

05.07.  sound design for "Skok Wzwyż" reż. Wojtek Rodak / Teatr Dramatyczny Warszawa

2023

29.09 - sound design for "BOA" by Paweł Sakowicz Stary Teatr w Krakowie
11.08 - live performance at Sanatorium of Sound for Biuro Dzwieku Katowice/ Sokolowsko
28.07-10.09 sound art piece "Grotto" as part of KISSING DOESN’T KILL: ANIA NOWAK AND GUESTS exhibition / MSN Warsaw 
13.06 sound design for  "Lay Me Low" by Ania Nowak/ Sophiensaele Berlin
27.04 sound design for "Imperial" by Paweł Sakowicz / Komuna Warszawa
14.04 sound desing for "lip service" by Ania Nowak / Galerie Wedding Berlin
17.03 sound design for LIEBE / EINE ARGUMENTATIVE ÜBUNG dir. Julia Wissert / Staatstheater Hannover

2022

05.11 - music for "Kocha, nie kocha" dir. Tomek Śpiewak / Teatr Nowy im. Dejmka Łódź
08.10 - live at Canti Spazializzati #11 / Wrocław
23.09 - live at phonon~ w/ Thinking Sonic Environments / Usti nad Labem, Czech Republic
15.07- 11.2 sound design for "Greenhouse Silent Disco" polish pavillon at 23a Triennale Milan / https://triennale.org/en/events/poland-greenhouse-silent-disco
03.06 live iteration of FAKESCAPES as part of microresidency in Biuro Dźwięku Katowice / ASP 19:00 Raciborska 50, Katowice
27,05 sound design for Marcin Rusak exhibition DNA of Things at 27th Biennial Of Design, Ljubljana
23,04 sound design for Paweł Sakowicz AMANDO / Muzeum Narodowe Warszawa
24.02-27.02 sound design for Ania Nowak's GOLDEN GATE / Sophiensaele Berlin

2021

1.12-5.12 sound collage presented as part of SENSUAL HAVOC II exhibition / Amsterdam
08.10 - sound desing for DEEP INSIDE by Ania Nowak/ part of YOU GOT TO GET IN TO GET OUT exhibition at La Casa Encendida, Madrid
08.10 - sound desing for A BAD HERB by Magda Jędra /festiwal Ciało/Umysł., Warszawa
30.09 - VORTEX with Anka Herbut, Paweł Sakowicz / Instytut Teatralny Warszawa/ a choreographic sound instalation
09,09 - live at CONTROL ROOM 3 / Gdańsk
9-15.08 - KIRIBATI | Site-Specific | Choreographic walk | Centralna Scena Tańca w Warszawie
28.05 "ANTIBODIES" (text, direction: Anka Herbut video:Karolina Zajączkowska voice: Ula Wojtkowiak) a vivid, hectic monologue in move, where the crowd is a shapeshifter, the streets turn into tissues and cells, and the rhythms of the protest marches mold the flood of speech, giving voice and power to vulnerable bodies. https://youtu.be/H8SaZUcy_DI
20.02 - sound design  for "Aktorzy prowincjonalni. Autobiografie" reż Michał Borczuch /Teatr Polski w Podziemiu
13.02  - sound design for dance piece "Expiria" by Agnieszka Kryst

2020

20.11 - 11.04.2021 sound instalation for exhibition Prototypy 04: Agata Siniarska. „Osuwisko” Muzeum Sztuki in Łódź 
26.09 sound design for Paweł Sakowicz "DRAMA" Festiwal Ciało/Umysł / Warsaw
25.09 sound design for „2170 - Was wird die Stadt gewesen sein, in der wir leben werden?“ dir. Julia Wissert /  Schauspiel Dortmund
19.06 "Sweetening" 4ch sound instalation 
as part of "Crack Up | Crack Down" exibition at Ujazdowski Castle 
https://u-jazdowski.pl/en/programme/exhibitions/crack-up-crack-down
17.01 Naw365: Zaumne / Święta Krowa / Kraków

2019

9.11 sound desing for performative instalation Michał Borczuch "Untitled (Together Again)" Ujazdowski Castle/Warsaw
19-23.09 sound design for Ania Nowak's "Inflammations" Sophiensaele/ Berlin
6.07 dj set @ NADMIAR#4: Rewizja visual art & music festival / Kraków
28.06 20:00 live sound desing for Magdalena Ptasznik "Uncannings" 36. SCENA TAŃCA STUDIO / Warszawa
22.06 sound desing for Ania Nowak: To the Aching Parts! (Manifesto)presented at "Manifestos for Queer Futures #3" im Rahmen des Festivals “The Present Is Not Enough – Performing Queer Histories and Futures”
21-23.06 live sound desing Michał Borczuch "Untitled (Together Again)" HAU 3 as part of  “The Present Is Not Enough – Performing Queer Histories and Futures” / Berlin
15.05 dj set @ NAW03 Release Party /Kraków
03.05 sound desing for Julia Wissert "2069 – Das Ende der Anderen" Schauspielhaus Bochum
04.02 MusicMakers Hacklab @ CTM / Berlin

2018

06.12 sound desing for Ania Nowak "Future Tongues" Teatr Nowy / Warszawa
12.09 live sound desing for Magdalena Ptasznik "Uncannings" CSW /Warszawa
26.07 dj set @ FRESH START Szpitalna 1 /Kraków
09.06 dj set @ WDWTR Radio /Kraków
30.05 dj set @ GagaTek w/ Benelux Energy (live) at Szpitalna 1/Kraków

Justyna Stasiowska

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