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<\/span><\/div>About the event<\/h2>\n
Field recordings listening sessions return to Different Sounds (July 2\u20135, 2026, Lublin)! After last year\u2019s very warm reception of our new program proposal from the Different Sounds audience, we are coming back with another edition of the Sound Reset. This time we invite you to a meditative and collective immersion in the sounds of slowly disappearing worlds, as well as to attentive listening that allows you to catch your breath amid the festival bustle.<\/strong><\/p>\n This is the 19th edition of Different Sounds in Lublin, organized by the Workshops of Culture, and the 13th edition within the East of Culture, a project carried out by the National Centre for Culture using funds from the Ministry of Culture and National Heritage and by three cities in eastern Poland \u2013 Lublin, Bia\u0142ystok, and Rzesz\u00f3w.<\/p>\n During three festival mornings (Friday\u2013Sunday), we will create a sound space designed for auditory rest. In a darkened interior free from visual distractions, on comfortable cushions and loungers, you will be able to listen to sets of field recordings prepared for Inne Brzmienia by Ludwig Berger<\/strong>, Iza Smelczy\u0144ska<\/strong>, and Maciej Wirma\u0144ski<\/strong>.<\/p>\n Each of the three listening sessions presents a different soundscape and a form of auditory documentation of worlds that are disappearing from our sight and hearing. \u201cThe First Last Day\u201d<\/strong> by Iza Smelczy\u0144ska is a deeply personal sound postcard from the last day of the school year in Warsaw\u2019s Mariensztat district. \u201cSounds of Extinction\u201d<\/strong> by Maciej Wirma\u0144ski documents the soundscapes of the Orawsko-Nowotarskie Peatlands, areas affected by human pressure. Meanwhile, Ludwig Berger\u2019s recordings take us to the retreating Morteratsch Glacier in the Swiss Alps. This session will be accompanied by a screening of the documentary film \u201cCrying Glacier\u201d<\/strong>, nominated for the News & Documentary Emmy Awards.<\/p>\n Rest, reset your ears, and tune them for further musical experiences of Inne Brzmienia.<\/p>\n The Sound Resets are also accessible for blind and visually impaired audiences. If you would like to attend and require assistance, please let us know by email no later than 3 days before the festival \u2013 send a message to: <\/em>wolontariat@warsztatykultury.pl<\/em><\/a>.<\/em><\/p>\n July 3<\/strong> (Friday), 11.00-12.00 | \u201cSounds of Extinction \u2013 The Orawa-Nowy Targ Peatlands\u201d | Maciej Wirma\u0144ski<\/p>\n July 4<\/strong> (Saturday), 11.00-12.00 | \u201cCrying Glacier\u201d | Ludwig Berger (listening session + screening of the short documentary film)<\/p>\n July 5<\/strong> (Sunday), 11.00-12.00 | \u201cThe First Last Day\u201d | Iza Smelczy\u0144ska<\/p>\n Where:<\/strong> Workshops of Culture in Lublin, Grodzka 5a \u2013 auditorium<\/p>\n Admission free<\/strong><\/p>\n Attention! The listening room closes shortly after 11:00, so please be punctual!<\/strong><\/p>\n Arrive at least a few minutes before 11:00 and choose your listening space; cushions, deck chairs and blankets will be available.<\/p>\n Turn off your phone and do not use it during the session \u2013 the room will be darkened and the screen light may disturb others.<\/p>\n If possible, avoid leaving during the listening session \u2013 it may distract other participants.<\/p>\n A mind accustomed to listening to music may initially struggle to follow subtle individual sounds \u2013 give yourself time: close your eyes, relax, and follow the diversity and changes in the soundscape.<\/p>\n Each listening session consists of several dozen minutes of sound without visual stimuli \u2013 consciously give them up and begin to listen more deeply, more widely, more attentively.<\/p>\n \u201cSounds of Extinction \u2013 The Orawa-Nowy Targ Peatlands\u201d | Maciej Wirma\u0144ski<\/strong><\/a><\/p>\n When:<\/strong> July 3 (Friday), 11:00-12:00 The Orawa-Nowy Targ Peatlands are a Natura 2000 area stretching across southern Ma\u0142opolska, in the Orawa-Nowy Targ Depression, from Chocho\u0142\u00f3w to Nowy Targ. Southern Ma\u0142opolska is an area mainly associated with mountain habitats and landscapes; however, between the Gorce Mountains, Babia G\u00f3ra and the Tatra Mountains lies a little-known flatland dominated by peat bogs, wetlands and swamp forests.<\/p>\n Calls for the protection of these habitats appeared as early as the beginning of the 20th century, and a small fragment of the Orawa-Nowy Targ Peatlands \u2013 B\u00f3r na Czerwonem in Nowy Targ \u2013 was designated a nature reserve as early as 1925. At that time, the remaining Orawa-Nowy Targ Peatlands were subject to human pressure: peat extraction, drainage, cutting of swamp forests, and conversion of wetlands into fields and meadows.<\/p>\n Despite centuries of pressure from forestry, agriculture and mining, the Orawa-Nowy Targ Peatlands remain a rich complex of unique habitats that are home to many organisms. Although there is currently no need for exploitation of this area, it is being systematically destroyed by global climate change, pressure from hunters, foresters, developers and local authorities. The peatlands are damaged by continuous drainage works, the destruction of beaver dams, and illegal off-road vehicle, quad and motorcycle traffic. Drained peatlands are also frequently affected by destructive fires.<\/p>\n \u201cD\u017awi\u0119ki wymierania \u2013 Torfowiska Orawsko-Nowotarskie\u201d consists mainly of sounds from a natural environment that has been severely damaged by humans and, despite scientists\u2019 calls for the creation of a national park or landscape park with a network of nature reserves, continues to be destroyed. The recorded sounds are far from dramatic events: they are birdsong, the sound of streams and wind moving through trees, and distant sounds of villages. The song of a skylark appears over a dying peatland where, just 30 years ago, dozens of black grouse gathered for their leks. Duck recordings were made at a fire reservoir located in a former peat excavation pit near the last active and legal peat mine. The sound of a clear stream is in fact water flowing through a drainage ditch that is leading to the peatland\u2019s destruction. A barking fox was recorded near a den that is still being destroyed by hunters. The distant sound of a tractor is not a sign of harvest, but an offence: an unknown perpetrator, as later noted in a police report, is transporting illegally extracted peat on a cart.<\/p>\n The recordings were made between 2019 and 2026 in the Orawa-Nowy Targ Peatlands in the municipalities of Jab\u0142onka, Czarny Dunajec and Nowy Targ.<\/p>\n Maciej Wirma\u0144ski<\/strong><\/a> \u2013 sound engineer, field recordist, musician, publisher, curator of music scenes, cultural activist, music critic. He works with field recordings and soundscapes composed of found sounds for art and museum exhibitions. He creates sound installations, theatre music and film music. Since 2017 he has run the Szara Reneta Tapes<\/strong><\/a> label, which releases experimental music, noise, field recordings and radio plays. As part of the Magury \u201997 project, he creates fake folk noise music inspired by the Carpathian Arc. He works as a sound engineer for film, TV, documentaries and other audio productions, focusing on post-production of sound and music. He lives and works in Podhale. Amateur birdwatcher.<\/p>\n https:\/\/maciejwirmanski.pl\/<\/strong><\/a> <\/p>\n \u201cCrying Glacier\u201d | Ludwig Berger<\/strong><\/a><\/p>\n When:<\/strong> July 4 (Saturday), 11:00-12:00 \u201cCrying Glacier\u201d is a project by sound artist Ludwig Berger, comprising a field recordings album, a sound installation, and a short documentary film. Together, they document Berger\u2019s long-term practice of listening to and recording the sounds of the Morteratsch Glacier in the Swiss Alps. For over a decade, Berger has regularly returned to the site, and these visits have gradually begun to resemble encounters not so much with a place, but with a living, changing entity. \u201cCrying Glacier\u201d reveals a unique relationship between the artist and the glacier, inviting us to listen to a landscape that is irreversibly changing before our eyes and ears.<\/p>\n During Different Sounds, we will listen to field recordings from the album \u201cCrying Glacier\u201d, selected by Bandcamp and A Closer Listen as one of the most important field recording releases of 2025. Each track reveals a subtle yet highly complex sonic landscape of the Morteratsch Glacier. In water-filled crevices, peculiar voices emerge \u2013 some resemble birdsong, others human speech, and still others evoke the sound of synthesizers. Overlapping, they form a dense, multilayered texture of glacial noise. Melting ice reveals a rich repertoire of acoustic phenomena: murmurs, growls, bubbling, cracking, fractures, and rushing water. The Morteratsch Glacier speaks its own language, and the diversity and expressiveness of its sounds are truly captivating.<\/p>\n Immediately after the listening session, there will be a screening of the short documentary film \u201cCrying Glacier\u201d (14\u201913\u201d, dir. Lutz Stautner), nominated for the News & Documentary Emmy Awards in the category \u201cOutstanding Climate, Environment or Weather Coverage\u201d. The film explores the process of recording the glacier\u2019s sounds and the ideas behind the project. In its final scene, it delivers a striking warning: \u201cWithout effective climate protection, there is a high probability that Ludwig Berger\u2019s recordings will outlive the Alpine glaciers.\u201d \u201cCrying Glacier\u201d is therefore not only a unique listening experience, but also a powerful testimony to environmental change.<\/p>\n \u201cThis is more than a scientific record \u2013 it is an almost intimate sensory experience that confronts the listener with the tangible reality of global warming\u201d (Radio T\u00e9l\u00e9vision Suisse).<\/p>\n Ludwig Berger<\/strong><\/a> \u2013 sound artist, composer, educator. In his artistic practice he combines acoustic ecology, deep listening, and poetic narration, creating sound installations, compositions, sound walks, and radio documentaries. His work moves between interspecies, geological, and architectural listening, with a particular interest in microscopic acoustic phenomena such as insect communication, plant rhythms, and the sounds of melting glaciers. He studied electroacoustic composition, musicology, art history, and German literature. As a researcher and lecturer at the Institute of Landscape Architecture at ETH Zurich, he focused on the sonic dimension of Alpine glaciers and water infrastructure. His work has been recognized with awards including the Prix Ars Electronica and the Sound of the Year Awards. His projects have been presented at the United Nations headquarters in New York, the Venice Architecture Biennale, the Canadian Centre for Architecture in Montreal, ZKM Karlsruhe, and at GRM Acousmonium in Paris.<\/p>\n https:\/\/ludwigberger.com\/<\/strong><\/a> <\/p>\n \u201cThe First Last Day\u201d | Iza Smelczy\u0144ska<\/strong><\/a><\/p>\n When:<\/strong> July 5 (Sunday), 11:00-12:00 The work is an unprocessed sound recording captured on the last day of the school year at Mariensztat in Warsaw. The recording was made in a hidden garden behind a kindergarten \u2013 an enclave of greenery with old trees, known almost exclusively to local residents. This was the shortcut route taken by the author and her daughter. On this day, however, Wanda completes her kindergarten education for good.<\/p>\n The recorded acoustic landscape intertwines the promise of the first days of summer with the melancholy of the final moments in kindergarten. The space is completely free from the noise of the capital and the nearby W-Z Route. The architecture and dense greenery of Mariensztat act as a natural filter and acoustic buffer. Sounds from the kindergarten playground \u2013 children\u2019s laughter, carefree chatter, and the calls of caregivers \u2013 reach the microphone from a distance, blending with birdsong.<\/p>\n This acoustic distance becomes a direct metaphor for the inevitable farewell to early childhood. Sounds filtered through space and lush vegetation seem as if they already belong to the past, gradually receding into memory.<\/p>\n The sound postcard, though deeply personal and imbued with subtle nostalgia, avoids sentimentality. The work is based on attentive listening to what unfolds naturally \u2013 without digital manipulation or effects. It is a tender documentary record of a fleeting moment of transition and a threshold beyond which the sounds of a safe micro-world become only a memory.<\/p>\n Iza Smelczy\u0144ska<\/strong><\/a> \u2013 musicologist, composer, and writer. She works within experimental electronic music and field recording. She is interested in acoustic ecology and different modes of listening, which resonates in her works defined as \u201csound essays.\u201d She composes music for radio plays and theatre performances. Her works have been presented at festivals including MUTEK (Montreal), CTM (Berlin), \u201cWarszawska Jesie\u0144,\u201d and Sanatorium of Sound. She writes about music for \u201cGlissando\u201d and \u201cRuch Muzyczny,\u201d and co-hosts \u201cFLIS: a podcast about music and listening\u201d on culture.pl.<\/p>\n https:\/\/linktr.ee\/iza.smelczynska<\/strong><\/a><\/p>\n<\/details>\n <\/p>\n The East of Culture \u2013 Different Sounds<\/strong><\/a> festival is a tribute to musicians who choose authenticity over popularity built on artistic compromise. At a time when culture is increasingly becoming a luxury commodity, Different Sounds serves as a reminder that quality should never be a privilege. It is an event for those who believe that music can be a space for encounter, reflection, and a sense of community\u2014not merely consumption. For seekers who understand that the greatest revelations emerge where there are no ready-made answers. In a world where everything seems to have a price, Different Sounds offers something beyond value: a moment when sound becomes a language of communication and the audience becomes a co-creator of the experience.<\/p>\n This year\u2019s line-up features Backengrillen<\/strong>, Therapy?<\/strong>, Sun Ra Arkestra<\/strong>, Dead Bob<\/strong>, Kap Bambino<\/strong>, D\u00e4lek<\/strong>, Tramhaus<\/strong>, Leila Bordreuil & Drew McDowall<\/strong>, Mats Gustafsson & Kimmo Pohjonen<\/strong>, Drank<\/strong>, Furia Plays Cinema<\/strong>, Marcin Masecki & Boleros<\/strong>, YANA<\/strong>, Hinode Tapes<\/strong>, Only Mess & Guests<\/strong>, Grupa Torpedo<\/strong>, AcidSitter<\/strong>, Nina Eba<\/strong>, Heinali & Andriana\u2014Yaroslava Saienko<\/strong>, and The B17<\/strong>. The organisers will also host the renowned Vienna-based record label Trost Records<\/strong>.<\/p>\n The East of Culture \u2013 Different Sounds festival is not only about music. It is also a meeting place for some of the most compelling voices in contemporary Central and Eastern European literature. These encounters will take place within the Eastern Express<\/strong> series, featuring conversations with authors, translators, and literary professionals, as well as presentations of the latest releases published by Workshops of Culture Publishing House.<\/p>\n The programme will also include exhibitions, talks, music workshops for children, and the return of last year\u2019s audience favourite\u2013the Sound Resets<\/strong>.<\/p>\n As always, admission to all festival events is free of charge, with more announcements coming soon.<\/p>\n More information about the festival can be found at innebrzmienia.eu<\/strong><\/a> and nck.pl\/projekty-kulturalne\/projekty\/wschod-kultury<\/strong><\/a>.<\/p>\n East of Culture \u2013 Different Sounds<\/strong> Organisers:<\/strong> Ministry of Culture and National Heritage of Poland, The National Centre for Culture Poland, The City of Lublin, the Workshops of Culture in Lublin.\ufeff<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>What will we hear?<\/h2>\n
Programme<\/h2>\n
How to prepare for the listening session<\/h2>\n
About the recordings and their authors<\/h2>\n
\nWhere:<\/strong> Workshops of Culture in Lublin, Grodzka 5a \u2013 auditorium
\nAdmission free<\/strong><\/p>\nRead more<\/summary>\n
\nhttps:\/\/maciejwirmanski.bandcamp.com\/<\/strong><\/a>
\nhttps:\/\/szarareneta.bandcamp.com\/<\/strong><\/a><\/p>\n<\/details>\n
\nWhere:<\/strong> Workshops of Culture in Lublin, Grodzka 5a \u2013 auditorium
\nAdmission free<\/strong><\/p>\nRead more<\/summary>\n
\nhttps:\/\/ludwigberger.bandcamp.com\/<\/strong><\/a>
\nhttps:\/\/www.crying-glacier.com\/<\/strong><\/a><\/p>\n<\/details>\n
\nWhere:<\/strong> Workshops of Culture in Lublin, Grodzka 5a \u2013 auditorium
\nAdmission free<\/strong><\/p>\nRead more<\/summary>\n
About the East of Culture \u2013 Different Sounds<\/h2>\n
\nJuly 2-5, 2026, Lublin<\/strong>
\nAdmission free<\/strong><\/p>\n