Phenomenology of creation – Justyna Steczkowska (Dariusz Fałek)

Cieszę się niezmiernie (a i czuję się onieśmielona), że mogę opublikować pracę wyjątkowego człowieka – Pana Dariusza Fałka, studenta UMCS, który pod kierunkiem dr Marty Chodkiewicz podjął się tłumaczenia jednego z moich tekstów. Poniżej załączam efekt ciężkiej, wielomiesięcznej pracy Pana Dariusza. Przełożenie niniejszego tekstu wymagało od niego nie lada umiejętności i wiedzy, które w efekcie pozwoliły z sukcesem przepłynąć przez meandry moich filozoficzno-naukowych dywagacji na temat twórczości Justyny. Tym bardziej cieszy mnie fakt, iż niniejsze tłumaczenie jest pracą dyplomową Pana Dariusza.

Ogromne gratulacje! Dziękuję, Panie Dariuszu, że wybrał Pan ten właśnie tekst. To dla mnie nieopisany zaszczyt. Pozdrawiam serdecznie i życzę dalszych sukcesów tłumaczeniowych! 🙂

Swoją drogą – to pierwszy tekst, który napisałam o Justynie. Dzisiaj mogę powiedzieć, że “od niego wszystko się zaczęło”. Gdy go pisałam, byłam jeszcze studentką. Czy dzisiaj zakreśliłabym to studium tak samo? Nie wiem, ale to już nie jest istotne, bo ma ono już swoje, własne, pozaliterackie życie. 🙂

ORYGINAŁ: TUTAJ

 

Phenomenology of creation – Justyna Steczkowska.

Does a cultural expert need philosophy?

(a study)

The literary study of the creative process, which Imre Kertész conducted in his work, reveals the truth not only about the effort of creation but also about the devotion to the process – that each work comes at a high cost. This notion, which sounds very bombastic and somewhat incompatible with contemporary culture characterised by the pluralism of form and content, is a core property without which no work is able to outlive itself – to transcend the boundaries of time in a sense that the work will be able to outlast itself. It also means that the work, which was not created by accident or as a commodity, is able to outlive its creator. In a moment when the creator presents their fully finished work, complete in their own perception (on the level of both form and content), it becomes an autonomous entity ready to function on its own in the culture in its broad sense. Yet, in order for this to happen, the work has to be prepared to confront the kaleidoscopic culture that will determine its existence over the next years. An artist – be it a painter, a musician, or a writer – is unable to foresee what the future might bring. At this point, a solution is offered by Imre Kertész, who bears witness to the effort involved in the creative process. It is not the talent but the creator’s attitude where he finds the value of the work. This also means that on the one hand, the work which transcends language boundaries (language as perceived in the perspective of the language of art, not only in the perspective of language products) may exist autonomously. On the other hand, the work naturally becomes a correlate of its creator’s consciousness. If this does indeed happen, is it possible for today’s audience to understand the work and grasp whether its form and content were shaped in a way that has enabled the audience to submerge in the aesthetic quality of the work and, to some extent in a process of intuitive perception, reach its layer of senses?

When speaking of music with such high-sounding words, touching not only its aesthetical but also ethical value, what first comes to mind is classical artworks. Their timelessness, beauty, and everlasting originality do not raise any doubts. However, a challenge for modern culture, which clearly tends to be visual, is to produce music compatible with the spirit of the times, music somehow naturally emanating from that spirit and yet implying a sublimity which enables the audience to experience unique emotions. A hedonistic concept of music which, according to that idea, is designed to be fun and to elicit joy, deprives music of the purpose for which it has been conceived since ancient times. A departure from the concept of catharsis, or purification, that, according to Aristotle, is oftentimes accompanied by fear and anxiety, deprives music of its individualism.

What exactly does it mean and what consequences does it imply? The answer to that question requires presenting a concrete example – invoking a silhouette of an artist who, according to the notion of phenomenological awareness, creates faced with situations vital from their perspective and shapes reality in a conscious and responsible manner, bearing in mind their creative commitments.

Undertaking further discussion requires deviating at this point and explaining an example which, in the subsequent part of this study, is to serve as grounds for the arguments made. Discussing classical music, great opera pieces, or instrumental film score masterpieces in the view of the abovementioned criteria would not stand as a proper counterargument to modern popular music (live music). A comparison of the two opposing genres, relying on completely different manners of expression, would be a methodological error and philosophical gibberish. Sung poetry could seem more compatible with the aim of this study; however, due to the fact that its weight is allocated in words, it would not serve as a good point of reference for a piece of work created not for words but for a specific value, which is vital especially from the creator’s perspective. Music is of secondary importance for sung poetry and is somewhat determined by the words and their overtone. The final choice of artistic creations for the analysis, and thereby the choice of particular works, was made by the process of elimination. Out of the entire spectrum of examples present in the public space that are easily available, performed live, present in mass media (and therefore available to an audience with varied cultural competence), only the works of Justyna Steczkowska remained, for not only did they fulfil the formal criteria that characterise the music of the age of postmodernism but also reflect the kaleidoscopic nature of culture, which enables her to stand up to the challenge stated by Imre Kertész.

Everything seems to come down to one of the most serious, and at the same time the most difficult, objectives to achieve encountered by each mass media recipient. In the face of a multitude of visual messages, in the light of the increased intensity of various stimuli, which oftentimes turn out to be false, recipients constantly undertake the effort of shaping their own identity, a postmodern identity that is open to a change and novelty. In a natural way, the recipient searches for a space providing solid foundations to do so. It is no surprise that at a particular stage of cultural adolescence, one escapes into the world of “art.” Yet, there is no guarantee of finding the values desired. In this respect, Justyna Steczkowska’s works might be considered an artistic surprise. Her works are mature, variable, unconventional, and diverse, and thus they are an amazing space for development and cultural entrenchment of various types of postmodern identity. However, it is worth putting aside the sociological and psychological aspects and focus on how Steczkowska achieves what is magical – and hence often elusive and empirically inexplicable – in music.

  1. Language

Once again, it is essential to refer back to Kertész’s manifesto and his words from “Gályanapló” (“Galley Boat-Log”). The Nobel Prize winner wrote: “It may be that it is not any talent which makes someone a writer but the fact that he does not accept the language and ready-made concepts.” Steczkowska is the “writer” of her own works, and she is constantly becoming one anew in her own unique way. Concepts, beliefs, and schemes present in contemporary culture are insufficient for her. For years, she has been exploring them and looking for a new space where they could exist – she supplements them with new meanings. A perfect example of this may be her song “Saktuarium” (lyrics by J. Steczkowska, music by J. Steczkowska and A. Dzeljilji). The deeply culturally rooted and historically conditioned space is taken by her out of its current context and is recreated. Paradoxically, when she draws on new semantics, she takes from the one which her audience already knows. This way, Steczkowska manages to bring the sacred to everyday life – to combine the sacred and the profane into one. It proves, above all, that she is diligent: she is responsible for her words, which are an important and integral part of her works. Although she is the author of only some of the lyrics of her songs (“Sanktuarium” is an example), she carefully selects the words used in her works. She collaborates with artists who are able to provide her with lyrics that are fully compatible with her individual artistic sensitivity, both in terms of aesthetics (poetic function) and semantics (semantic function). In doing so, Steczkowska succeeds in thematising well-known and common issues in a completely new way. She returns to well-known ideas, yet her interpretation turns out to be surprising and imbued with completely new sensitivity. This way, she avoids what is trivial. The language of Steczkowska’s works is terse. The message of individual works focuses on a specific issue. Even if it is not presented directly but is only a philosophical reflection hidden between the lines (as in the song “To, co jest ci dane,” lyrics by I. Ude, music by J. Steczkowska, B. Hervy, and K. Mańkowski), it is a fully coherent reflection – a reflection focused on a precisely defined idea. This is of great importance for the recipient. Not only can one participate in a situation co-created through the opposition “subject-context,” but also one has an opportunity to focus on one issue relevant to a given work – the recipient’s perception may be fuller then, and experience more intense. In this way, Steczkowska introduces order to the recipients, as they do not need to worry about the semantic overabundance that will disrupt the message. The recipient has a chance to explore the work, to delve into it, not only to experience it through the prism of aesthetic values but also to reach its depth. In this sense, terseness becomes the fruition of wise and thought-out art created with the recipient in mind.

  1. Lyricism

Not only is the element of lyricism, also perceived as a kind of a fairy-tale-like quality of the message, connected with Steczkowska’s musical creativity but also with her artistic activity. One should distinguish two situations: listening to a song at home and participating in an extraordinary spectacle of senses, which is what a concert is. The two situations cannot always introduce the recipient into a world full of artistic experience. However, Steczkowska’s artistic achievements and creativity show that this is not impossible. On the contrary, it becomes a challenge, a goal to be achieved. That is why each concert, each subsequent album, and even every song, which she signs with her name, creates an extraordinary story. It becomes a spectacle of words, sounds, variability, dynamism, and a composite melodic line; anyone who listens to Steczkowska’s songs or takes part in her concerts is taken on a journey carefully contrived by her. At the end of this journey, when the last song from the album finishes or when the stage lights go out, it turns out that the story was an end in itself. This artistic journey provides so many diverse and surprising experiences each time that the participants seem to forget about the goal they set for themselves. Recipients listening to a record or witnessing Steczkowska’s concerts for entertainment purposes are very often introduced to a world full of emotions and intimate reflections on the very essence of existence. Others, seeking such reflections, are presented with an element of extraordinary energetic potential that awakens their creativity and encourages them to enjoy themselves. The magic of this lyrical diversity with a strong potential of a fairy-tale-like quality lies in the fact that it is impossible to predict the final result – it materialises in an individual situation and in the intense relationship between the creator and the receiver (a good example would be the song “Tam,” which is a soothing lullaby for some and a deep philosophical reflection on transience, impermanence, and the imminence of the end for others; lyrics by M. Pańszczyk, music by J. Steczkowska and M. Hailurin).

  1. Temporality

Although temporality is an integral element and one of the fundamental components of musical aesthetics, not all artists are able to use its potential. The awareness of time – its dynamics and the variability which it brings – allows Justyna Steczkowska to undertake a very intimate dialogue with the recipient. The foundation of this relationship is Steczkowska’s individualistic temporal explication, which is different in each song. How does she manage to enclose three or four-minute songs in the magical continuance? This is possible thanks to her artistic maturity – the awareness of each sound and musical pause, the complexity of all elements forging the work. The unusually strong relations between particular consecutive musical structures make it possible for her to create a coherent whole that is completely artistically satisfying. It is a process of creating a dialog full of emotions – variability, sparking between the artist and the recipient, elements of surprise, and a four-octave vocal range due to which Steczkowska creates unusual narratives present in each song, which are different in each performance. By doing so, she enables the recipient to transcend the physical world. She introduces sounds into her songs in a consciously and responsible manner. As a composer, she carries out the process of creating her works with finesse and great sensitivity, remaining artistically insatiable and seeking new ways to reach objectives. In this way, Steczkowska creates new artistic sound stories fully engaging the recipient, who is drawn into their dynamics and forced to immerse in them and wait for another element of surprise. Presented with such art, the recipients forget about the assumptions which were present in their minds when they sat down in an armchair before turning on the music player or when they entered the concert hall. And so their sensuality, inner sensitivity, and intellectuality are fully immersed in the perception process. This way, she propels her music beyond time, enabling recipients to fully immerse in sound and introducing them to the space in which the boundaries between “before” and “after” are blurred. At this point, Wolfgang Welsch’s reflection appears to be immensely accurate:

Sounds seem to come out of nowhere – as if they appeared automatically. By listening to how they flow, we feel introduced into a world that follows its own rhythm and character. And as the world evolves, we become its part. We dive into the world of sounds to finally flow with it – as its part, not an observer of what is heard. Our attitude has changed. We no longer behave like modern recipients evaluating and wielding power over phenomena, but we enter the world where one ceases to be a measure. Modern anthropocentrism seems to become out of date when we enter this different state of being. (W. Welsch, Sztuka wykraczająca poza granice ludzkie – ku postawie transludzkiej, translated into Polish by K. Wilkoszewska, [in:] ibidem, Estetyka poza estetyką, translated into Polish by K. Kuczalska, K. Wilkoszewska, Kraków 2005, 155-156.)

  1. Identity

The diverse identity, which contemporary culture (primarily pop culture) defines as kaleidoscopic and imbued with pluralism, is a huge challenge for artists. Is it necessary for artists to choose between conveying a message with strong aesthetic potential and one with solid intellectual foundations? Steczkowska manages to combine these two seemingly opposing elements in her work. In the first instance, this is proven by the unconventional group of recipients who are beyond subcultural and age classification. It is worth asking, however, how she succeeds in inviting both those whose cultural identity makes them seek aesthetic experiences and those who need intellectual stimuli to participate in her spectacle of senses. To answer this question, one must revert to the approach which Steczkowska takes with respect to her work: she is an artist who takes full responsibility for each of her works. No matter if she is the author of the text herself or if she has had it written, its final form and meaning must be fully coherent with its overtone. Also, the magic quality of the sounds, and thus the instrumentality of the songs, complements the work. Works composed and prepared in this manner are able to provoke intellectual reflection (many listeners mention that while they were listening to one of Steczkowska’s songs “something emerged in their minds”) as well as aesthetic admiration (their aesthetic attitude changes or is enhanced). In the case of intellectual reflection, the recipient “sees,” “learns,” “understands,” and “discovers.” Yet, in the case of aesthetic experience, they have a chance to “feel,” “flow,” and “immerse” in the space of sounds. It is impossible not to mention the last discovery, which in a special way illustrates her ability to combine various elements in one work, distinguishing Steczkowska from other artists. It is the artistic project that she has cocreated under the pseudonym Maria Magdalena (Mary Magdalene). “All Is One” is a spectacle full of diverse symbolism that is taken out of its cultural context and semantic attachments. There is no allegory in this work, but it is surrealistic and full of confessional narrative. It is complemented with an alternative sound which Steczkowska introduces for the first time into her works. In this way, she stimulates the recipients’ imagination and surprises them. She also manages to touch and even shock them. Both those whose cultural identity hungers for intellectual content as well as those who seek aesthetic emotions will be able to redefine their identity by participating in the “All Is One” project.

  1. Phenomenology

The phenomenological character – whose meaning is highly related to Husserl’s concept of experience – of Steczkowska’s work is connected with her self-awareness as an artist. The commercial character of her music, even if we were to affirm it, is of secondary importance to the phenomenological character of Steczkowska’s music. Steczkowska seems to be fully aware that through each subsequent song, she makes the recipient immerse increasingly in the experience. At this point, it would be a mistake to claim that the recipient can start or stop experiencing the work. As the mind is in itself an experience of the surrounding world and of oneself, it has to be immersed in artistic experience. However, there is one condition – this artistic experience must result from and be shaped by the awareness of being inside this experience (of the artist/creator of the work). Otherwise, we would not be able to talk about the existence of such a process – there would only be empty, sensual reception of the work. The condition of experiencing micro-emotions and micro-feelings by the recipient is having an ability to create the whole work out of exquisitely subtle matter, which materialises not in what is seen but in what is hidden from the eye. Justyna Steczkowska manages to stand up to the challenge.

  1. Romanticism

Steczkowska’s romanticism is far from the current cultural meaning of this concept. A trivial thematisation of everything related to love or the dialogic nature of interpersonal relations can surprise the recipients, yet it will never be able to keep their attention or stir their individual artistic sensitivity which is, after all, unknown to the artist. Justyna Steczkowska locates her romanticism elsewhere. She draws on freedom, openness, and diversity, which romanticism, as a trend of artistic thinking and a concept of art original in its time, introduced into the artistic aesthetic in the 19th century. She creates compositions which are not limited to one style, tendency, or genre, for she opens them to various inspirations. The agogic, timbre, key, and, above all, ambience of her compositions create a kind of space which has no distinct boundaries yet is full of energy. The unclear shape results in blurred boundaries between subjective reception and objective creation – the fact that the work exists. Each song she performs simultaneously becomes a representation of certain values and a carrier of a specific emotional charge. Steczkowska manages to shift, and more specifically to create an artistic space for such a process, from a formal, individual representation to participation.

  1. Grandeur of form – semantic geometry

The capability of describing lyrics in terms of geometry is indicative of the spatiality of Steczkowska’s works. Her internal need to create works which are complete, both in their vertical and horizontal orientation, results in the fact that she oftentimes uses contrast in constructing her songs This is illustrated best by the lyrics of her works – those written by Steczkowska herself and those accepted by Steczkowska to be part of her artistic achievements (as they fit Steczkowska’s perception of form and content and thus are coherent with her sensitivity). The songs from her latest album “Anima” are a great example. Each song, without exceptions, introduces a collision of dynamics, motion, and variability (also in terms of temporality) with stability, persistence, or maybe even with a desire to exist as if beyond time.

“Terra” (“Terra”) (lyrics by K. Nosowska, music by J. Steczkowska, Bipolar Bears, and T. Nosal)

“Jak modlitewny młynek wiruję” (“Like a wheel of prayer turns on its axis”) vs. “Tkwimy w imadle obu biegunów (“Stuck in a vice-grip between two cold poles”) 

“Wybaczcie mnie złej” (“Forgive me”) (lyrics by J. Włodarczyk, music by J. Steczkowska and J. R. Kosik)

“Rozpływam się podając tafli dłoń” (“I melt touching the surface”) vs. “W obiegu trwam miliony lat (“Remaining in circulation for millions of years”)

“Szachmistrz” (“Chess Champion”) (lyrics by I. Komoszyńska, music by J. Steczkowska and Bipolar Bears)

“Przesuwamy pionki dwa” (“We move two pawns”) vs. “Jak królowa stoję tu” (“Standing here like the queen”)

“Pryzmat” (“Prism”) (lyrics by J. Steczkowska and M. Pańszczyk, music by J. Steczkowska and Bipolar Bears)

“Płynę… Wiązką pośród gwiazd” (“I move like a stream between the stars”) vs. “Zapamiętaj mnie” (“Remember me”)

“To, co jest ci dane” (“What is given to you”) (lyrics by I. Ude, J. Steczkowska, B. Hervy, and K. Mańkowski)

“Chwila, która trwa” (“A lasting moment“) vs. “Zagubieni […] szukamy absolutu” (“Lost […] we look for the absolute“)

“[…] w niedocenieniu trwa” (“[…] still being unappreciated “) vs. “[…] rzeki czas prowadzi nas” (“[…] the river of time guides us”)

“Nie jestem tym, kim byłam” (“I am not who I used to be”) (lyrics by J. Steczkowska, music by J. Steczkowska, B. Hervy, and K. Mańkowski)

“Lecę znad nieba gwiazd” (“I come from above the starry skies”) vs. “Jestem tu i teraz” (“I am here and now”)

Considering the totality of these lyrics, it is impossible not to notice their geometric structure, which stresses Steczkowska’s close attention to each word and meaning introduced into the work. If one were to resort to a more specific comparison or even a visualization, the semantic compositional axis of the lyrics would have the form of an inverted cone. Its circle-shaped base would contain the variety of topics included in the artist’s reflections. However, its upper part would signify the narrowing and specifying the topic; thus, it would introduce the terseness mentioned before. The apex would conclude the work with a precise artistic reflection and allow for its final ending – the finalisation of its unified structure. Steczkowska very often concludes her works with a single word or a very short and distinctive phrase:

“Terra” (“Terra”) (lyrics by K. Nosowska, music by J. Steczkowska, Bipolar Bears, and T. Nosal)

“Żyć, po prostu żyć” (“Live, simply live”)

“Leć” (“Fly”) (lyrics by I. Komoszyńska, music J. Steczkowska and Bipolar Bears)

“Leć…” (“Fly…”)

“Szachmistrz” (“Chess Champion”) (lyrics by I. Komoszyńska, music by J. Steczkowska and Bipolar Bears)

“Szach i mat” (“Checkmate”)

“Pryzmat” (“Prism”) (lyrics by J. Steczkowska and M. Pańszczyk, music by J. Steczkowska and Bipolar Bears)

“Mój czas… Dobiegł końca…” (“My time… Has ended”)

“Nie jestem tym, kim byłam” (“I am not who I used to be”) (lyrics by J. Steczkowska, music by J. Steczkowska, B. Hervy, and K. Mańkowski)

“Modliłam się o miłość…” (“I prayed for love…”)

All the abovementioned examples validate the focus on a single message (the apex of the cone). Yet, two axes, the vertical and horizontal ones, constitute the chief construction element of the cone as well. The vertical axis introduces two poles: motion (happening presently and not in a spectrum of temporality) and stillness. On the other hand, the horizontal axis implies temporality depicted by appearing and disappearing – existence conveyed in various aspects but inseparably inscribed in the context of transience. It is worth noticing, however, that the sinuosity of changes, the horizontal axis, is always subordinated to fixed values which are part of the vertical axis.

  1. Dynamism, variability, and development

When analysing Steczkowska’s works, it is impossible to ignore their dynamism, which is not only limited to the spectrum of variability. The primary, and maybe even paramount, model of understanding this concept may be depicted by the way in which Steczkowska composes her works. The sounds are often interspersed with silence. Due to that, not only do the sounds manage to infiltrate the silence, but also the silence remains enclosed in them. Both elements mutually condition each other, creating a consistent, carefully crafted whole which is aesthetically consistent. The recipient can experience the true beauty of sounds, their individual composition, and their overtone in a moment when one delves into the silence, into a split second full of it. Analogously, sensuality, purposefulness, and, above all, the content incorporated into the musical silence reach the listener’s awareness only when it is disrupted by sound. Such structural dynamism used by Steczkowska allows her to everlastingly feed the recipient, tempt them with magic of diversity (giving and taking), and leave them in anticipation. However, the dynamism of her work ought to be considered in a wider perspective, bearing in mind all of her works. Here, one may mention her variability – not only the fact that her works continually evolve and enter completely new fields but also that she remains a promise of variability for the recipients (it is directly connected with Steczkowska’s individual artistic approach). To explain the importance of this dynamism and its vital function in the artist’s accomplishments, one may use a “parent” metaphor. Justyna Steczkowska assumes a parent-like attitude and remains open to change that is naturally bound to the adolescence of her “offspring.” She evolves with her “offspring” following its interests, participating in its life, responding to its changing needs and desires, getting to know its dreams, etc. She never rests and so she transcends generational differences and standard characteristics of genres. Artists who do not even attempt to undertake the enormous effort of getting to know oneself in a new situation and of exploring the unknown, lose, for they remain in their place and time and their “offspring” grows and leaves them since over the years it turns out that there is no space for dialog between them. Artists who perpetually create in accordance with certain schemes, reach a point when schemes cease to be a safe haven, for they become an obstacle for the recipient who wishes to go on. The “offspring” walks away and terminates the relationship with the parent who up to this moment was its authority figure, its model, and its safe haven, but now has nothing more to offer. In the case of Steczkowska, the sense of security is an irreplaceable value. It is provided by the confidence that she is constantly developing and searching for more. In a way, she forces the “offspring” to follow her and to attempt to understand her. Due to that, she still has “something” to offer. There is still “something” that she can teach as a parent. This is the irreplaceable value which, as it turns out, is a great solution for artists functioning in the modern world.

  1. Rhythm

There is no doubt that rhythm is a measure of music. It can be used to determine its height and volume. Although it serves as a measure of time, it is not to be measured. That is where its “magic” materialises. What is its aim? Its preeminent aim is for us to experience it. A departure from understanding rhythm in such a way, which is a tendency of contemporary western music, leads to hedonism with no possibility to gain aesthetic and intellectual experiences. When it is measured and formulaic, rhythm turns out to be inflexible, uncomfortable, and restrictive. However, if the same rhythm is experienced rather than measured, it seems to flow, for it is sublime and flexible; it is so elastic that it may be a space where various emotions spring into existence. Against the background of these short and, for obvious reasons, incomplete considerations, it is no surprise that in Justyna Steczkowska’s works, rhythm seems to be a parallel of sounds and silence – a series of impulses that the recipient is “bombarded” with.

  1. Rhetorism and expressiveness

Another issue making it possible to distinguish Justyna Steczkowska’s works from that of other musicians is her ability (or maybe just sensitivity?) to combine the following two elements: rhetoric and expression. The first element is focused on and subservient to persuasion, which means it is directed towards the recipient. The second one is focused on and serves Steczkowska, her inner “I.” To discover Aristotle’s golden mean, the space where the two elements coexist, one should not only be open and experience deeply but also should have artistic empathy – the ability to be the creator and recipient at the same time. Due to its egotism, expression itself cannot go towards the listener. However, as it is subordinated to rhetoric (in purely musical and textual terms) – it becomes an extremely powerful tool of communication. Similarly, rhetoric, deprived of the element of expressiveness, becomes an empty message, devoid of expression and unable to move the recipients. The choice of any of these paths, devoid of any effort to seek a compromise and create a space where expression and rhetoric can coexist, results in insufficiency, incompleteness. The sensibility with which Justyna Steczkowska initiates the creation process makes it possible for the recipients to find virtually in every work the expression of her artistic “I” and a place for their own individual expression attributed and known only to them.

The abovementioned issues are only an example of a set of criteria that, in the cognitive process, allow one to understand the distinctiveness of Justyna Steczkowska’s works. They constitute a completely new research area for phenomenology – they allow it to enter the field of music. As it turns out, the phenomenology of music is not only present but also measurable – it has an independent methodology, material, and validity of existence.

 

Dariusz Fałek

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