Music of the Future: Musical Science Fiction Projects
DOI:
https://doi.org/10.31261/SSP.2023.21.12Keywords:
science fiction, utopia, dystopia, popular music, future, electronic musicAbstract
In his article Andrzej Juszczyk focuses on science fiction projects carried out in popular music, including the work of Kraftwerk, Gary Numan and Nine Inch Nails. Juszczyk discusses both the aspects that constitute specific stories within the represented worlds as well as the sound layer responsible for the projects’ highly immersive character. The music and the sounds heard in these artists’ music can be regarded as experimental signs of the future not only because of the subject matter of the songs. An important element of the projects consists in their innovative and original creation process, which goes far beyond the expectations of average listeners.
References
Auslander Philip, 2006: Performing Glam Rock. Gender and Theatricality in Popular Music. The University of Michigan Press, Ann Arbor.
Beer Koos de, 2016: Analysing Alternate Reality Games Based on Game Design Theory to Propose a Conceptual Framework. University of Pretoria, Pretoria. https://www.academia.edu/74569838/Analysing_Alternate_Reality_Games_based_on_game_design_theory_to_propose_a_conceptual_framework [dostęp: 30.06.2022].
Binczycka-Gacek Elżbieta, Brzostek Dariusz, 2021: Powrót futuryzmów. Kultura przyszłości poza globalnym centrum. „Przegląd Kulturoznawczy”, nr 3 (49), s. VII–XI. https://doi.org/10.4467/20843860PK.21.032.14352.
Bruni John, 2021: „Erase Me”: Gary Numan’s 1978–80 Recordings. „Ought: The Journal of Autistic Culture”, vol. 2 (2) (Spring), s. 10–22.
Brzostek Dariusz, 2013: Afrofuturyzm – od analogowej wyobraźni do cyfrowego oporu. „Fragile”, nr 2 (20), s. 70–75.
Buckley David, 2013: Kraftwerk publikation. Współpr. Nigel Forrest. Przekł. Maciej Szymański. Dom Wydawniczy Rebis, Poznań.
Czernek Paweł, 2018: Nazewnictwo muzyczne jako dział onomastyki. Założenia wstępne. „Tarnowskie Dialogi Naukowe”, nr 1, s. 97–107.
Freud Sigmund, 1997: Niesamowite. W: Sigmund Freud: Dzieła. T. 3: Pisma psychologiczne. Przeł. [z niem.] Robert Reszke. KR, Warszawa, s. 235–262.
Huey Steve, 2021: Gary Numan Biography. AllMusic. https://www.allmusic.com/artist/gary-numan-mn0000183858/biography?1664874939193 [dostęp: 30.06.2022].
Jameson Fredric, 2011: Archeologie przyszłości. Pragnienie zwane utopią i inne fantazje naukowe. Tłum. Małgorzata Frankiewicz, Andrzej Miszk, Maciej Płaza. Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków.
Jurek Thom, 2007: „Year Zero” Review. AllMusic. https://www.allmusic.com/album/year-zero-mw0000746951 [dostęp: 30.06.2022].
Juszczyk Andrzej, 2019: Piękne maszyny nienawiści. W: Miejsca muzyki. Perspektywa interdyscyplinarna. Red. Magdalena Parus-Janowska, Szymon Nożyński. Wydawnictwo Naukowe Katedra, Gdańsk, s. 35–56.
Juszczyk Andrzej, 2014a: Stary wspaniały świat. O utopiach pozytywnych i negatywnych. Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków.
Juszczyk Andrzej, 2014b: Transhumanistyczna utopia w kulturze popularnej – przypadek Kraftwerk. „Wielogłos”, nr 3 (21), s. 61–71.
Kotoński Włodzimierz, 2019: Muzyka elektroniczna. Wydawnictwo Naukowe PWN, Warszawa.
Kraftwerk, 1974: Autobahn. Philips / Vertigo.
Kraftwerk, 1975: Radio-Aktivität. Kling Klang / EMI.
Kraftwerk, 1977: Trans Europa Express. Kling Klang / EMI.
Kraftwerk, 1978: Die Mensch Maschine. Kling Klang / EMI.
Kraftwerk, 1981: Computerwelt. Kling Klang / EMI.
Kraftwerk, 1986: Electric Cafe. Kling Klang / EMI.
Kraftwerk, 2017: 3-D Der Katalog. Kling Klang / Parlophone.
Latour Bruno, 2011: Nigdy nie byliśmy nowocześni. Tłum. Maciej Gdula. Oficyna Naukowa, Warszawa.
Lott Tim, 1979: Confessions of an Honest Poseur. „Record Mirror”, 9th June, s. 26.
Maj Krzysztof K., 2019: Antyutopia – o gatunku, którego nie było. „Zagadnienia Rodzajów Literackich”, R. 62, z. 4, s. 10–29. http://dx.doi.org/10.26485/ZRL/2019/62.4/1.
Martin Dan, 2007: Nine Inch Nails: Year Zero. „New Musical Express”, 27th April, s. 27.
McCormick Neil, 2013: Kraftwerk: the Most Influential Group in Pop History? „The Telegraph”, 30th January. https://www.telegraph.co.uk/culture/music/rockandpopfeatures/9837423/Kraftwerk-the-most-influential-group-in-pop-history.html [dostęp: 30.06.2022].
Momro Jakub, 2015: Fenomenologia ucha. „Testy Drugie”, nr 5, s. 7–12.
Morton Timothy, 2018: Lepkość. Tłum. Anna Barcz. „Teksty Drugie”, nr 2, s. 284–295. https://journals.openedition.org/td/10375 [dostęp: 30.04.2023].
Ndalianis Angela, 2018: Bowie and Science Fiction / Bowie as Science Fiction. „Cinema Journal”, vol. 57, no. 3 (Spring), s. 139–149. http://dx.doi.org/10.1353/cj.2018.0036.
Nine Inch Nails, 2007: Year Zero. Leaving Hope Music.
Nożyński Szymon, 2020: Akuzmatyka, koncepcja nażywości i słuchanie ambientowe. Dźwięk we władaniu medium. W: Słuchanie medium. Red. Marcin Olejniczak, Tomasz Misiak. Państwowa Wyższa Szkoła Zawodowa w Koninie, Konin, s. 25–34.
Numan Gary, 1979: Pleasure Principle. Beggars Banquet.
Piotrowski Grzegorz, 2016: Muzyka popularna. Nasłuchy i namysły. Państwowy Instytut Wydawniczy, Warszawa.
Sutton Paul, 2018: Understanding Gary Numan: An Essay on The Machine Quartet (1978–1981). Buffalo Books, Cambridge.
Suvin Darko, 1979: Metamorphoses of Science Fiction. On the Poetics and History of a Literary Genre. Yale University Press, New Haven–London.
Suvin Darko, 2018: O poetyce gatunku science fiction. Tłum. Krzysztof K. Maj. „Creatio Fantastica”, vol. 59 (1), s. 9–24. http://dx.doi.org/10.5281/zenodo.3311557.
Tubeway Army, 1978: Tubeway Army. Beggars Banquet.
Tubeway Army, 1979: Replicas. Beggars Banquet.
Downloads
Published
How to Cite
Issue
Section
License
The Copyright Owners of the submitted texts grant the Reader the right to use the pdf documents under the provisions of the Creative Commons 4.0 International License: Attribution-Share-Alike (CC BY-SA). The user can copy and redistribute the material in any medium or format and remix, transform, and build upon the material for any purpose.
1. License
The University of Silesia Press provides immediate open access to journal’s content under the Creative Commons BY-SA 4.0 license (http://creativecommons.org/licenses/by-sa/4.0/). Authors who publish with this journal retain all copyrights and agree to the terms of the above-mentioned CC BY-SA 4.0 license.
2. Author’s Warranties
The author warrants that the article is original, written by stated author/s, has not been published before, contains no unlawful statements, does not infringe the rights of others, is subject to copyright that is vested exclusively in the author and free of any third party rights, and that any necessary written permissions to quote from other sources have been obtained by the author/s.
If the article contains illustrative material (drawings, photos, graphs, maps), the author declares that the said works are of his authorship, they do not infringe the rights of the third party (including personal rights, i.a. the authorization to reproduce physical likeness) and the author holds exclusive proprietary copyrights. The author publishes the above works as part of the article under the licence "Creative Commons Attribution-ShareAlike 4.0 International".
ATTENTION! When the legal situation of the illustrative material has not been determined and the necessary consent has not been granted by the proprietary copyrights holders, the submitted material will not be accepted for editorial process. At the same time the author takes full responsibility for providing false data (this also regards covering the costs incurred by the University of Silesia Press and financial claims of the third party).
3. User Rights
Under the CC BY-SA 4.0 license, the users are free to share (copy, distribute and transmit the contribution) and adapt (remix, transform, and build upon the material) the article for any purpose, provided they attribute the contribution in the manner specified by the author or licensor.
4. Co-Authorship
If the article was prepared jointly with other authors, the signatory of this form warrants that he/she has been authorized by all co-authors to sign this agreement on their behalf, and agrees to inform his/her co-authors of the terms of this agreement.
I hereby declare that in the event of withdrawal of the text from the publishing process or submitting it to another publisher without agreement from the editorial office, I agree to cover all costs incurred by the University of Silesia in connection with my application.