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Krzysztof Topolski

Krzysztof Topolski

area: E-Music

© Krzysztof Topolski

Key Facts







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time period

July 2004 - August 2004

* 1973, Kalinowo

Drummer, composer, audio artist. Worked with several blues rock, hard core,  improvising experimental projects.

He is a cofounder of a band LUDZIE (folks), which is the substructure of  PRACOWNIA
LUDZIE (PLG) (The Folks Workshop).The  Plg is the idea of experimental art laboratory, musician’s collective and independent label.
His solo project is colled Arszyn
The main area of Arszyn interest is electroacoustic, concrete, electronic music, improvisation, and sonic work.
For some time past Topolski have made experiments with music production software, piezo contact microphones, drums, cymbals, metronomes, tapes, cdrs,electronics, metal, plastic,glass, porous materials and more.
He calls himself a big fan of interactive mixed-media ideas.

Silence does not exist !

Fork further information - download CV
(doc / 43 KB)


Ideas, and concrete project proposals for quartier21.


SEA is a project that involves recording sounds of the Baltic Sea and bringing these recordings to Vienna, Austria. Next stage is a creation of composition “sea” from the sounds of sea with as little interference and transformation as possible, only with some editing and mastering. Next stage is creation of special “sound gardens”. First I would have to find a locations, points on the map of Vienna where such gardens could be installed. I want to move this garden into many different parts of the city, where it could stay for a few days. Sound garden “SEA” is a set consisting of 2 or 4 speakers placed in a square possibly separated from the noise of the street by a Plexiglas. There could be a bench inside to sit on (either naturally existing in that place or brought there by myself). The speakers would generate prepared recordings of the Baltic Sea. Accidental passers-by could stay in this space. They could sit, relax, listen to sounds of waves. As far as location is concerned I intend considerable diversity. They can be placed in various parts of the city, be part of cafe gardens, art galleries, shops, shopping malls, schools, universities or other public or private spaces. Originally, this project involved also releasing an album “SEA” on CD with recordings of the sea, that could be purchased in these gardens and other places. This project is a development of an idea that was supposed to be carried out in Gdańsk which involved moving sounds of sea into the urban area of the Tri-city.
Sounds generated by sea make up some exceptional music structure, diverse and colourful, aggressive and gentle depending on the weather or time of day. Recordings of sounds of sea possess a great aesthetic value and relaxing and meditative properties. They are structured with rhythmical regularity. Recording of sea sounds (and consequent release of CD) could be a sound showcase of the city or the whole region. The presence of sea is so obvious here and so strongly merged with the landscape of the tri-city that acoustic and musical virtues gain some experimental, artistic, or social application and expression.
This project is associated with trends like “Environmental Art” or acoustic ecology. The other important aspect is presentation and recognition of the Baltic Sea as a place on the map of Europe that heads towards unification. It is a kind of symbolic exchange of sounds between our countries. In the prospective stage I could simultaneously search in Vienna or Austria for interesting sounds in terms of acoustic. Then I could use them in similar sound gardens in Tri-city in Poland. In this way I could achieve a realisation of the idea of exchange, presentation and reconciliation. We can learn about each other through the sounds of our environments. 

Integral part of the visit as “artists-in-residents” could be also work in studio. The sounds brought from Gdańsk (not only sea) could be mixed, transformed with sounds recorded in Vienna. An improvised, electroacoustic, studio composition could be created on this base.

The project could be modified and refined in the course of realisation.

2. Acoustic Installation “A SIREN SONG”

I want to install microphones on a chosen building (it could be a gallery, etc). They will transmit sound from the surroundings to a special chamber insulated against sounds and completely dark. A person will be exposed only to mixed urban sounds from around the building.

The purpose of this installation is to make the participant aware of the surrounding sounds. The application of equipment that distorts the sound could constitute an installation that generates abstract sound composition in real time.

Recordings of such prepared sounds could be also used in studio work


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