“Expertise is the new genius" is the second episode that follows a conversation with theorist, DJ and composer Justyna Stasiowska. After completing her degree in Drama and Theater Studies, Justyna Stasiowska is a PhD student at the Performance Studies Department at the Jagiellonian University in Kraków. In addition to her theoretical work, contributing to diverse media on theatre and contemporary music, she also collaborates as sound designer with various choreographers.

With "Expertise is the new genius" Justyna encapsulates in a few words a cultural narrative strongly rooted in contemporary music. This narrative gives special relevance to the mastery of technology by musicians, who know their own instruments like no one else does, after years of difficult and painstaking never-ending learning. One keeps feeding the narrative of expertise that, at the same time, offers resistance to being fully achieved. Moreover, the notion of expertise also resonates with a monogamous relationship to sound, in which each musician is the connoisseur, protector and keeper of a very specific type of music that distinguishes them from each other. The cultural logic of specialized expertise means, that, by contrast, a preference for eclecticism is perceived as not very serious, as recreation or as a weak commitment to musical learning.

There are further narratives arising from the patriarchal gaze that are assumed as norm in the field of music. Not only logics of progress and development, of improvement and advancement, are part of the history of sound. Also, the popular use of military concepts applied to the context of sound is very common, especially in the description of albums, songs or concerts. The genealogy of this language goes unnoticed, turning the musician into a sonic warrior. In her sophisticated perception of language, Justyna's definition of noise is not so much about sound as sonic matter per se, but about contextual perception and possible shifts in meaning. This conversation began with the relationship between sound and theatre, questioning the priority of the eye in what happens on stage and in the stalls, and ended by talking about a different kind of relationship to language through dyslexia and its resistance to normative learning sequences. Many other things came in between, including the desire to listen to music producers speak of intuition and the pleasures of the still unidentified.