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This double sided edible food pen is perfect to add detail to all your celebration cakes and edible decorations!
This Dark Gold double sided edible food art pen is perfect for writing personal messages onto your celebration cakes or for adding fine detail to flowers and other edible decorations.
100% edible ink, double sided, quick drying food pen!
Use the standard 2.5mm nib for regular work and the 0.5mm nib for when fine detail is needed.
Water; humectant: glycerine; ethanol; tartrazine E102; carmoisine E122; brilliant blue E133.
E102 & E122 may have an adverse effect on activity and attention in children.
Allergy Advice:
Suitable for vegetarians & vegans.
Gluten & Nut Free.
Rainbow Dust Colours Ltd
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November 9th, 2010
QUARTZ Q-4A180 combines True Accurate ImagingTM technology with CMOS performance benefits for industry's most advanced 4 megapixel, 180-fps camera
EINDHOVEN, THE NETHERLANDS, November 9, 2010 - Adimec (http://www.adimec.com/), a world leader in application-specific, high-performance industrial camera solutions, unveiled a new version of its QUARTZ Q-4A180 camera that now includes near infrared (NIR) imaging sensitivity. The enhancement uses a CMOS-based implementation to achieve the industry's highest performance and, combined with Adimec's proprietary True Accurate ImagingTM technology, positions the QUARTZ family to address a wider range of machine vision requirements.
Adimec demonstrated the NIR-enhanced camera, which is available for sampling today, at the Vision 2010 Show in Stuttgart, Germany.
"Near Infrared sensitivity is increasingly critical in semiconductor and electronics manufacturing applications to provide more thorough visibility for detecting structural defects in dense, complex devices and enable the move from 2D to 3D inspection," said Andries Hofman, CEO of Adimec. "By building on our existing advantages in speed and image quality, the expansion of our camera's imaging range into this spectrum provides customers in these markets with more accurate and useful imaging and analysis capabilities that improve yield, production time, and costs."
The NIR-capable QUARTZ camera uses a leading-edge CMOS image sensor from CMOSIS delivering NIR sensitivity in a high-performance, low noise solution. Compared to the standard Q-4A180, the NIR enhanced version significantly increases the sensitivity above 650nm. The advanced global shutter CMOS technology combined with Adimec's True Accurate Imaging technology provides unmatched speed and accuracy, and an image quality comparable to CCD-based solutions.
The new camera achieves the industry's fastest frame rates for a global shutter 4 megapixel camera with no compromises in sensitivity, dynamic range and linearity at these high speeds. In addition, the camera operates at very low noise levels below 13 e- and provides linear dynamic ranges of 60dB and up due to Adimec's True Accurate Imaging technology.
QUARTZ 4A180 cameras feature up to 180 frames per second (FPS) performance, large field of view (FOV) with excellent uniformity, and 2048 x 2048 resolutions, making it the most advanced CMOS camera available for performance-critical applications.
Adimec (http://www.adimec.com/) specializes in the development and manufacturing of high-performance cameras that meet the application-specific requirements of key market segments, including machine vision, medical imaging, and outdoor imaging. Founded in 1992, the company partners with major OEMs around the world to facilitate the creation of industry-leading cameras. Its products meet a wide range of performance, size, cost, interface and application requirements and its True Accurate ImagingTM technology provides new levels of precision and accuracy to vision products. Adimec has offices around the world focused on creating customer value and satisfaction through local, personalized support.
Adimec Advanced Image Systems B.V.
Tel: +31-40-2353900
Fax: +31-40-2353905
Press Contact: M. Raaijmakers ()

subset: commoncrawl


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lol............me too....... but i like to think i am intelligent and articulate enough to make a good observation and form my own opinions.........
On life, per se....I agree with you.
But I do think there is a place in the world for movie critics.
You are here: Home ‹ Board index ‹ Movie Discussion ‹ All Other/Older Movies ‹ (2005) Fun With Dick And Jane
Fun With Dick and Jane Reviews . Critics
Discuss this movie. Available on DVD and PSP.
On life, per se....I agree with you.
But I do think there is a place in the world for movie critics.
"When in doubt, tell the truth."
Mark Twain
I'd rather ask the regualr Joe on the street than....
listen to a Critic. So my next is Cheaper by the Dozen 2, I've been told it's better than the first, which is very unusual.
I know, I know this is a Fun with Dick and Jane review...
but I will see it again, maybe get the video from my kids for Christmas in the new year. But naw I'll post this on another topic.. go see the other Topic....my review of Cheaper by the Dozen.....
So the first reviews in Belgium and the Netherlands (same language, that's why I look at both) are in. Not that good actually. Overall it gets 2.5 out of 5. Everyone is talking about nice moments including Carrey but weak, predictable and even stupid story.
I'm curious how I'm gonna feel. 15 days to go...
it does exactly what it says on the tin..........it's non-pretentious and non-patronising ,easy going, lighthearted and socially aware.........it's not The Shawshank Redemption but it never claimed to be..........it's just some fun........... ..........plus i agree it had to be made.......and instead of some tragic Story about the effects of Enron and corruption it's light-hearted.............i think the critics missed that and took it purely from a technical, artistic and intellectual snobbery viewpoint...........
But i'm not some blinded sycophant.....i'll say it as it is.......All in Good Taste and Copper mountain for example are dreadful...........and Simon Birch has a lot of flaws................ ...........but i think people over intellectualise movies sometimes and miss the whole point............
Last edited by fluffy on Wed Feb 01, 2006 6:54 pm, edited 1 time in total.
....but we're being TOLD in interviews, articles, etc, that it IS a film with a serious message.
To be totally honest, I'm getting really frustrated sometimes looking for something on the video shelf that isn't a heavy message movie and inappropriate for my mom or grandmother.
"When in doubt, tell the truth."
Mark Twain
Here is another review of FWDJ.
http://www.moviehole.net/reviews/200512 ... _jane.html
[i][b]Somebody to luv me(Jim)[/b][/i]
I don´t know. I dont know how it is to have a work. But I can imagine it and I think that it is funny to joke about some serious stuff sometimes.
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The Java Messaging Specification mandates that a session not be operated on by more than one thread at a time. This leads to the following restrictions:
A session may not have an asynchronous consumer and a synchronous consumer.
A session that has an asynchronous consumer can only produce messages from within the onMessage() method (the message listener). The only call that you can make outside the message listener is to close the session.
A session may include any number of synchronous consumers, any number of producers, and any combination of the two. That is, the single-thread requirement cannot be violated by these combinations. However, performance may suffer.
The system does not enforce the requirement that a session be single threaded. If your client application violates this requirement, you will get a JMSIllegalState exception or unexpected results.


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Cultures that Support Learner Centered Environments
Last week, MLTI school leaders discussed the influence of school culture on learning. We began with participants sharing a few words about what comes to mind when they hear the words "school culture". This brief introduction segued into an exploration of an example of Challenge Based learning focused on Reducing Food Waste (https://www.challengebasedlearning.org/solution/view/23) and a discussion of what a school culture would need to be like in order to support this learner centered approach. Some reflections include:
- Collaborative, Full-time Culture of Learning
- Focused yet Flexible
- Less Lockstep
- Guided by an Essential Question
- Teachers Collaborating
- Beyond the School Walls
We also explored the three necessary elements for learner centered cultures (Seashore-Louis & Whalstrom, 2011) and the challenges school leaders have in making sure these elements are continually nurtured and reinforced in their schools.
1. A Culture of Excellent Instruction
2. Shared Norms and Values
3. A Culture of Trust
Participants talked about the systemic/structural barriers that teachers encounter in moving towards a learner centered environment. For example, rarely does professional development model adult learning that is reflective of the learner centered models that we are discussing. Teacher evaluation systems rarely recognize the importance of risk taking, and the "messiness" of learner centered environments. In fact, many still emphasize an assembly-line model of instruction. Participants also shared how difficult yet imperative it is to remain focused on whose needs are being met in our structuring for learning: the learner? the teacher? the community? Sometimes these audiences may have conflicting views/needs and that leaders must be committed to a shared vision and be willing to take risks to lead, even though it may be (and likely will be) fraught with resistance and conflict.
We also explored the changing role of the teacher/mentor in learner centered environments where technology is a key driver of change (http://gettingsmart.com/cms/news/digital-learning-is-critical-for-move-to-learner-centered-instruction/):
- Facilitator of Learning
- User of Data and Assessments
- Collaborator, Contributor, Coach with Peers
- Curriculum Adaptor and Designer
Many agreed that teachers struggle with these shifts. Leaders are often challenged to help teachers "connect the dots" and provide support in ways that enable staff to adapt to these new roles.
This led to a lively discussion on how the notion of school leadership (with a principal as the main and/or only leader) needs to change to a more shared/distributed model of leadership. We also recognized that this view of leadership is also a major shift/change and there are very few examples to point to where it is happening in our schools.
As we ended the discussion, we left with a thought from Jim Collins: Great leaders have the ability to confront the brutal facts. Participants shared their thoughts on how they might use their collective learning and sharing from this session on culture in their own leadership efforts "back home"!
Slides from the Leadership Session LeadershipSession3REVISED
Our last MLTI leadership session for this year will be on April 10th. The topic is the role of technology in supporting staff/professional collaboration. We will also discuss future topics and meeting formats participants might want from future leadership sessions.
What: Using Technology and Social Media for Staff/Professional Collaboration.
When: April 10 8:30-11:30 Burton Cross Bldg. Room 500, Augusta and via Adobe Connect Webinar
Please use this link to register:
students define if the leadership/staff doesn't.
school culture word: from-the-top
williness to do what it takes for student learning


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I am a bit behind on posting this, but better late than never, right?
My baby girl turned two last Friday. She has been such a wonderful baby, and I am so glad I have had the privilege to be her momma.
Lacey has recently decided that talking isn't such a bad thing. She adds to her vocabulary daily. And not just little words- but some pretty complex bigger words too! Words like, Cereal, Seat belt, Lacey (Yacey), Grandma (Gan-naw), Grandpa, Blast Off, Church, Barney (I know- ::sigh::), parts of the Alphabet song (she's got the tune down, but she has A-G and the rest sound like either A or E), The itsy bitsy spider song, Old MacDonald, and The "I love you" Barney song.
On her actual birthday I took her to the pantry to choose her breakfast (I always pull down a box of cereal, and a box of instant oatmeal and let her choose what she wants). She turned her nose up at both breakfast options and pushed them out of her way, then she pointed to the top shelf and said, "No momma! Goo.. Kuh.. Cookie!" It was so cute (and it WAS her birthday) that I complied and she ate 3 Oreos for breakfast! And cookie was her new word of the day.
Lacey is so quiet, and sweet. She loves to cuddle, she adores her daddy, and is great at giving hugs and kisses. She is smart, and funny, and cute as a button! She loves to play with her sister Lilia (Eee-Yee-Uh), and has the most infectious laugh! She has a very mild attitude, and is pretty eay going. She keeps me on my toes, and keeps Lilia busy, and she loves to play pretend. Especially when Lil is pretending to be Lacey's mom and pushes Lacey around in the stroller or lays Lacey down for a nap.
I love my baby girl more than words can describe, and I look forward to many more fun years with my girls! Happy Birthday Lacey, we love you!
Lacey trying on her new nightgown from one of her grandmas.
Coloring in her new coloring book. She had to test drive EVERY gift. It was way cute!
She finally seems to have figured out the trick to opening the gifts without help.
Playing with doll #1, while momma unties doll #2. Seems her other two grandma's had the same idea!
The candles confused her. She loved being sung to, but was happy to just watch the flames rather than blow them out!
Momma and Lacey come to help her blow them out!
The cake was a homemade cake from Joe's mom. She made a sponge cake and topped it with chocolate covered strawberries. Quite yummy, and not too sugar loaded. Though I think Lacey would have preferred a chocolate cake, the rest of us enjoyed it! It is great to have such a wonderful family to spend my children's birthdays with!


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Remembering a brilliant jurist, scholar of Russian history, and friend.
Philip B. Lyons
A reasonable approach to history requires a certain sophistication, that is to say, an ability to hold in the mind more than one thought at a time.
Going into the past in search of wrongs could lead to the discovery of innumerable injustices that conceivably demand contemporary rectification.
If Chiafalo is the best that originalists can do, that is a damning indictment.
Local leaders across the nation, many elected with handsome majorities, have been shown feckless in the face of mobs raging through their cities.
Conservatives should recognize that our embrace of the very constitutional vices the Anti-Federalists warned about has made our Republic one in name only.
We confront a crisis of constitutional misunderstandings—fundamental misunderstandings among much of the legal left; partial misunderstandings by others.
Seila Law reveals the need to find a better legal foundation for the modern administrative state, one that works within the separation of powers.
The goods of human dignity, human rights, and human liberty can be secured only by a transcendent source and an ontological grounding.
A newsletter worth reading.
The difficulty with the reparations argument has always been practical, not moral. It lies in the questions, by whom? to whom? and how much?
How the effort to cancel Hamilton actually cancels the possibility of life together.
Men are not billiard balls whose direction is determined in a purely mechanistic way by the impact of a few physical forces.
One might be forgiven for thinking that today's Republican Party is an American Christian Democratic party in everything but name only.
Sean Shelby announced as President & CEO of Liberty Fund.
What if the "self" that is "realized" under the conditions of liberal capitalism is a self that despises liberal capitalism?


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My time with the Dark Souls II beta may have been brief, but it was every bit as brutal as the 2011 original. It was a punishing exercise in being chewed up and spit out. With huge monsters and unfair obstacles on all sides of me, I doubt I ever stood a chance. I died more times than I can count ... and loved every minute of it!
With no story to speak of or introduction of any kind, Dark Souls II dropped me off at the edge of nowhere. This is Huntsman's Copse, and the only person around is a shop keeper begging for business. Off to one side is a large, glowing wall. The other path is a dark cave with a narrow walkway and a bottomless pit below. I brave the darkness, only to discover an uninviting forest on the other side.
It's at this point that I realize that I am not equipped for this situation. I chose to play as a Dual Swordsman, the coolest of the half-dozen classes. My character has two swords as promised, as well as a small shield just in case I got bored of dual-wielding. My inventory consists of the basics, such as a human effigy, lifegems, black separation crystals and the always useful Estus flask. I know what these valuable items do, but only because I played the first game.
Those weeks of banging my head against the original Dark Souls haunt my dreams. I remember all of the heartache and suffering, just to figure out what the hell is going on. At times it seemed hopeless, but I fought on and saw it through. These memories flood back to me as I stare at the uninviting forest that lies ahead.
Deep in the forest are two giant monsters and an army of undead soldiers. They guard a camp site that used to belong to an adventurer just like me. Perhaps he felt safe sitting alone by the light, but the creatures of Dark Souls II had another idea. I don't have long to grieve his passing, I'm too busy looting his corpse for better weapons and armor.
I find a lever that lowers the drawbridge. This leads up the mountainside, where there are caves full of skeletons and paths full of thieves. Dig deep enough and you'll discover the first boss, the Skeleton Lord. Much like the first game, this battle will require perfect timing, pattern memorization and a liberal use of the dodge button.
Off to the right is a completely different path. It's a treacherous road full of glowing enemies. At first it's just four statues that spring to life, but at the top of the path, beyond an old rickety bridge, sits an angry soldier with a brutal one-hit kill. Just beyond that guard is Undead Purgatory, where new enemies and bosses await.
Unfortunately, I did not make it beyond the Undead Purgatory. My time was cut short as I attempted to dodge the glowing enemies, survive the rickety bridge and roll past the grumpy guard. It didn't work. And after numerous attempts, the servers went offline and my time in the Dark Souls II beta ended.
What I saw was little more than a tiny piece of what is sure to be an enormous world full of earth-shaking bosses and lots of dying. Everything you loved (and hated) about the first game is back, including ambiguous instructions, slow-moving attacks and a real sense of unease. Death is around every corner and it's incredibly easy to lose a good deal of progress from one stupid mistake.
Dark Souls II retains all of the funky online functionality that came with the first game. Players can still write notes to one another, and you'll occasionally see the outline of other players. If you need help with a boss, it's possible to summon a random internet player. I am a little disappointed that I didn't see any new networking gimmicks, but it's still early and From Software could have something cool up their sleeves.
Dark Souls II is exactly what I was expecting, more Dark Souls. If the beta is any indication, gamers that loved the first game (as well as Demon's Souls) will no doubt eat this sequel up, while everybody else wonders why somebody would put up with the punishment. Regardless of whether or not Dark Souls II changes anybody's mind, I had a great time being killed repeatedly and can't wait to try it again. Maybe next time I'll be able to dig deeper into the Undead Purgatory.
* The product in this article was sent to us by the developer/company.
It's questionable how accurate this is, but this is all that's known about Cyril Lachel: A struggling writer by trade, Cyril has been living off a diet of bad games, and a highly suspect amount of propaganda. Highly cynical, Cyril has taken to question what companies say and do, falling ever further into a form of delusional madness. With the help of quality games, and some greener pastures on the horizon, this back-to-basics newsman has returned to provide news so early in the morning that only insomniacs are awake.
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- 7 ounces high-quality white chocolate (such as Lindt), chopped, plus white chocolate curls (optional garnish)
- 27 chocolate sandwich cookies (about 11 ounces)
- 1
- 1/2 cup chilled whipping cream
- 1 8-ounce package cream cheese, room temperature
- 3 tablespoons sugar
- 3 tablespoons fresh lime juice
- 1 tablespoon finely grated lime peel
- Lime slices or lime twists (for garnish)
Recipe Preparation
Line 8x8x2-inch square baking pan with foil, extending over all sides. Stir chopped white chocolate in small metal bowl set over saucepan of barely simmering water until melted and smooth. Remove bowl from over water. Finely grind cookies in processor. Add 2 tablespoons melted white chocolate and blend until mixture clumps together. Firmly press mixture onto bottom of prepared pan. Chill while making filling.
Beat whipping cream in medium bowl until peaks form. Beat cream cheese, sugar, lime juice, and lime peel in large bowl until smooth. Beat in remaining melted white chocolate. Fold in whipped cream in 2 additions; spread over prepared crust. Chill until filling is slightly firm, at least 2 hours. Using foil as aid, lift cheesecake out of pan. Cut into 9 bars. Garnish with chocolate curls, if desired, and lime slices or twists.


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The September meeting will be held virtually. Details to be announced.
The Commission meets publicly in Washington, DC to discuss Medicare issues and policy questions and to develop and approve reports and recommendations to the Congress. At these meetings, staff present research and policy options for the Commissioners to discuss.
Meeting agendas and briefs are usually posted one week before the meeting. Transcripts and presentation slides are available 3 to 5 days after the meeting.
All Commission meetings include several opportunities for public comment. These times are noted on the meeting agenda. We also accept comments on our meeting agendas through email, beginning approximately one week before the meeting and for one week thereafter. Due to the volume of comments we receive, we cannot acknowledge individual comments.
Submit meeting comment
Sign up to recieve e-mail notices of Commission meetings and new posts to our website.


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XSPC D5 RX360 Water Cooling Kit Review
XSPC D5 RX360 Water Cooling Kit Review
Published: 25th July 2012 | Source: XSPC | Price: £289.68 |
XSPC water cooling kits have been a firm favorite by many on the OC3D forums, rightly so with their great performance and awesome pricing they can be the basis of an awesome system if done correctly. Recently though the jungle drums started beating about XSPC offing their own version of the D5 Vario pump, this is regarded as one of if not the best water cooling pump on the planet so adding it to the XSPC line up is a master stroke. The kit comes with the Raystorm CPU block an RX360 radiator and everything else you could need to get you started excluding coolant. This is actually a good move though because coolant type & colour is a very personal choice. Seeing as the pump is a beast and the radiator would be overkill for just a CPU loop we have also added in the XSPC Razor GTX680 water block to the loop so the testing will be more real world with a CPU and GPU on test to push the radiator that little bit more.
|Model Number
|RayStorm D5 RX360
|Intel Socket Compatibility
|Socket 2011
Socket 1366
Socket 1156
Socket 1155
Socket 775
Socket 604
Socket 603
|AMD Socket Compatibility
|Socket FM1
Socket AM3+
Socket AM3
Socket AM2+
Socket AM2
Socekt 940
Socket 939
Socket 754
|XSPC D5 with Tacho Wire
|Pump Flow Rate
|1500 l/ph
|XSPC D5 Dual Bay Reservoir
|CPU Waterblock
|XSPC RayStorm
|XSPC RX 360 Radiator
|Radiator Dimensions ( W x D x H )
|124 x 63 x 400 mm
|3 x XSPC 1650 RPM 3 Pin Case Fans
|2 Meters XSPC 7/16" ID Clear Tubing
|6 x XSPC Black Chrome Compression Fittings
|Intel Mount Kit
AMD Mount Kit
3 x 120mm Black Fan Grills
80 to 120mm Radiator Brackets
3mm Twin Blue LED with Molex Connection
5mm Blue LED with Molex Connection
24pin Power Supply Bridging Tool
K2 Thermal Paste
XSPC Razer GTX680 Water Block
|Model Number
|Razor GTX 680
|Reference Design NVIDIA GTX 680 Graphics Cards
|Thread Size
|CrossFire Compatible
|Base Material
|Top Material
|Stainless Steel
|185 x 123 x 25.7mm
|Package Contents
|XSPC Razor GTX 680 Waterblock
Mounting Kit
1/4" Plugs
Thermal Pads
Thermal Paste
|Special Features
|CNC machined copper base
CNC cut stainless steel top
1mm fins for high performance
Test Equipment
OC3D Customised CM Storm Trooper
XSPC D5 RX360 Kit & GTX680 Block
Corsair Vengeance Ram
Corsair GS800 PSU
Gigabyte X79 UD3
3930K @ 4.6 1.425v
Video Reviews
So looking at the D5 RX360 as a basic kit on its own we would have to suggest you use this as a basis for a whole system, the high quality components do carry a heavy price tag but its a kit that is perfect for expansion. A simple GPU block added in as we have done here would be an absolute minimum to validate the initial cost but with an extra radiator you could happily cool 2 GPU's and the pump would still not be getting stressed out.
Many people may see the £290 for the kit as being expensive where it only cools the CPU and they would be right, but they would also be missing the fact this kit has been spec'd to be expanded and also expanded with ease. You could for the sake of argument add a 240mm radiator, 2 GPU blocks and a motherboard block set and have an amazingly cooled system.
As tested here today we would say the pump is still over kill in all honesty but you do have the ability to be able to turn it down to make things even quieter should you wish. We would also say the radiator is at a sweet spot with a CPU and GPU, the temps are cool enough that you can run quiet radiator spec fans and still get good temperatures. To stop all those "what if I added this" questions if you added any more components you would need higher spec fans, making the whole system louder and basically ruin it. If you need to add any more kit then we would suggest adding at least another 240mm rad, the whole team at OC3D feel that 120mm single fan rads are pointless and just add extra tubing for minimal cooling potential. 240mm or don't bother!
So to recap the XSPC D5 RX360 kit is expensive but if you understand why then you will also realise its worth every penny. Personally we wouldn't use the fittings or the rad brackets etc that comes with the kit but its handy for those of you out there that don really care what your rig looks like! We personally feel water cooling should be just as much about aesthetics as it is about cooling and hanging your rad off the side of your case with hose all over the place is never going to look nice. We understand why they are there but tbh are fed up with putting those packets in the bin!
All in all its a great kit but its for those of us that understand that water cooling needs to be done right and that to do that when running big clocks with multiple components you need to get the best kit available. With all this in mind it is without a doubt a gold award winner, those that think it should have been scored less obviously have air cooling!
Thanks to XSPC for the kit on test here today, you can discuss your thoughts on this review in the OC3D Forums.


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- 1 Avant-garde
- 2 Issues
- 3 See also
- 4 Links
- 5 Experimental film, avant-garde film
- 6 Performance art
- 7 Computer and computer-aided art
- 8 Video art
- 9 Electroacoustic music
- 10 New media art, Media culture
- 11 Art theory, Art history
- 1911, First manifestations of avant-garde tendencies at Krakow's Exhibitions of the Independents, which include works by Tytus Czyżewski, Eugeniusz Zak, Andrzej and Zbigniew Pronaszko.
- Summary
"Polish futurism was short-lived, drawing to a close in 1922. Bruno Jasieński became a stanch Communist, producing the poem Song on Jakub Szela (Słowo o Jakubie Szeli) and the novel I Burn Paris (Palę Pary ). His political activities led to his emigration to Soviet Russia, where after enjoying a stunning career for a few years he was arrested in 1937 and was killed as a traitor in the Stalinist purges. Another Communist-leaning author was Aleksander Wat – imprisoned in Russia during WWII, he would die in Paris in 1967 as a respected poet and the author of works including his final-tally memoirs My Century (Mój wiek) and anti-Soviet sketches. Anatol Stern became associated with film. Two artistic disciplines, poetry and painting, were practiced within the futurist movement by Stanisław Młodo eniec and by the long under-appreciated formist painter Tytus Czyżewski (the same combination of disciplines was similarly practiced by Stanisław Ignacy Witkiewicz and later by Bruno Schulz). Czyżewski introduced the principles of formism, drawn from painting, into his poetry: he gave his poems "formist" graphical layouts, and linked the two disciplines thematically. For example, the metaphors in his poem "sun in metamorphosis" ("słońce w metamorfozie") seem close to the concept behind his painting "Nude with a Cat" ("Akt z kotem"). The painter Henryk Berlewi (who spent most of his life in France) engaged in joint artistic, advertising, and publishing ventures with the Warsaw group in the 1920s. They initiated an artistic phenomenon that was later continued by avant-garde groups throughout the interwar years, one which is highly interesting but has yet to be sufficiently studied: the relations between poetry and the fine arts, marked by bonds of friendship and cooperation that extended across Poland's borders." [1]
- People
- Katarynka (Barrel-organ) group, Krakow, *1917: Jerzy Jankowski (1887-1941), Bruno Jasieński (1901-1937), Stanisław Młodożeniec (1895-1959), Tytus Czyżewski (1880-1946)
- Warsaw: Anatol Stern (1899-1968), Aleksander Wat (1900-1967)
- Events
- 1913, Lwów. Exhibition of Futurists, Cubists and Expressionists organised jointly with the Berlin Galerie Der Sturm (Kandinsky, Jawlensky, Kokoschka., Kubišta and others).
- February 1918, Warsaw. The first futurist evening organised by Stern and Wat
- Venues
- Katarynka (Hurdy-Gurdy) futurist club, Krakow, *12/1919. Founded by Czyżewski, Jasieński and Młodożeniec.
- Writings
- Marinetti's Futurist Manifesto was published in the Krakow journal Swiat in October 1909.
- December 1920, Warsaw, publication of the futurist almanac Gga by Stern and Wat, immediately confiscated on the grounds of obscenity
- Jednodniuwka futurystuw (The Futurists' Day), Krakow. First issue: June 1921, contains futurist manifestos written against the elementary rules of grammar and spelling by Bruno Jasieński. Second issue: November 1921, Kraków-Warsaw, "Nuż w bżuhu" (A Knife in the stomach) confiscated three weeks later.
- Ziemia na lewo {Earth to the Left), the book of poems by Jasieński and Stern, with a cover design by Mieczysław Szczuka is the first Polish photomontage, 1925.
- Journals
- Nowa Sztuka (New Art), 1921-1923, monthly, ed. Anatol Stern and Jarosław Iwaszkiewicz, futurist poetry
- Zwrotnica [Railway Switch] was an avant-garde monthly edited by Tadeusz Peiper and published in Krakow in 12 issues in 1922-23 and 1926-27.
The above PDFs are sourced from RCIN, Digital Repository of Scientific Institutes.
See also
|Avant-garde and modernist magazines
Poesia (1905-09, 1920), Der Sturm (1910-32), Blast (1914-15), The Egoist (1914-19), The Little Review (1914-29), 291 (1915-16), MA (1916-25), De Stijl (1917-20, 1921-32), Dada (1917-21), Noi (1917-25), 391 (1917-24), Zenit (1921-26), Broom (1921-24), Veshch/Gegenstand/Objet (1922), Die Form (1922, 1925-35), Contimporanul (1922-32), Secession (1922-24), Klaxon (1922-23), Merz (1923-32), LEF (1923-25), G (1923-26), Irradiador (1923), Sovremennaya architektura (1926-30), Novyi LEF (1927-29), ReD (1927-31), Close Up (1927-33), transition (1927-38).
|Full list
Entretiens politiques et littéraires (1890-93), Moderní revue (1894-1925), Volné směry (1897-1948), Mir iskusstva (1898-1904), Vesy (1904-09), Poesia (1905-09, 1920), Zolotoe runo (1906-10), The Mask (1908-29), Apollon (1909-17), Ukraïnska khata (1909-14), Der Sturm (1910-32), Thalia (1910-13), Rhythm (1911-13), Trudy i dni (1912), Simbolul (1912), The Glebe (1913-14), Ocharovannyi strannik (1913-16), Revolution (1913), Blast (1914-15), The Little Review (1914-29), Futuristy (1914), Zeit-Echo (1914-17), The Egoist (1914-19), L'Élan (1915-16), 291 (1915-16), Orpheu (1915), La Balza futurista (1915), MA (1916-25), SIC (1916-19), flamman (1916-21), The Blindman (1917), Nord-Sud (1917-18), De Stijl (1917-20, 1921-32), Dada (1917-21), Klingen (1917-20, 1942), Noi (1917-25), 391 (1917-24), Modernisme et compréhension (1917), Anarkhiia (1917-18), Iskusstvo kommuny (1918-19), Formiści (1919-21), S4N (1919-25), La Cité (1919-35), Aujourd'hui (1919), Exlex (1919-20), L'Esprit nouveau (1920-25), Orfeus (1920-21), Action (1920-22), Proverbe (1920-22), Ça ira (1920-23), Zenit (1921-26), Kinofon (1921-22), Het Overzicht (1921-25), Jednodńuwka futurystuw (1921), Nowa sztuka (1921-22), Broom (1921-24), Život (1921-48), Creación (1921-24), Jar-Ptitza (1921-26), New York Dada (1921), Aventure (1921-22), Spolokhi (1921-23), Gargoyle (1921-22), Veshch/Gegenstand/Objet (1922), Kino-fot (1922-23), Le Coeur à barbe (1922), Die Form (1922, 1925-35), 7 Arts (1922-28), Manomètre (1922-28), Ultra (1922), Út (1922-25), Dada-Jok (1922), Dada Tank (1922), Dada Jazz (1922), Mécano (1922-23), Contimporanul (1922-32), Zwrotnica (1922-23, 1926-27), Secession (1922-24), Stavba (1922-38), Gostinitsa dlya puteshestvuyuschih v prekrasnom (1922-24), Putevi (1922-24), Klaxon (1922-23), Akasztott Ember (1922-23), MSS (1922-23), Perevoz Dada (1922-49), Egység (1922-24), L'Architecture vivante (1923-33), Merz (1923-32), LEF (1923-25), G (1923-26), The Next Call (1923-26), Russkoye iskusstvo (1923), Disk (1923-25), Irradiador (1923), Surréalisme (1924), Almanach Nowej Sztuki (1924-25), La Révolution surréaliste (1924-29), Blok (1924-26), Pásmo (1924-26), DAV (1924-37), Bulletin de l'Effort moderne (1924-27), ABC (1924-28), CAP (1924-28), Athena (1924-25), Punct (1924-25), 75HP (1924), Le Tour de Babel (1925), Periszkop (1925-26), Integral (1925-28), Praesens (1926, 1930), Sovremennaya architektura (1926-30), bauhaus (1926-31), Das neue Frankfurt (1926-31), L'Art cinématographique (1926-31), Dokumentum (1926-27), Kritisk Revy (1926-28), Novyi LEF (1927-29), i 10 (1927-29), Nova generatsiia (1927-30), ReD (1927-31), Dźwignia (1927-28), Tank (1927-28), Close Up (1927-33), Horizont (1927-32), transition (1927-38), Discontinuité (1928), Munka (1928-39), Quosego (1928-29), Urmuz (1928), Unu (1928-32), Revista de Antropofagia (1928-29), 50 u Evropi (1928-29), Documents (1929-30), L'Art Contemporain - Sztuka Współczesna (1929-30), Adam (1929-40), Art concret (1930), Zvěrokruh (1930), Alge (1930-31), Le Surréalisme au service de la révolution (1930-33), Levá fronta (1930-33), Kvart (1930-37, 1945-49), Nová Bratislava (1931-32), Linja (1931-33), Spektrum (1931-33), Nadrealizam danas i ovde (1931-32), Ulise (1932-33), Die neue Stadt (1932-33), Mouvement (1933), PLAN (1933-36), Karavan (1934-35), Ekran (1934), Axis (1935-37), Acéphale (1936-39), Telehor (1936), aka (1937-38), Plastique (1937-39), Plus (1938-39), Les Réverbères (1938-39).
- Literature
- Nina Kolesnikoff, "Polish Futurism. Its Origin and the Aesthetic Program", Canadian Slavonic Papers 18:3 (Sep 1976), pp 301-311. (English)
- Beata Sniecikowska, Nuz w uhu Koncepcje dzwieku w poezji polskiego futuryzmu, Wroclaw: Wydawnictwo Uniwersytetu Wroclawskiego, 2008. [2] (Polish)
- I. Gwóźdź-Szewczenko, Futuryzm w czeskim pejzażu literackim, Wrocław, 2009. (Polish)
- Przemysław Strożek, "'Marinetti is foreign to us': Polish Responses to Italian Futurism, 1917-1923", in International Yearbook of Futurism Studies, Vol. 1., ed. G. Berghaus, Berlin and New York: Walter De Gruyter, 2011, pp 84-108. (English)
- Przemysław Strożek, "Poland", in International Futurism 1945-2009. A Bibliographic Reference Shelf, ed. G. Berghaus, Berlin-New York: De Gruyter, 2012. (English)
- Przemysław Strożek, Marinetti i futuryzm w Polsce 1909-1939: obecność, kontakty, wydarzenia, Warsaw: Instytut Sztuki Polskiej Akademii Nauk, 2012, 383 pp. (Polish)
- since July 1918 in Kraków, also Zakopane and Lwów, partially Warszawa and Poznań
- Leon Chwistek (theory of the multiplicity of reality), Tytus Czyżewski [3], Stanisław Ignacy Witkiewicz (theory of unity in multiplicity, Pure Form), Andrzej Pronaszko, Zbigniew Pronaszko.
- Journal
- Writings
- Leon Chwistek, "Wielość rzeczywistości w sztuce" [The Plurality of Realities in Art], Maski 1-4 (Jan-Feb 1918); repr. in Przeglad Wspolczesny 9 (Apr-Jun 1924); repr. in Wielość rzeczywistości w sztuce i inne szkice literackie, 1960, pp 24-50; repr. in Wybór pism estetycznych, 2004, pp 3-20. (Polish) Chwistek proposed the theory of the "plurality of realities in art" as a reaction against the dualistic model of the avant-garde. Later on, in various interdisciplinary discussions about art, mathematics, poetry, architecture and politics, he argued against agitprop and the missionary stance of the avant-garde, in favour of an open, modern and transnational society.
- Stanisław Ignacy Witkiewicz, "Nowe formy w malarstwie i wynikające stąd nieporozumienia", 1919. Formulates the principles of Pure Form. (Polish)
- Stanisław Ignacy Witkiewicz, Szkice estetyczne [Aesthetic Sketches], 1922. (Polish)
- Leon Chwistek, Wielość rzeczywistości [The Plurality of Realities], Kraków: Zaklad graficzny 'Wisloka' w Jaśle, 1921, 96 pp; repr. in Chwistek, Pisma filozoficzne i logiczne, 1, 1961, pp 30-105. (Polish)
- Painters, sculptors, poets.
- Władysław Strzemiński (Warsaw/Lodz) [5], Katarzyna Kobro (Warsaw/Lodz) [6], Mieczyslaw Szczuka (Warsaw), Henryk Stażewski (Warsaw) [7], Karol Hiller (Lodz) [8], Henryk Berlewi (Warsaw/Berlin/Paris) [9] [10], Teresa Żarnowerówna (Warsaw) [11].
- Bauhaus students: Max Sinowjewitsch Krajewski, Arieh Sharon, Munio Weinreb (Gitai), Edgar Hecht (Hed), Isaac Weinfeld, Shlomo Bernstein, Schmuel Mestechkin.
- Groups
- Blok (Grupa Kubistów, Konstruktywistów i Suprematystów Blok), Warsaw, 1924-1926.
- Praesens, Warsaw, 1926-1930, avant-garde abstract art group.
- a.r., Lodz, 1929-1936.
- Events
- 1921, the exhibition of three young graduates of the Warsaw Academy of Fine Arts: Szczuka, Stażewski and Miller, is considered one of the first displays of constructivism in Polish art. Szczuka presented compositions made out of iron, stone, glass and wires, Stażewski showed Cubist still nature and Miller made posters, where the typography was based on building compositions out of words and letters in such a way to visually emphasize the most important parts of the text. Even though this exposition already rather diverged from the previous events, the word 'constructivism' was not yet used.
- The New Art Exhibition [Wystawa Nowej Sztuki] was held on 20 May - 20 June 1923 at Corso Cinema [Kinematograf Corso] on A. Mickiewicz Avenue in Vilnius [Wilno] and organised by Władysław Strzemiński and Vytautas Kairiūkštis. One of the first manifestations of constructivist art outside Russia. Works included painting, drawing, sculpture, architecture, scenography, and prints. Cubist, Constructivist, and Suprematist compositions predominated. Its catalogue includes Kairiūkštis' constructivist manifesto. The exhibition marked the first appearance of Polish Constructivism; besides Strzemiński and Kairiūkštis participants also included Mieczysław Szczuka (first montage photographs), Henryk Stażewski, Teresa Żarnowerówna, Karol Kryński, and Maria Puciatycka, all of whom later become the members of the Blok group.
- a one-man show organised by Henryk Berlewi from his own work Mechanofaktura in the Austro-Daimler Automobile Salon, 1924.
- 15 March 1924, Blok's inaugural exhibition opened in the showroom of the automobile firm Lauren-Clement.
- March 1927, Warsaw. Visit of Kazimir Malevich, who shows a selection of his works in the Polish Art Club and lectures on new trends in art. [12]
- May 1927, New York. Strzemiński as a representative of Praesens co-organised the Machine Age Exposition
- March 1928, Modernists' Salon [Salon Modernistów] exhibition at Warsaw's Związek Zawodowy Artystów Plastyków [Trade Unions of the Artists]
- May 1929, To commemorate the tenth anniversary of Poland's independence, the Universal exhibition of Art opens in Poznań (the largest show of Polish visual art in the interwar period; it includes works by avant-garde artists). The Praesens group breaks up after the exhibition.
- a.r. International Collection of Modern Art donated by a.r. group to the Municipal Museum of History and Art (now Museum of Art; Museum Sztuki) in Lodz opened to the public on 15 February 1931. It included 111 works and represented - as no other contemporary European collection had done - the main movements of avant-garde art, from Cubism, Futurism and Constructivism, through Purism and Surrealism, to Neo-Plasticism, Unism and Formism. It is the first permanent collection of abstract art in a European museum, and opened two years after the Museum of Modern Art in New York. Władysław Strzemiński and a.r. group acquired the works through donations from artist friends and acquaintances around Europe between 1929 and 1932, and supplemented the collection until 1938. The collection in its ideological construct reflects the artistic preferences of Strzemiński, although it is a resultant of many people's efforts, Stażewski, Brzękowski, Hans Arp and Michel Seuphor among others. In so doing they altered the cultural topography of the whole continent, putting Lodz on the map as a link between Paris, Berlin, Warsaw and Moscow. Equally radical was the idea of a museum based on international exchange between artists. The collection include works from Abstraction-Création, Cercle et Carré, Ernst, Arp, Léger, Picasso, Marcoussis, van Doesburg, Prampolini, Vantongerloo, Schwitters and the Polish avant-garde such as Chwistek, Hiller, Witkiewicz and Szczuka. The museum continuted to exhibit the constructivist works even during communism. The works by Kobro and Strzemiński are now housed in a space designed by the couple in 1948, the 'Sala Neoplastyczna'.
- July 1932, 'New Generation' exhibition in Lvov. The second show after the Modernists' Salon which continued the tradition of presenting a wide spectrum of modern art, while also declaring interest in a different direction of experiments. The Constructivists were dominated here by the Colourists.
- March 1933, exhibition of a.r. group together with Krakow Group and L'Art Contemporain as Group of Modern Visual Artists [Grupa Plastykow Nowoczesnych], opened in Instytut Propagandy Sztuki [Institute for the Propaganda of Art] Warsaw and in autumn moves to Łódź.
- Constructivism in Poland 1923-1936, The Museum of Modern Art, New York, 1976. [13]
- Journals
- Blok, *3/1924-1926, 11 issues, Warsaw. The last issue of the magazine is devoted to the International Exhibition of Architecture held in Warsaw.
- Praesens: Kwartalnik modernistów, 1926-?, Warsaw
- Dźwignia journal, Warsaw, 1927-1928, inspired by the Soviet LEF journal, edited by Mieczysław Szczuka until his death in August 1927 and continued by Teresa Żarnowerówna. Affiliated to the Communist Party of Poland.
- L'Art contemporain, a periodical published in Paris by Jan Brzękowski
- Europa, 9/1929-1930, 13 issues.
- Linja, Kraków. *5/1931, literary avant-garde journal, published and edited by Jalu Kurek
- Writings and manifestos
- Tadeusz Peiper, "Metropolis. Mass. Machine." [Miasto. Masa. Maszyna.], Zwrotnica 2, 1922. Manifesto, initial inspiration for Awangarda Krakowska literary group.
- Mieczyslaw Szczuka, Teresa Żarnowerówna, "Co to jest konstruktywizm" [What is Constructivism], Blok group manifesto, Blok 6-7, Sep 1924.
- Władysław Strzemiński, "B = 2", Blok no. 8-9, 1924. Presents a theory of unism.
- Henryk Berlewi, "Mechano-Faktura", 1924. Published in German by Der Sturm in Berlin and in Polish by Jazz in Warsaw (translated by K.J. Michaelsen). In retrospect, Berlewi placed his manifesto between Witkacy's "Nowe formy w malarstwie" (1919) and Strzeminski's "Unism w malarstwie" (1928).
- Julian Przyboś, "Człowiek w rzeczach"; "Człowiek nad przyrodą", Zwrotnica, 1926.
- Władysław Strzemiński, Unizm w malarstwie [Unism in Painting], Biblioteka Praesens, no. 3, Warsaw, 1928.
- Wtadysław Strzemiński, et al., "Komunikat Grupy 'a.r.'" [Communiqué of the Group 'a.r.'], Europa, no. 9, 1930.
- more: [14], [15], [16], [17], [18], [19], [20], [21]
- Misc
- Belewi font, by Artur Frankowski, 2006. [22]
- Literature
- Constructivism in Poland 1923-1936: BLOK, Praesens, a.r., Łódź: Muzeum Sztuki in Łódź, 1973, 208 pp. Catalogue. [23] Review: Werner. (English),(Dutch),(German)
- Aleksander Wojciechowski (ed.), Polskie życie artystyczne w latach 1915-1939 [The Polish artistic life in years 1915-1939], Wrocław: Zakład Narodowy im. Ossolińskich, 1974. (Polish)
- Z. Baranowicz, Polska awangarda artystyczna 1918-1927, Warsaw, 1975. (Polish)
- Konstruktywizm w Polsce 1923-1936, ed. Janusz Zagrodzki, Łódź: Muzeum Sztuki w Łodzi, 1978, [29] pp. Catalogue. (Polish)
- Vladimír Šlapeta, "Die Architektur an der Akademie für Kunst und Kunstgewerbe in Breslau", Wissenschaftliche Zeitschrift 26:4/5, Hochschule für Architektur und Bauwesen, 1979. (German)
- Andrzej Turowski, W kręgu konstruktiwizmu, Warsaw: Wydawnictwa Artystyczne i Filmowe, 1979, 288 pp. (Polish)
- Andrzej Turowski, Konstruktywizm polski: próba rekonstrukcji nurtu, 1921-1934, Wroclaw: Zakład Narodowy im. Ossolińskich, 1981, 360 pp. Review: Gryglewicz (FHA 1985). (Polish)
- David Crowley, "The Cracow School and the Second Republic", in National Style and Nation-state: Design in Poland. From the Vernacular Revival to the International Style, Manchester University Press, 1992, pp 54-79. (English)
- David Crowley, "Questioning Parochialism", in National Style and Nation-state: Design in Poland. From the Vernacular Revival to the International Style, Manchester University Press, 1992, pp 80-101. (English)
- Samuel Albert, "Poland. Bauhaus Students: Max Sinowjewitsch Krajewski, Arieh Sharon, Munio Weinreb (Gitai), Edgar Hecht (Hed), Isaac Weinfeld, Shlomo Bernstein, Schmuel Mestechkin", Centropa 3:1 (2003). [24]
- Ilana Löwy, "Ways of Seeing: Ludwik Fleck and Polish Debates on the Perception of Reality, 1890–1947", Studies In History and Philosophy of Science 39:3 (Sep 2008), pp 375-383. (English)
- Magdalena Ziółkowska, "The Laboratory of Constructivism / Laboratorium konstruktywizmu", in Archywum 2, Łódź: Museum of Art, 2009, pp 66-77. (English)/(Polish)
For writings on futurism, formism and constructivism specifically, see sections below.
- Catalogues
- Jaroslaw Lubiak, Malgorzata Ludwisiak, Korespondencje: Sztuka nowoczesna i uniwersalizm/Correspondences: Modern Art and Universalism, Lodz: Muzeum Sztuki, 2012. Catalogue of a retrospective exhibition of the collection of Muzeum Sztuki and Kunstmuseum, Bern.
- Books
- Helena Zaworska, O nową sztukę. Polskie programy artystyczne lat 1917-1922, PIW, 1963. (Polish)
- Andrzej Lam, Polska awangarda poetycka. Programy lat 1917-1923, Cracow: Wydawnictwo Literackie, 1969. (Polish)
- Wiesław Szymański, Z dziejów czasopism literackich w dwudziestoleciu międzywojennym, Warsaw: Wydawnictwo Literackie, 1970, 386 pp. (Polish)
- Tadeusz Kłak, Czasopisma awangardy, 2 vols., (1919-1931 & 1931-1939), Wroclaw: Ossolineum, 1978 & 1979, 244 & 219 pp. (Polish)
- Bogdana Carpenter, The Poetic Avant-Garde in Poland: 1918-1939, University of Washington Press, 1983, xviii+234 pp. Review: Baranczak (PR 1984). (English)
- Lech Kalinowski (ed.), The Art of the 1920s in Poland, Bohemia, Slovakia, and Hungary, Cracow: International Cultural Centre, 1991. Proceedings from the Niedzica Seminars VI, 19-22 Oct 1989. TOC.
- Ryszard Kluszczyński, Awangarda: rozważania teoretyczne, Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 1997. [25] (Polish)
- Andrzej Turowski, Budowniczowie świata. Z dziejów radykalnego modernizmu, Cracow: Universitas, 2000, 416 pp. (Polish)
- Marek Bartelik, Early Polish Modern Art: Unity in Multiplicity, Manchester University Press, 2005. [26]
- Marci Shore, Caviar and Ashes: A Warsaw Generation's Life and Death in Marxism, 1918-1968, Yale University Press, 2006, 457 pp.
- Piotr Rypson, Against All Odds. Polish Graphic Design 1919-1949, Karakter, 2011. [27]
- Articles
- Piotr Piotrowski, "Art and Independence. Polish Art in the 1920s", 1993. (English)
- Irena Kossowska, "Między tradycją i awangardą. Polska sztuka lat 1920 i 1930", Culture.pl, 2004. (Polish)
- Alina Kowalczykowa, "The Interwar Years – 1918-1939", in Ten Centuries of Polish Literature, Warsaw: Wydawnictwo IBL PAN, 2004, pp 202-227. [28]
- E. Ranocchi, "Miłość maszyn. Antynomie maszyny w polskim modernizmie", Studi Slavistici VIII (2011), pp 137-160. (Polish)
- Przemysław Strożek, "Cracow and Warsaw: Becoming the Avant-Garde. Formiści (1919-1921), Nowa Sztuka (1921-1922), Zwrotnica (first series 1922-1923), Blok (1924-1926)", in The Oxford Critical and Cultural History of Modernist Magazines, vol. 3 (Europe, 1880-1940), New York: Oxford University Press, 2013, pp 1184-1207. [29]
- Lidia Gluchowska, "Poznan and Lodz: National Modernism and the International Avant-Garde", in The Oxford Critical and Cultural History of Modernist Magazines, vol. 3 (Europe, 1880-1940), New York: Oxford University Press, 2013, pp 1208-1233. [30]
- Dissertations
- Jeannette Słaby, Hominem imitantia. Modernistyczna antropologia podmiotu w polskiej prozie międzywojennej, Poznan, 2010. Ph.D. Dissertation. (Polish)
Experimental film, avant-garde film
- early contributions to cinema were largely wiped out by World War II
- In the 1980s, martial law in Poland killed experimental film making, as access to equipment and facilities was denied. In its place, video thrived. Many new artists grew up with the medium but some of the artists who mastered it, had previously used film, such as Robakowski.
Artists and works
- The young Polish artist Teresa Żarnowerówna wrote as a Constructivist in 1923 that "The artist has the broadest scope for expression in the cinema, where elements of the individual branches of art may be combined, ... enhanced by the perfection of technical methods." As was common in this period, the dream of a new cinema came before the reality. Although Żarnowerówna's artistic collaborator Mieczysław Szczuka began work on abstract films only two years after her statement on cinema, they were unfinished by his early death. [31]
- Franciszka and Stefan Themerson
- First photomontage films in 1927.
- The first successfully completed avant-garde film in Poland was Pharmacy (Apteka, 1930, 35mm, 3 min, b&w, silent, Warszawa), by the writer-painter team of Stefan and Franciszka Themerson. To make it, the Themersons constructed a special animation stand that consisted of a glass plate covered with translucent paper and a camera beneath it with its lens pointing upwards. Small objects were placed on the glass. By lighting them from above, changing their position, and shooting frame by frame, they achieved interesting, nearly abstract moving patterns. Bruce Checefsky made a remake, Pharmacy (2001, 35mm, black and white abstract photogram film, silent, 4:36) filmed in Budapest using a 1930s single frame camera and a reconstruction of the Themerson's trick table based on an original drawing made by Stefan Themerson in the 1970s.
- Inspired by Anatol Stern's poem 'Europa' (published in 1929), they made the photomontage film Europa (1931/32, 35mm, 15 min, b&w, silent, Warszawa). A flow of snapshots depicting different aspects of contemporary life, Stern had made a strong political statement, a warning about the existence of social tensions and the possibility of a new world war. The Themersons followed the text closely, producing a filmic collage in which literary metaphors were represented word for picture. Since Europa was silent, the result was a stream of beautiful and sometimes mysterious images. As was the case with 'Pharmacy', the film was lost during WW2.
- After completing 'Europa', the Themersons made two commissioned films: a commercial for a jewelry shop owned by Wanda Golińska (Musical Moment, Drobiazg Melodyjny, 1933, 35mm, 3 min, b&w, sound, music: Ravel) and an educational short for the Institute of Social Problems in Warsaw (Short Cut, Zwarcie, 1935, 35mm, 10 min, b&w, sound, music: Witold Lutosławski, Warszawa). In both they utilized the technique of animating objects they had already used in 'Pharmacy', which involved moving lights and shadows on objects. They evolved out of the Themersons' improvisations with the photogram in 1928-35. Most of the images were made on a "trick-table" improvised by Stefan Themerson. He placed various objects on a piece of translucent paper over a sheet ofglass. The lights were above, and he photographed the images from below frame by frame. In 1934, T.Toeplitz from Kurier Polski wrote: "And finally I shall mention the Themersons, who shot a truly beautiful commercial Moment Musical. This film moment is the only film that one cannot raise any objections to at all. The only positive point in the balance of Polish film production in 1933-34." Both films were also destroyed during the German occupation of Warsaw.
- The Adventure of a Good Citizen (Przygoda czlowieka poczciwego, 1937, 35mm, 10 min, b&w, sound, music: Stefan Kisielewski, Warszawa) is a compendium of visual devices which shows what Stefan Themerson called his "urge to create visions," the title of his most influential essay. A surrealist burlesque that later inspired Roman Polanski's 'Two Men and a Wardrobe'. Although it was mostly live action, they smuggled a few abstract images into the plot, some of them painted directly on the film stock. The film is the most significant Polish avant-garde cinematic work from the 1930s to survive to the present time. It was their last film completed in Poland, the war forced the Themersons to England where they continued to make films. [32] [33]
- In London they produced two more shorts (commissioned by the Film Bureau of the Ministry of Information and Documentation of the Polish Government in exile): Calling Mr. Smith (Wzywając pana Smitha, 1943, 35mm, 10 min, Dufay-colour, sound, music: Bach, Karol Szymanowski, Horst Wessel Lied, London) and 'The Eye and the Ear'. The former is an anti-Nazi propaganda film whose aim was to wake up ordinary British citizens, many of whom refused to acknowledge that the nation that had delivered Bach and Goethe could have committed crimes against humanity. Despite the message, the form of the film was innovative, contrasting shocking documentary footage with images of pure visual beauty (achieved, among other methods, through the use of color filters and hand drawn images). [34] [35]
- The Eye and the Ear (Oko i Ucho, 1944/45, 35mm, 10 min, b&w, sound, music: Karol Szymanowski, London) is a collection of four visual interpretations of songs by Karol Szymanowski (music) and Julian Tuwim (lyrics), sung by Sophie Wyss. Two of them consist of abstract moving patterns that represent the voice of the singer and orchestration. For one of the remaining parts, the filmmakers built a glass container, filled it with water, and dropped small clay balls into this to create ripples that also reflected the progress of the musical line. It claims to visualise the ear's experience when it listens to a piece of music. However, since the music, Szymanowski's 'Slopiewnie', seeks to capture visual experiences in sound, the film only reverses the process, rendering the whole exercise rather pointless. The exception to this is the third movement, 'Rowan Towers', in which a more mathematical system of interpreting the soundtrack is taken. The film is one of the best, but simultaneously lesser known, examples of abstract cinema in the history of this genre. [36] [37]
- In 1930s, significant film experiments were also conducted in Krakow by a group of avant-garde artists and poets: Janusz Maria Brzeski, Kazimierz Podsadecki, and Jalu Kurek. None of their films survived intact, but enough material from Kurek's OR (Rhythmic Calculations) (1934) was found after the war to allow it to be reconstructed (by Ignacy Szczepanski with a script by Marcin Giżycki. Incorporated into a documentary film titled 'Jalu Kurek'). The film was an illustration of Kurek's theoretical belief according to which one could make films without actually showing a human face. So, for example, the story of a date between two protagonists was told mostly using shots of their legs. Some unrelated images of factory chimneys, trees, and clocks, etc. added visual metaphors that were open to interpretation. Poetic, animated title screens completed the whole.
- There is a Ball Today (1934) by Tadeusz Kowalski and Jerzy Zarzycki, two architectural students who were also active in the Start Art Film Friends Society, is a poetic reportage about an annual ball for young architects, unconventionally told and filled with interesting tricks.
- Jerzy Gabryelski's Boots (1934) is a narrative anti-war short that cleverly utilizes the possibilities of the film medium (transitions, double exposures, etc.).
- Mieczyslaw Waskowski, Somnambulists (Somnambulicy, 1957), film attempts to recreate the principles of Tachist painting in cinema while the latter is a filming of a performance using Pawlowski's light box.
- Andrzej Pawlowski, Cinéforms (Kineformy, 1957), box of mirrors and prisms produces unbelievably modern effects; wispy smoke, diaphanous curtains, passing ghosts and then suddenly solid organic forms.
- Walerian Borowczyk, School (Skola), comic animation about a soldier on parade reverses the invention of cinema by reducing the medium to a series of still photographs again. House (Dom, 1958) - made with Jan Lenica.
- Jan Lenica, Labyrinth (Labirynt, 1962), a film which looks back to the Max Ernst's collages for his book La Femme 100 tetes and forward to Terry Gilliam's animations for Monty Python's Flying Circus. It is a surreal nocturnal world of bowler hatted angels, walruses who try to fly and voluptuous young maidens who prefer not to be rescued from the clutches of Bosch-like dragons.
- Market (Rynek, 1970, 4min 21sec) by Jozef Robakowski, Tadeusz Junak and Ryszard Meissner. The first film produced by Robakowski as a member of the Workshop of the Film Form, the artist tries to uncover a potential of the film medium to create an illusion of reality. Robakowski shows how a film's "sense of realness", established by viewer's perception of the world seen on the screen as one that is real, is only a technological product, more exactly the result of a correct speed, at which a movie runs in a projector or camera (24 frames per second). An early example of the use of time-lapse photography.
- Robakowski, I'm Going (Ide, 1973), a performance piece of the author climbing 200 steps of a look-out tower. The first part of his Vital-Video (1994), "My Videomasochism"; armed with a whole selection of everyday instruments, Robakowski attacks his face in a variety of ways; meanwhile, almost childish grunts, groans and cries play over the top in response to the self-inflicted prodding.
- 1970s-1980s, women artists: Zofia Kulik, Ewa Partum, Natalia LL, Anna Kutera, Katarzyna Hierowska, Jadwiga Singer, Jolanta Marcolla, Teresa Tyszkiewicz, Ewa Zarzycka, Barbara Konopka, Irena Nawrot, Iwona Lemke-Konart.
- Open Form (1971), carried out jointly by the students of Lodz Film School and the Department of Sculpture of the Warsaw Academy of Fine Arts. Films (1971): School, Moses, Game on an Actress' Face
- Natalia LL, Consumption Art - Exhibition Opening at PERMAFO Gallery (1973), on one side an attempt to compromise the cognitive ambition of conceptual art, and on the other an effort to critically relate to the iconographic sphere of popular culture that frequently employs erotic motives.
- Zofia Kulik
- Ewa Partum, visual poetry has been the main area of the artist's creative interests since 1969, along with films contained in the structural cinema paradigm. Since the late seventies she has gradually moved from the issues of autonomous conceptual art and contemplation of purely artistic problems to taking up feminist issues. Tautological Cinema (1973), film cycle.
- Antosz & Andzia (Stanislaw Antosz and Katarzyna Hierowska), multi-element play on the reality of TV serials and Hollywood movies, Murderer (1975)
- Anna Kutera, closely linked with the artistic community of Wroclaw, where she co-created The Recent Art Gallery with Romuald Kutera and Lech Mrozek; in the mid-seventies these artists were augmenting the contextual art theses of Jan Lwidziski. Presentation (1974).
- Zbigniew Rybczynski, A New Book (Nowa ksiazka, 1975) and Tango (1980). Both are amazing films in terms of the amount of planning and calculation that must have been made to get all the characters and their actions to dovetail. In Nowa ksiazka, the life of a Polish town is narrated through nine static camera angles shown simultaneously on a divided screen. Tango, the last film he made in Poland, is both a philosophical look at the solitary, mechanical nature of life and a genuinely funny piece at the same time. Starting with an empty room, Rybczynski one-by-one adds stereotyped figures from an extended family. All of them are unaware of the others and are caught in a loop of meaningless repetition to the rhythm of a simple tango. The films are also interesting in that they anticipate the techniques which video offers.
- Barbara Konopka, musician, Interferences (1985), depicts a number of self-manipulative interventions of the artist on her own body. Caprices and Variations on One's Own Subject, Opus 13, Part 1 (1994), a "reflection on the human destiny," mingles pictures of the Virgin Mary with octopus innards. The individual images are powerful, but somehow they fail to hang together.
- Miroslaw Rogala, makes video operas, Nature Is Leaving Us (1988), has the idealistic naiveti which afflicts most art about saving the environment.
- Jacek Szleszynski, Self-Portrait (1994), computer technology used maturely for visual effect.
- Michal Brzezinski, Memory (2003), Found Footage based on Temporary Internet Files folder. [38] Mnemosyne (2006), computer technology through the visual effect transforms unknown sculpture from Rome into half-abstract animated reality. [39] Modern Post Mortem Found Footage deconstruction of Vertov, Debord, and home archive of young citizens of very postcolonial city in Poland. Generative repetitions evocate socio-meditation on the subject of modernism in Central Europe (2008)
- Start (Society of the Devotees of the Artistic Film; Stowarzyszenia Miłośników Filmu Artystycznego), 1929-1935. Aleksander Ford, Wanda Jakubowska, Stanisĺaw Wohl, Jerzy Toeplitz, Jerzy Bossak, Eugeniusz Cękalski, Jerzy Zarzynski.
- SAF (Spółdzielnią Autorów Filmowych), *1935 by Franciszka and Stefan Themerson, one of the first film co-operatives.
- Polish Film Unit, under the aegis of Polish Ministry of Information & Documentation in London. Franciszka and Stefan Themerson worked there during 1942-54. Eugeniusz Cękalski, its first director, had been a member of SAF, as had Aleksander Ford, who also directed films for the Unit, 1943-44. No history of the Unit exists but ten films are preserved in the Imperial War Museum, London, and there were more. [40]
- 1930s: film clubs in Warsaw (Start), Krakow, Lwow, Lodz
- late 1930s: first screenings of the European avant-garde in Warsaw (Len Lye, Basil Wright, Moholy-Nagy, Rene Clair, Leger, Chomette, Lacombe, Gilson), arranged by Franciszka and Stefan Themerson
- Polish Avant-Garde Films, 1930-1945, University of Washington in Seattle, 2003 [41] [42]
- A Short History of Polish Avant-Garde and Experimental Film, October 25–November 2, 2003, MOMA, New York, [43]
- Archive of Polish experimental film
- Filmoteka Muzeum, internet archive of Polish artistic films
- Karol Irzykowski, Dziesiąta Muza. Zagadnienia estetyczne kina [The Tenth Muse], Krakow, 1924. (Polish)
- f.a. (art film), eds. Franciszka and Stefan Themerson, 1937ff. The journal of the SAF co-operative.
- Marcin Giżycki, Walka o film artystyczny w miedzynarodowej Polsce [A Battle for Artistic Film in Poland Between the Wars]. Państwowe Wydawnictwo Naukowe, Warsaw, 1989. (Polish)
- Ryszard Kluszczyński, Film: sztuka Wielkiej Awangardy, Warsaw/Łódź: PWN, 1990, 183 pp. [44] (Polish)
- Marcin Giżycki, Awangarda wobec kina. Film w kręgu polskiej awangardy artystycznej dwudziestolecia międzywojennego [Avant-Garde and Cinema: Film in Polish Avant-Garde Circles Between the Wars], Wydawnictwo male, Warsaw, 1996. [45] [46] (Polish)
- Andrew J Horton, "Avant-garde Film and Video in Poland", Central European Review, Nov 1998. (English)
- Sheila Skaff, The Law of the Looking Glass: Cinema in Poland, 1896-1939, Athens, Ohio: Ohio University Press, 2007. (English)
- Łukasz Ronduda, Florian Zeyfang (eds.), 1,2,3... Avant-Gardes: Film/Art between Experiment and Archive, Warsaw: Centre for Contemporary Art, and Berlin/New York: Sternberg, 2007. [47] (English)/(German)
- Lukasz Ronduda, "The Films of Polish Women Artists in the 1970s and 1980s: From the Archive of Polish Experimental Film". (English)
- Violetta Kutlubasis-Krajewska, Piotr Krajewski (eds.), Widok 1: "From Absolute Cinema to Future Film. Materials from the history of experiment in the moving picture art", Wroclaw: WRO Art Center, 2009. (English)
- Kamila Kuc, Michael O'Pray (eds.), The Struggle for Form: Perspectives on Polish Avant-Garde Film, 1916–1989, New York: Wallflower Press, 2014. (English)
- Kamila Kuc, Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism, Indiana University Press, 2016. (English)
Performance art
Azorro group [48], Tadeusz Kantor [49], Jarosław Kozłowski [50], Andrzej Mitan (sound poet, performer, publisher) [51] [52]
- Events
- Fluxus compositions broadcast by Polish Radio (1964); Fluxus Festival in Poznan, 1977 [53]
- Andrzej Mitan and Emmett William, the first Polish Fluxus-Concert (concrete poetry-jazz-visualization). [54]
- The International Art Seminar ETC, 1987/88. Organised by Andrzej Mitan and Emmett William. More that a hundred eminent artists from the US, Europe and Japan participated. [55]
- A-Yo, Emmett Williams, "Brand-new Piece in The Style of The Sixties", Fluxus w Warszawie, 2011, [56] [57]
- Literature
- Anthologies
- Performance – wybór tekstów, eds. Grzegorz Dziamski, Gajewski Henryk and Jan. St. Wojciechowski, Warsaw: Miodzieżowa Agencja Wydawnicza, 1984, 202+31 pp. (Polish)
- Books
- Alicja Kępińska, Nowa sztuka. Sztuka polska w latach 1945-1978, Warsaw: Auriga, 1981. (Polish)
- Tadeusz Pawłowski, Happening, Warsaw, 1988. (Polish)
- Sabine Folie (ed.), The Impossible Theater: Performativity in the Works of / Das unmögliche Theater: Performativität im Werk von Pawel Althamer, Tadeusz Kantor, Katarzyna Kozyra, Robert Kusmirowski and Artur Zmijewski, Nürnberg: Verlag für Moderne Kunst, 2005, 152 pp. Essays by Sabine Folie, Jaroslaw Suchan and Hanna Wroblewska. [58] (English)/(German)
- Jan Przyłuski, Sztuka akcji. Dziesięć zdarzeń w Polsce, Słupsk: Bałtycka Galeria Sztuki Współczesnej, 2007, 82 pp. [59] (Polish)
- Catalogues
- Projects / Performances: Czechoslovakia / Poland, ed. & intro. Charlotta Kotik, Buffalo, NY: Hallwalls, 1977, 16 pp. With works by Anna Bolcewicz, Zofia Kulik, Tomasz Sikorski, Krzystof Zarebski, a.o. [60] (English)
- Magazine issues
- Biuro 12: "Performans i niepoczytalność", Wrocław: BWA, 2016. (Polish)
- Book chapters, essays
- Stefan Morawski, "Happening. Rodowód – charakter – funkcje", Dialog 9 (1971), pp 109-131, & 10 (1971), pp 117-136. (Polish)
- Grzegorz Dziamski, "Performance Art", Dialog: miesięcznik Związku Literatów Polskich 27:7 (1982), pp 79-95. (Polish)
- Grzegorz Dziamski, "Happening, performance", in Od awangardy do postmodernizmu. Encyklopedia kultury polskiej XX wieku, ed. Dziamski, Warsaw, 1996, pp 349-368. (Polish)
- Józef Bury, "Contexte d'apparition des pratiques artistiques de type performance en Pologne", Æsthetica-Nova 6, Paris, 1996, pp 40-70. (French)
- Amy Bryzgel, "Filming Young Girls and Older Men: Performing Gender in Poland", in Bryzgel, Performing the East: Performance Art in Russia, Latvia and Poland since 1980, London and New York: IB Tauris, 2013, pp 157-220. (English)
- Amy Bryzgel, "Games Played by Different Rules: Performance Art in Poland, 1970-2000", Centropa 14:1, Jan 2014, pp 8-22. (English)
- "Historia polskiego performance", Wikipedia PL.
- Dissertations
- Aleksandra Drozdowska, Studien zur polnischen Performancekunst mit Schwerpunkt auf die 70er und 80er Jahre des 20. Jahrhunderts, Vienna: Universität Wien, 2013, 104 pp. Master's thesis. (German)
- Jacek Karaszewski, Transgresja w sztuce performansu, Warsaw, 2013. Master's thesis. (Polish)
Computer and computer-aided art
- Jan Pamula
- Ryszard Winiarski
- Zenon Kulpa
- Stanisław Dróżdż (concrete poetry)
- Wincenty Dunikowski-Duniko
Video art
- Video art is entirely incompatible with the utilitarian character of that institution (television), it is the artistic movement, which through its independence, denounces the mechanism of the manipulation of other people. Robakowski, 1976 [1]
- first video works in Poland, both tapes and installations, were made in 1973
- 1970s: Workshop of Film Form (Lodz): Jozef Robakowski, Pawel Kwiek, Wojciech Bruszewski, Antoni Mikołajczyk, Ryszard Waśko, The Laboratory of Presentational Techniques
- 1970s: Andrzej Paruzel, Janusz Kolodrubiec, Janusz Szczerek, Grzegorz Zgraja
- 1980s: Team T: Kolodrubiec, Tomasz Konart, Paruzel, Szczerek, Piotr Weychert
- 1980s: Izabella Gustowska, Zbigniew Libera, Jerzy Truszkowski, Lodz-Kaliska Group, Miroslaw Rogala
- late 1980s: Yach-Film group: Yach Paszkiewicz, Dorota Podlaska, Bombela Kuich, Andrzej Kuich, Andrzej Wasik. Worked on the border of film and video. Paszkiewicz was shooting on Super 8 film and transferring onto magnetic tape. In his case relationship between video and music was evident. His later career as a musical videoclip maker seems to be a consequence of the previously made artistic decisions.
- late 1980s: Krzysztof Skarbek brought into video art his previous film experiences, and connected video with musical performance and concert.
- 1990s: Jan Brzuszek, Barbara Konopka, Miroslaw Emil Koch, Maciej Walczak, Wojciech Zamiara, Rogala
- late 1990s: Marek Wasilewski represents quite cool but in the same time very sensitive, and in many cases very humoures poetics. His interest in theoretical aspects of video art makes his art close (but in a very specific way) to analytic video. Piotr Wyrzykowski puts into focus the problem of the body with its various connotations, and in the same time he is very much occupied with the problems of interactivity. Anna Kuczynska and Katarzyna Radkowska introduce into the Polish video problems connected with gender and femininity. The Lyyying Community present deconstructive, aggressive, dadaist-like attitude towards problems of video form, communication and aesthetics. Jacek Szleszynski and Cezariusz Andrejczuk develop computer animation forms. Jan Koza makes specific folk-poetry-animation-video. The variety of genres and forms makes the Polish video art nowadays very rich and polymorphic.
- 2000s: many artists in Poland (like Libera) says in this time that video is dead. Michal Brzezinski is the only artist creating conceptual based art in digital video as his only medium. Following the formalistic and dialectic montage (S. Eisenstein), through the structural film (H. Frampton) [61] Brzezinski is trying to redefine video art as generative film (L. Manovich) [62] but with his traditional duration, and without usage of the networks, or the databases during the screening. Video as language of new media.
Video installations
- first half of 1970s: Bruszewski, Kwiek, Mikolajczyk, Wasko, Robakowski.
- second half of 1970s, 1980s: Bruszewski, Paruzel, Rogala, Zgraja.
- 1990s: Rogala, Konopka, Wasilewski.
- presentations of video art traditionally organised in galleries since the 1970s
- In 1989 the first edition of WRO - International Sound Basis Visual Art Festival was organised in Wroclaw (Piotr Krajewski, Violetta Krajewska, Zbigniew Kupisz). After three annual appearances the festival is working as biennial now.
- In the CCA, besides regular video presentations, an annual international festival of experimental cinema and video art is held.
- In 1994 the first video festival in Lublin took place
- In 2000's most part of video art events was organized by Michal Brzezinski [63]
- The Hidden Decade, retrospective of Polish video art 1985-1995, in National Musem Wroclaw, part of WRO Biennale in 2009
- "Analogue: Pioneering Artists' Video from Poland (1968–88)", Tate London, 60 min programme, selected by Lukasz Ronduda, [64]
- 1980s: academies of fine arts (Torun and Wroclaw)
- Centres
- Polish Video Art Data Bank, *1988 in Lodz, founded by Ryszard Kluszczynski, a non-profit organisation for media culture
- In 1990 Kluszczynski founded Film & Video Department in The Centre for Contemporary Art - Ujazdowski Castle in Warsaw.
- WRO Center for Media Art in Wroclaw, *1998
- Filmoteka Muzeum, internet archive of Polish artistic films
- R. W. Kluszczynski, "Avant-garde Film and Video in Poland. An Historical Outline", in: The Middle Of Europe. The festival of avant-garde films and video from Austria, Czecho-Slovakia, Hungary and Poland, Centre for Contemporary Art, Ujazdowski Castle, ed. R. W. Kluszczynski, Warsaw 1991, p. 52-73
- Piotr Krajewski, "Video art w Polsce", Kino, 1991, nr 11, p 11. (Polish)
- R. W. Kluszczynski, "Video Art in Poland. An Historical Outline", in Ostranenie. 1. International Video Festival at the Bauhaus Dessau, catalogue edited by Inke Arns and E. Tharandt, pp 148-152.
- Ryszard W. Kluszczynski, Anatoly V. Prokhorov, "Video art in Poland. An historical outline".
- Ryszard Kluszczynski, "New Poland - New Video. Some reflections on Polish video art since 1989", translocation_new media/art, 1999.
- Ryszard Kluszczynski, "An Outline History of Polish Video Art".
- Piotr Krajewski, Violetta Krajewska (eds.), From Monument to Market: Video Art and Public Space, Wroclaw: WRO Art Center, 2005.
- Agnieszka Kubicka-Dzieduszycka, Krzysztof Dobrowolski (eds.), Nam June Paik. Driving Media, Wroclaw: WRO Art Center, WIDOK: WRO Media Art Reader 2, 250 pp + DVD, 2008. (Polish/English)
- Violetta Kutlubasis-Krajewska, Piotr Krajewski (eds.), From Absolute Cinema to Future Film. Materials from the history of experiment in the moving picture art, Wroclaw: WRO Art Center, 2009.
- Piotr Krajewski, Violetta Kutlubasis-Krajewska (eds.), The Hidden Decade. Polish Video Art 1985-1995, Wroclaw: WRO Art Center, 2010, 336 pp + 4 DVD. (Polish/English)
- AC/DC/IT: Krótka historia instalacji wideo, Wroclaw: WRO Art Center, 2012, 75 pp. Catalogue. (Polish) Exhibition
Electroacoustic music
- Composers
- Jozef Patkowski
- Wlodzimierz Kotonski
- Krzysztof Penderecki
- Boguslaw Schaeffer
- Bohdan Mazurek
- Eugeniusz Rudnik [65]
- Andrzej Dobrowolski [66]
- Elżbieta Sikora (moved to Paris in 1981) [67] [68]
- Magdalena Długosz [69]
- Stanisław Krupowicz [70]
- Cezary Duchnowski [71]
- Ryszard Osada [72]
- Jakub Sarwas [73]
- Wojciech Blecharz [74]
- Performers
- Elisabeth Chojnacka (harpsichordist, moved to Paris in 1968?) [75] [76]
- Events
- Warsaw Autumn Festival initiated by Baird and Serocki presented since 1956 works by Berg, Schönberg, or Bartók; Stockhausen or Schaeffer visited. [77]
- Musica Electronica Nova, Wroclaw 2011
- Venues
- Riviera-Remont, student club, *1973. [78] [79]
- Electro-acoustic music studios and societies
- Polish Radio Experimental Studio Warszawa - SEPR, *1957 (director: Marek Zwyrzykowski)
- Electro-acoustic Music Studio at the Academy of Music in Krakow - SME, *1973 (director: Marek Choloniewski)
- Studio for Computer Music at the Academy of Music in Warsaw (coordinator: Krzysztof Czaja)
- Studio for Computer Composition at the Academy of Music in Wroclaw - SCC (director: Stanislaw Krupowicz)
- Studio for Computer Music at the Academy of Music in Poznan (director: Lidia Zielinska)
- Studio for Computer Music at the Academy of Music in Lodz (director: Krzysztof Knittel)
- Independent studio of electroacoustic music (Niezależne Studio Muzyki Elektroakustycznej), 1982-84. "Created under the ideological leadership of Krzysztof Knittel. Apart from the two of us it was co-created by the following composers: Andrzej Mitan, Paweł Szamański, Stanisław Krupowicz, Andrzej Bieżan, Mieczysław Litwiński and Tadeusz Sudnik. We gave concerts in churches, artists' studios, private apartments (all students' clubs, Remont included, were closed). We cooperated with actors. Our {"Psalms" were very well received, they integrated people, and comforted them. After limitation and finally abolishing of the martial law, we implemented several important projects at the National Concert Hall in Warsaw, in the Krzysztofory Club in Krakow, and during the prestigious festival "Inventionen" in West Berlin." [80]
- Electroacoustic Music Studio at the Academy of Music in Katowice, *1992 (director: Jaroslaw Mamczarski)
- Studio for Computer Music at the Academy of Music in Gdansk (director: Krzysztof Olczak)
- Studio for Computer Music at the Academy of Music in Bydgoszcz (coordinator: Dobromila Jaskot)
- Studio for Computer Music at the Silesian University in Cieszyn (director: Krzysztof Gawlas)
- Polish Society for Electroacoustic Music, Krakow *2005
- Releases
- Andrzej Mitan – W Świętej Racji, Alma Art, 003, 1984. [81]
- Andrzej Mitan – Ptaki, Alma Art, Płyta nr 006, 1987. [82]
- Krzysztof Knittel – Lapis / Low Sounds, Alma Art, Płyta nr 009, 1987. [83]
- Bohdan Mazurek – Sentinel Hypothesis. Bôłt, BR ES02, 2010. [84]
- Exploratory Music from Poland, 2-CD, 2010. Produced by Adam Mickiewicz Institute and AudioTong.net as a part of Polska!Year and given away to the subscribers of The Wire magazine. [85]
- Literature
- Cynthia E Bylander, The Warsaw Autumn International Festival of Contemporary Music, 1956-1961: Its Goals, Structures, Programs, and People, The Ohio State University, 1989. PhD thesis.
- Krzysztof Szlifirski, "Electroacoustic music in Poland. Brief history and present time situation", 1993.
- Mieczysław Kominek, "Muzyka elektroakustyczna w Polsce", Culture.pl, 2006. (Polish)
- Lisa Marie Jakelski, The Changing Seasons of the Warsaw Autumn. Contemporary Music in Poland, 1960-1990, Berkeley: University of California, 2009. PhD thesis.
- Monika Pasiecznik, "A History of Electroacoustic Music in Poland from the Perspective of the Polish Radio Experimental Studio 1957-1990", in Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010. (English) (German) (Polish)
- Antoni Beksiak, "The Avant-Garde Alternative of the Last 20 Years: In Search of Points of Intersection", in Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010. (English) (German) (Polish)
- Studio eksperyment: Leksykon. Zbiór tekstów, Warsaw: The Bęc Zmiana Foundation, 2012. (Polish) [86] [87] (English texts)
- Krzysztof B. Marciniak, "The acoustic ecology in Poland: history – current trends – perspectives", in The Global Composition 2012, Conference on Sound, Media, and the Environment edited by Sabine Breitsameter and Claudia Söller-Eckert, Darmstadt 2012, pp 191-199.
New media art, Media culture
- Cities
Bydgoszcz, Gdansk, Gdynia, Katowice, Kielce, Krakow, Lodz, Lublin, Ploc, Poznan, Szczecin, Toruń, Warszawa, Wroclaw, Zambrow.
- Media theorists
Andrzej Gwóźdź, Barbara Kita, Edwin Bendyk, Eugeniusz Wilk, Krystyna Wilkoszewska, Michał Ostrowicki, Monika Górska-Olesińska, Sław Krzemień-Ojak, Wiesław Godzic
- Literature
- Andrzej Gwóźdź (ed.), Między obrazem a narracją. Szkice z teorii telewizji, "Wiedza o Kulturze", Wrocław, 1990, 110 pp. (Polish)
- Andrzej Gwóźdź (ed.), Pejzaże audiowizualne. Telewizja, wideo, komputer, Kraków: Universitas, 1997. (Polish)
- Andrzej Gwóźdź, Sław Krzemień-Ojak (eds.), Intermedialność w kulturze końca XX wieku, Białystok, 1998. (Polish)
- Ryszard Kluszczyński, Obrazy na wolności: studia z historii sztuk medialnych w Polsce, Warsaw: Instytut kultury, 1998. [88] (Polish)
- Ryszard Kluszczyński, Film, wideo, multimedia: sztuka ruchomego obrazu w erze elektronicznej, Warsaw: Instytut kultury, 1999; 2nd ed., 2002. [89] (Polish)
- Andrzej Gwóźdź (ed.), Widzieć, myśleć, być: technologie mediów, Kraków: Universitas, 2001. (Polish)
- Ryszard Kluszczyński, Społeczeństwo informacyjne. Cyberkultura. Sztuka multimediów, Kraków: Rabid, 2001; 2nd ed., 2002. [90] (Polish)
- Lukasz Ronduda, Strategie subwersywne w sztukach medialnych, Kraków: Rabid, 2006. [91] (Polish)
- Monika Górska-Olesińska, Słowo w sieci. Elektroniczne dyskursy, 2008. (Polish)
- Zeszyty artystyczne 17: "Sztuka nowych mediów i jej konteksty kulturowe", ed. Ryszard Kluszczyński, Poznan: Akademia Sztuk Pieknych w Poznaniu, Jun 2008, 112 pp. [92] (Polish)
- Ryszard Kluszczyński, Sztuka interaktywna: od dzieła-instrumentu do interaktywnego spektaklu, Warsaw: WAP, 2010. [93] (Polish)
- Eugeniusz Wilk, Monika Górska-Olesińska (eds.), Od liberatury do e-literatury, 2011. (Polish)
- Monika Górska-Olesińska, Od liberatury do e-literatury 2. Remiksy, remediacje, redefinicje, 2012. (Polish)
- Aleksandra Kaminska, Mediating Poles: Media Art and Critical Experiments of the Polish Site, 2004-2009, Toronto: York University, 2012. PhD Thesis.
- Joanna Kordjak-Piotrowska, Stanisław Welbel (eds.), Kosmos wzywa. Sztuka i nauka w długich latach sześćdziesiątych [Cosmos Calling! Art and Science in the Long Sixties], Warsaw: Zachęta – Narodowa Galeria Sztuki, 2014. (Polish)
- Agnieszka Jelewska (ed.), Sztuka i technologia w Polsce. Od cyberkomunizmu do kultury makerow, Poznań: Wydawnictwo Naukowe UAM, 2014, 277 pp. (Polish)
- Art and Technology in Poland: From Cybercommunism to the Culture of Makers, Poznań: Adam Mickiewicz University Press, 2014, 255 pp. (English)
- Agnieszka Jelewska, Michał Krawczak, "Art and Technology in Poland: from Modernity to Technoculture", trans. KR, Culture.pl, 29 Mar 2016. (English)
- Aleksandra Kaminska, Polish Media Art in an Expanded Field: A Story of Site in Europe, Bristol: Intellect, 2016, xii+220 pp. [94]. Reviews: Kluszczynski (Slavic Rev), Batorska (Polish Rev). (English)
- Ryszard Kluszczyński (ed.), Towards the Third Culture: the Co-Existence of Art, Science and Technology / W stronę trzeciej kultury. Koegzystencja sztuki, nauki i technologii, Gdańsk: Laznia Centre for Contemporary Art, 2016, 188 pp. [95] (English)/(Polish)
Art theory, Art history
Ryszard Kluszczynski, Piotr Piotrowski, Lukasz Ronduda, Marcin Gizycki
avant-garde, modernism and after
Albania, Argentina, Armenia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Central and Eastern Europe, Chile, China, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, India, Indonesia, Iran, Ireland, Italy, Japan, Kazakhstan, Kosova, Latvia, Lebanon, Lithuania, Luxembourg, Macedonia, Malta, Mexico, Moldova, Montenegro, Netherlands, Norway, Pakistan, Peru, Poland, Portugal, Romania, Russia, Serbia, Spain, Slovenia, Slovakia, South Korea, Sweden, Switzerland, Turkey, Ukraine, United Kingdom, United States
- ↑ J. Robakowski, Video art - szansa podejscia rzeczywistosci, [in:] idem, Wypisy ze sztuki, Lublin 1978, p. 28


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text:
Did you hear the news? Madonna is going to be your halftime entertainment for the Super Bowl this season! Not only that, she'll be flanked by members of Cirque de Soleil! Because nothing says FOOTBALL quite like Madonna belting out "Holiday" while a 12-year-old from Kuala Lumpur stuffs himself into a three-inch glass box.
With the exception of the Police, the NFL more or less exhausted its supply of big-name rock artists for halftime shows two years ago. That's how we ended up with the Black Eyed Peas getting halftime honors last year and butchering "Sweet Child O' Mine" before millions upon millions of innocent bystanders. The inclusion of Cirque de Soleil to the festivities suggests the NFL is forgoing its straight-ahead concert format of the past decade (starting with a very good halftime show from U2 back in 2001), and evolving into something that looks more like an Olympics opening ceremony. In other words, we may be headed BACK to Up With People, and that's not good.
Like the Oscar telecast, the Super Bowl halftime show is an event designed almost specifically to invite critical derision. The Oscars are never good because the Oscars CAN'T be good. It's a three-hour procession of awards, most of which are technical. It's inherently pointless and boring.
And the Super Bowl halftime is the same way. It was event created out of something that was, by its very nature, uneventful. The only reason anyone watches the Super Bowl halftime show is because there's a second half of football on afterwards. Without that, it immediately ceases to exist.
When you watch the Oscars, you realize ten minutes in that you'd much rather watch an actual movie. And when you watch the Super Bowl halftime, you realize one minute in that you'd much rather watch football. That's how these things work.
I have no remedy for this situation, because asking the NFL to fix a halftime show suggests that there's something useful to replace it with, and there isn't. During the regular NFL season, halftime is cool because you get highlights of other games. But that's not true of the Super Bowl. With the Super Bowl, you get highlights of a game YOU'RE ALREADY WATCHING, which makes no sense.
U.S. & World
The only good thing to do with this show is shorten it, so that it takes up as much time as a regular NFL halftime. Otherwise, put in Madonna and the acrobats and a million kids holding hands telling you about prostate cancer. It doesn't matter because in the end, it's just filling time.