1

Dea

dli

ne

3#

2

We are not in a submarine! If the submarine syndrome1 could appear as a omen in a team of about 25 people stuck together for two months, this threat is chased away by our environment in Plavec, and by the links and relationships we are now weaving with the village and it’s inhabitants. Every day brings proofs of this. There are magical moments which you can’t predict. One of them occurred spon-taneously last Sunday evening, in the old cinema – and by a strange but maybe inevitable coincidence, our usual archivists were not here to film it: Seydou was packing and Jarek was on stage. That evening, Łukasz, Jarek, Tomas, Guillaume, Marek were quietly playing music after dinner, improvising, a few of us listening to them or checking our emails, when a dozen of inhabitants of Plavec joined us, also to listen. And not only listen. Three of them, who belong to the local choir and folk dance team Kalina, began to sing spontaneously. Our band adapted its rhythms and harmony to the their powerful voices and so particular way of singing – it took a few time, and little adjustments. Just as it takes, between us, for the workshop. Well, the musical metaphor is maybe a too easy one. Which doesn’t mean it is not meaningful and operative, when collective work is requested. And when we don’t play under a conductor’ s baton – this is not a symphonic orchestra. Neither in fact a rock band who would play the same standards in tune. Dissonances have their –interesting– part in a process where everybody should be able to be soloist, conductor, musician and chorister alternately, and where guests are welcome. The question of the final composition and harmony in this improvisation process remains open. But in fact, does it have to be a « final » piece?

1 The submarine syndrome appears when a group of people, forced to live together in an enclosed place, get more and more irritated at daily life details until they can’t stand each other anymore.

Nie sme v ponorke !Ak sme sa obávali, že dvadsaťpäť členná skupina spolunažívajúca dva mesiace, podľahne  syndrómu  ponorky, tento prízrak sa rýchle vzdialil vďaka plavečskému prostrediu a jeho obyvateľom, s ktorými sa vytvárajú  srdečné vzťahy.Každý deň nám o tom prináša konkrétne dôkazy, vznikajú čarovné chvíle, ktoré sme nepredvídali. Jeden taký moment sa udial v nedeľu večer v starom plavečskom kine. Samozrejme, ako by to bolo naschvál, naši dokumentaristi to nezachytili. Seydou sa balil a Jarek hral na scéne.Teda v ten večer, Lukaz, Jarek, Marek, Tomas a Guillaume sa pomaly pustili do hudobnej improvizácie. Niektorí z nás prišli počúvať, tí čo tam procovali, zdvihli oči od počítačov a tiež sa započúvali do improvizácie. Zrazu vošlo do kina zo desať plavčanov. Chvíľu počúvali, a traja z nich, členovia folklórnej skupiny Kalina, sa dali do spevu. Chvíľu to trvalo, kým sa hudobníci prispôsobili ich rytmu, ich silným hlasom a ich osobitnému štýlu spevu. Tak, ako to robíme pravidelne  v našom letnom workshope.Hudobná metafora je samozrejeme ľahká. Ale predsa len je významná a dá sa použiť v pracovnom kole-ktíve. Zvlášť vtedy, keď sa nehrá pod taktovkou dirigenta - my nie sme predsa symfonický orchester, a ani rocková skupina opakujúca stále rovnaké štandardy, v stále rovnakej tonalite.Disonancie patria do tvorivého procesu, kde môže byť každý aj dirigentom, aj sólistom, aj muz-ikantom alebo chóristom a kde každý nový účastník je vrelo vítaný.Otázka, čo zostane po tej improvizácii mimo harmónie a kompozície, je otvorená. Musí táto skladba doznieť ako koniec ?

Valérie de Saint Do

Valérie de Saint Do

EDITORIAL

3

Pour réorganiser la Cité il faut prendre les gens comme ils sont et non pas comme on voudrait qu’ils soient.

•To reorganize the ideal State we must take people as they are and not as we would like them to be. • Keď chceme zreorganizovať mesto, musíme brať ľudí akí sú, a nie ako by sme chceli aby boli. Le collectif est comme un pique-nique. Ce serait embêtant si tout le monde amenait des tomates. D’où la nécessité de l’autre différent.

•A collective is like a picnic. It would be annoying if everyone brings tomatoes. The different other is there-fore necessary. •Kolektív je ako piknik. Bolo by veľmi nepríjemné, keby každý doniesol len paradajky. Z toho vyplýva nutnosť rozmanitosti osôb.

notes by Tomas Matauko

“I am hungry” : a perform

ance with paté and knife at breakfast,

mixed m

edia : supposed cat food, tomato, plate, knife.

Judit Kurtag

photo Julie Chovin

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Ahoj Bea - Hello Bea [aa-hoy Be-a]

Ahoj Lujza - Hello Lujza [aa-hoy Luy-za]

Ako sa máš? - How are you? [ako sa mash?]

Dobre - good [do-bre]

Kam ideš? - where are you going? [kam e-desh?]

Idem nakupovať - I am going to do shopping [idem na-ku-po-vath]

A čo ti treba? - And what do you need? [a cho thi tre-ba?]

Potraviny - Groceries [po-tra-ve-nee]

Toto je chleba - This is bread [to-to ye hhhle-ba]

Aha, syr! - Look, cheese! [a-ha seer]

Vezmem si aj mlieko - I will also take milk [vez-mam se ay mlea-

ko]

Choď s tým do riti! - Go to ass with this [hhhoth s theem do re-

the]

Prepáčte teta - Sorry ma’am [pre-paa-chthe the-ta]

Díky teta - thanks ma’am [dhee-ke the-ta]

Dovidenia - goodbye [do-ve-dhe-nhy-a]

video tutorial http://www.dailymotion.com/video/x12h9aj_slovak-touristic-dictionary-shopping_creation

by Beáta Kolbašovská, Lujza Magová

Slovak touristic dictionary : lesson 2 - shopping

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Near the village named Orlov, up in the mountains, there is a hunting cottage. At first look the cottage looks like normal wooden cottage. But just a few people know that it is 70 years old and was built by Gejza Alapi Salamon, who was the last owner of the Castle of Plaveč. Gejza Alapi Salamon was a baron and great landowner of the Magura region. In the period of socialism, the baron was forced to sell all his estate to the state. After he moved to Košice, where he worked as a teacher of drawing. He died in 1980 in Košice.Near to the hunting cottage, up to the mountains, there is another old treasure. The cave of bandits called Dubný kameň. The curiosity is that, in past times, horses were illegaly transported from Poland to Slovakia through the cave. The cave is located near the Polish border, in mountain range called Kurčínska Magura. The altitude of Kurčínska Magura is 894 MAMSL and the cave is 18,5 metres long.

THE CAVE OF BANDITS/DUBNÝ KAMEN

<

http://www.legnava.sk/content/dubn%C3%BD-kame%C5%88-zbojn%C3%ADcka-jasky%C5%88-na-kur%C4%8D%C3%ADnskej-magure

by Beáta Kolbašovská

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01. Ensemble is a category borrowed from Marx’s “Capital” which we got thanks to Étienne Balibar’s careful analysis. In “The Philosophy of Marx” French philosopher reveals that in original, German version of “Das Kapital” Marx used French term “ensemble” to describe the catego-ry of “entirety” – the entirety of social relations. Entirety (ensemble) as a format, a space of coexistence, a collection of contexts. An environment of action and submersion has lately become a challenge for researches, for artistic and social experiments carried out in a group of collaborating artists, theoreticians, actors, dramatists, psychologists, musicians, sociol-ogists, culture researchers, students, tricksters, experimenters and other people of all orientations and sexes who have interdisciplinary work-shops and who are open to experiences at the interface between individ-ual and collective traditions.

02. Therefore ensemble is not a group (how it is commonly presumed in music or theatre). For our studies, ensemble is an actively influencing environment with active (and passive) players in it – dramatis personae, humans, not-humans and any other parameters and variables, diagnosed or not. The category of living picture (tableau vivant) refers to visual language and image (triangular pixel, representation) as a morpheme, a basic cell, which we use to create such a reproductive language. Living picture has a reproductive potential, pulsating with senses, variable (de-pendent on perspective), impossible to symbolize unambiguously or to petrify in a sign.

03. Ensemble is an environment of submersion, immersion. It is a living picture, meta-hologram, generating its own reproductions, multiplica-tions and multitude of perspectives. The borders of ensemble are varia-ble, possible to recognize only in a fragmentary way, because ensemble is being perceived always from inside. An observation of ensemble is also participating in it. Attempts of distancing from ensemble broaden the space of ensemble. Eventually we can say, not risking much, that ensem-ble is the whole world (in a global cognitive capitalism).

04. The places of activity’s density within the scope of Ensemble are not (should not and can not be) isolated laboratory spaces, enclaves of global system’s contestation or hermetic islands of Utopia. Densities of activi-ty (artistic, research, teaching, social) are of a fold nature, they’re like a whirl within the social (political) space, remain open-work and they are connected with their entire environment in an organic way.

05. Ensemble abolishes the classification of individual and collective for the benefit of a three-piece relation of individual-trans individual-collec-tive. Ensemble generates the condition of multitude and trans individ-uality. It is a space of multi-directional dialogue, which takes place in a polycentric and polyrhytmical state of continuity. It is to cause interfer-ence and oscillation between work-fun-fight.

06. Power within the Ensemble is a category of relation, and a state of balance we call liberty. You cannot have power, it is carried out by dis-location of trans individual connections and balances dynamically in a complex system. Moments of its concentration are usually dissolved by the interplay of other parts of the system. Resources of power (and freedom) remain inexhaustible. They are renewable and virtual (multi-plicating). All (current) accumulations or lacks may be also replenished (balanced) by adding outer units and modules.

07. Ensemble, as an environment of dynamic relations, trans indi-vidualities and fluid multi-directional flows, activates, executes and distributes three traditional demands of democratic revolution at the same time: liberty (creative output, expression, emanation, emotional agitation, effect, expression of senses and emotions), equality (dia-logue as a nature of a collection) and fraternity (solidarity, friendship, love, observation, that means basing the whole system on relations and dialogues). It produces equality by horizontality, multi-direction-ality, candor and maneuverability of flows. In other words: free (liber-ty) flow (fraternity) = trans individuality (equality). Basics of ensem-ble’s ethics can be reduced to an accord of three analogous figures: do whatever you want to do (liberty), don’t hurt the others, don’t judge, don’t objectify (equality), connect and do not divide, add and do not deduct (fraternity).

08. Polycentric, polyrhythm, polyphony, polyamory, political charac-ter, polymorphism – ensemble generates training area of noise. Noise is a natural, indispensable attribute of ensemble. It’s not about liq-uidation of noise (massive, energetic, information), but about ability of living with and in it. It is about preservation of harmony between work, fun and fight. It is essential to develop a set of interdisciplinary tools, techniques, strategies and tactics to work efficiently in the noise of ensemble.

09. The essence of Diagrammatic of ensemble project is to work out such sets of tools which will enable to move within the ensemble in a state of immersion, noise and fragmentary perception in a full, crea-tive, intense, critical and analytical way. Those tools will help to recog-nize the environment and participate in it by creating and converting.

10. Diagrammatic of ensemble refers to a tradition of working with map, diagram and any other visual techniques of knowledge and pow-er’s representation. We make use of inspirations, iconography and for-mal elements of many traditions such as: cartography, diagrammatic, iconology, choreography, notes (especially graphic scores), ideogram, sign, grammar, grammatology, graphology, theory and practice of games (role playing, larp, cards, board games), working on models, theory of series, logic, bitmap and vector graphics, animation, strategy and tactics (military tradition and sport), dramaturgy and perform-ative science. The essence of this work is to work out an elementary shift in “image thinking” towards work with dynamic archives, sys-tems of database, series and their processing in subjectively construct-ed, petrified, dead picture (closed aesthetic map versus open map, database, performative map).

11. Diagrammatic of ensemble refers to the idea of dynamic diagram, animation, record of a change, aleatory movement. Diagrammatic of ensemble do not aim to petrify the senses and images into arbitrary and static forms of representation. It aims to generate activity, record the change and movement and to program it. Diagrammatic of en-semble is a project, which eventually consists on generating energy by work with the matter and information.

12. Multitude starts with three. The smallest cognitive and visual unit is triangle and triad is a morpheme of examined and generated meanings. Between “three” and “two” runs the boundary between life (movement) and death (petrification), between truth of world’s com-plexity and lie (antagonized manipulation and reduction of complex world to diametrical tensions and simplified logic based on the law of excluded middle).

DIAGRAMMATIC OF ENSEMBLE. INTRODUCTIONby Roman Dziadkiewicz

7

13. These triads and their combinations: sense-dissense-nonsense, re-al-symbolic-imagined, denial-insolubility-confirmation, passivity-in-teractivity/interpassivity-activity, commitment-observation-distance, work-fun-fight, energy-information-energy are initial choice of living triangles. In progress of laboratory studies we allow them to do much, we provoke connections and collisions (events). They establish rela-tionships and generate unexpected effects, which is to be informed in next reports.

14. Science fiction and philosophical reflections about it is another important inspiration of the project. Science fiction tries to think of different logics, different reality (social, cultural, biological, interspe-cific, linguistic). We refer to the contemporary science, social sciences, sociology, political philosophy, aesthetics, performance studies, theo-ry of culture, but also cognitive sciences, neurology, neurolinguistics, hard science and new technologies of production and reproduction (record) of knowledge and power.

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Kid’s page

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Cristina David, Alexis Emery-Dufoug and kids from Plavecphoto Julie Chovin

Ça ce n’est pas des vraies vacances d’étéParce qu’on crée avec des craiesAu footles joueurs font des jolis tirsDans l’équipe il y a les joueurs les plus importants Alex et PaulTout le monde sait faire du crawl

Poem by Gaston Desmesure

10

a 21st cen

tury travel d

iary #4

22 VII 2013

Słońce pojawia się i znika. Siedzę nad rzeką, czytam Coctail Party. Dobrze, że nie wystartowałam z tym w niedzielę. Za dużo miłosierdzia. Spod chrześci-jańskiej gwiazdy. In the afternoon we are shooting scenes in the river. I am playing corpse. I cannot check laugh. We have to repeat the scene. I am cold. Paul i Marek wyciągają mnie na brzeg. Wracam: owinięta kocem. Po-tem jezioro z Laslo. Cristina i Si-mon crunching staff. Ludzie plączą się tu i tam. Próbują zacząć pracę. Prawdziwą. Po obiedzie castle par-ty. Zbieramy drewno. Niepotrzebnie. Quadem przyjeżdża miejscowy chłopak. Fura drewna. Powoli spływają na górę kolejne butelki wódki. Różne smaki. Jest nawet absynt. Ludwik na ziołowo. Szumi w głowach tam i ówdzie. Zaczyna-ją się: zwierzenia. Tam i ówdzie pada-ją jak perły ważne deklaracje. Romek i Łukasz wracają do Plavec. Marta and Tomas’s car: kaput.. Zwijamy się w połowie nocy. Zamek i jego ruiny: zostają sami.

23 VII 2013 It is important day. Pada ważna propozycja. Game: Polish – French. Poza tym: jezioro i chillout.

25 VII 2013

It is more important day than pre-vious. Mecz: Polacy – Francuzi. Wszystkie moje sukienki emigrują z szafy prosto na boisko. Tęsknią za: naturą. Przewożą je tam: Polacy. I am also playing. W imię pięknego świata. Piękniejszego. Zmieniam się z Cris-tiną. W wolnych chwilach między grą i odpoczynkiem nagrywam całą sytuac-ję. Czuję się: beztrosko, lekko. Nie wiem jeszcze, co nas czeka. Co nas wszystkich czeka. Janek is comment-ing this event. Podczas meczu. I po. Marta and Tomas: come back. Toczą się nocne rozmowy, gdy śpię. Beztrosko.

26 VII 2013

Co poniektórzy wstają o 6 rano i idą gdzieś. Lenie i ojcowie z dziećmi (zbyt małymi) zostają. I am also staying. Dołączę, gdy tylko google maps zlokalizują całą sprawę. Ni-estety, okazuje się, że nie są w sta-nie. Chatka myśliwska jest: poza ich zasięgiem. Iwona, Janek, Dymitr i ja zostaliśmy na lodzie. Jakoś trzeba spędzić ten dzień. Najlepiej miło. We are wandering the fields.. Dymi-tr co jakiś czas wpada w histerię. Gryzą go po nogach ostre kanty mi-janych roślin. Znajdujemy słowacką centralę. Łączy bezpośrednio z kos-

I would like all participants to write together a collective diary of the journey. The first step, started

at the Academy of Fine Arts in Cracow, was to print a special notebook for making

a visual and textual diary. I wanted to enrich the idea by collecting my own

notes for the first part, and then, by asking

other participants to take part in the

process. From now, everybody can write

in his native language, while translating

some sentences into English. This open

formular creates a secret shape for

understanding each other in different

ways.

Joanna Bednarczyk

by Joanna Bednarczyk

mosem. Obok rosną ziemniaki. Sowa wy-rywa jednego w celach edukacyjnych. Dymitr: pobiera naukę. Wracamy. Ci z chatki jeszcze nie wrócili całkiem. Schodzą się powoli. Wieczorem ostra jazda opisywana już setki razy. Po-darujmy więc sobie w tym miejscu.

27 VII 2013

Hm... Piątek. Jezioro. Lecture of Sowa. After that: workshops. Długie, długie rozmowy. Rozumienie, niepoko-je, oczekiwania. Wszyscy przemarzają na kość. Zielona noc Iwony i Janka. Idziemy spać. Z tej okazji.

28 VII 2013

They expel us. Wesele. Nikt nie wie, kiedy jest lunch, dlaczego i gdzie. The dinner: on the lake. Gulasz z dzi-ka. Siedem kilo karpia. Romek, Bru-no i ja nocujemy na polu. Wspaniała cisza wokół nas. Tylko zagubiony mo-tor przejeżdża przez horyzont.

29 VII 2013

Niedziela. Dzień wolny od pracy. Leniwe popołudnie nad rzeką. Sie-lanka. Trochę jedzenia wędruje do klozetu. Wódka z apteki. Na zdrowie. Hot, hot, hot. Palce lizać are com-ing. Gosia also. Kwiaty na gładkiej powierzchni jeziora. Ktoś pyta: co dziś robiłaś? Byłam nad jeziorem, odpowiadam skąpo. Wyrzut sumie-nia podgryza mnie od środka. In the evening is screening of Jarek’s ma-terials.

30 VII 2013

Most of all: I found a bottle of vodka. In the bushes. With girls we burned off it. Na chodniku. Niem-niej jednak. Scena okazała się: niewypałem. Niemniej jednak. Nie poddałyśmy się. Poszłyśmy nad rzekę. Follow as some boy was going. With camera. Potem porzucił ją gdzieś na kamieniach i dołączył. Kamera zos-tała sama. Piliśmy wino i rozmawial-iśmy. Dystyngowanie. Dobra trawa do grania i taniec na koniec. Kamera siadła. Warsztaty muzyczne. I heard like my phone number plays. To było niezapomniane przeżycie. Niestety byłam też świadkiem rozpadu wielo-ryba. Potem obiad i znów prezen-tacja materiałów. Unfortunately, I don’t know, what is happening now.

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Druga w nocy. Za późno. Za gorąco. „Drogi pamiętniczku” i wszystkie te bzdury do podusi.“Dear diary, I’ m writing to you” and all these bullshits. Po dwuty-godniowej litewskiej ulewie wpadam w słowacki upał. Lepki i parny. Leniwą dłużyznę ambicja zabija po dziesięciu minutach. Tyle zobaczyć, tyle się dowiedzieć, wypytać, zwiedzić, dot-knąć, doświadczyć. „Nie martwcie się, jutro zobaczycie to samo.” So much to see, so much to learn, to ask, to visit, to touch, to experience. “Don’t worry. Tommorow you’ll see the same”.

Czy stylistyczny problem to jest problem połączenia? Is the stylis-tic problem a problem of connection? Czy to nieporządek wśród składowych? Delikatna sugestia, że razem mogłyby brzmieć lepiej, spójniej, płynniej. The little suggestion, that the pieces could sound together better, more coherently, in a smoother way. Tylko, że każdy składnik wykrzywia się w swoją stronę, ugina pod jakąś bezsensowną presją ościenną. Każdy gra w swojej tonacji. Each one is playing with their own key.

„Płacimy za hotel, w którym nie możemy nocować”. Uprawiamy no-house’ing tułając się od cudzego łóżka do cudzej pościeli. „Przecież nie jest brudna tak bardzo, Janek Sowa był tu tylko pięć dni”. Drogi Janku, nie miałam okazji Cię poznać. Pozdrawiam serdecznie. „Zagranica” jawiła mi się w najw-cześniejszym dzieciństwie jako coś, jakieś miejsce, bardzo konkretnie wyznaczone. Żaden tam negatyw, ani zaprzeczenie. A teraz, tutaj „ta to ona jak nasza, nalej jej ślivov-ici”. ”Abroad” seemed to me some particular place when I was a kid. And now, here “she’s almost ours, pour her the vodka!”

Świt nas nie budzi. Alternatywna joga się spóźnia. Życie się toczy między Hollywoodem, a Ujuzą, rytu-ałem przejścia dwie ulice dalej, między posiłkami, o których krążą legendy nadające się do strasze-nia dzieci w nocy. The life here goes on in between the Hollywood and the Ujuza, through the ritual walks two blocks away, between the meals, that you can scare bad chil-dren with the legends about. „Wsi spokojna, wsi wesoła.” Par-no. Idyllicznie. Skąpane w zieleni

banery reklamowe, koncerty cykad, sz-tuczne poroża i Rihanna. Burze móz-gowe nad laptopem, pierwszy risercz. Praca. Countryside. Idyllic. The adverts are surrounded by greenish landscape, cicadas’ concerts, fake antlers and Rihanna. Brainstorming on a laptops. First research. Work.

by Barbara Nawrocka /kolektyw Palce Lizać/

Dominika Wilczyńska at the ruins of castle in Plavec by Barbara Nawrocka<

12

On our journey to Plaveč i made hidden performance. Sitting in train i builded software for capturing motion of the train and writing this into an image. It is about irregularity in rails, how they are placed in country (curves), and breaking/accelerating (stations)

by Kubo Pisek

13by Judit Kurtág

14

15

by Frederic Desmesure--

16“Mechanisms for Content” by Edyta Mąsior

17Soviet monument at Orlov by Julie Chovin

18

I was wondering if this interviww with Paul and Marek should fit in the chapter “This is not a performance”. Actually, the question may seem strange: neither Marek nor Paul, both students, the 1st in Performative studies in Krakow, the second in the Fine arts academy in Bordeaux see themselves as performers. Yet their attempt to share their poetry though the language barrier appears as a performance to me. Maybe in the 1st french sense of the ambiguous word “performance”: something quite difficult, which overcomes the usual routine of communication. Also certainly because poetry cannot be reduced to “communication” in its usual meaning.

Interview with Paul Maquaire and Marek Mardosewicz by Valérie de Saint-Do

To start with, I would like each of you to introduce himself and his relationship to poetry...

Paul : I began to write around two years ago. It was at first a way to progress in my vocabulary ; my starting point was often a word that I read in my researches and didn’t know, and I was tryng to build a text from this word. Then it became a way of building pictures. I usually make a lot of drawings in Academy of Arts, and I felt that writing was another way of drawing, of exploring how the writing can shape a picture even more precisely than the drawing. I really want to go on now on this work. My roommate, who is a rap singer, writes a lot, and he is teaching me rythmical skills : how a text can be sung or spoken with a certain melody or rythm, for instance. I also asked Guillaume to read my writings and found his critics interesting. He advised me to take care about the way I was using processes who belong to the French poetry of the XIXth century. Which is, in fact, part of my influences, with american poetry as well. He thought that when I was writing in a very simple way, I had more capacity to produce images. In fact, re-reading my po-ems, I feel that when I’m using usual codes of poetry, there’s a risk to drown the reader under something a little to much intellectual and not sensitive anymore. So I intend to look for simplicity, without losing efficiency and sensitivity.

Marek : I met myself with words and the necessity of not only receiving words from other people, a couple of years ago. I found myself feeling great in creating a new reality, but then I realized that my works were too naive – even if it is still naive– and didn’t show anything : there were short stories or fairy tales without meaning, mostly to kill the time ! So I quit for music. After grad-uation in music school, I went to University, and started to play with words seriously – if I can call it serious, of course !– (laughs) for one year and a half. I’m very influenced by my performative studies. Since I’ve tried to write my first drama, I found a very influent language which I’m trying tu use in poetry. I feel very influenced by Polish culture, literature, drama, novels and poetry (especially from the XIXth century, when identity had to been kept by the great poets : like Słowacki or Krasiński. I re-ally like the sound, music, rythm of their phrases. But I’m trying to use less pathos, to focus on play of words. I’m very curious of the structure of the poem : how words can create an image by the sounds. I ‘m trying to find new connections between words, by the sounds, to make it sound as funny as possible. I really enjoy playing with sounds of the words, till I found something hidden witch is not so funny and it’s no more only the sound of music. This is poetry for me.

Both of you talk about sounds and rythms. Of course, there’s the writing ar first, but how do you deal with the oral side of poetry ? Is your writing also to be performed, or read aloud before an audience ? Is spoken poetry part of your work ?

Marek : When I thought about writing, I was conscious that there was an author and a reader. That I was not writing for my-self – well, I actually write for myself, but at some point, there will be a second person, or a group of people, who will face it. I’m not trying to fit to the people’s taste, but to use my conception, my techniques. I know that there would – or at least should ! – be an audience, it’s one of the first things which you must face. After you have placed it somewhere in the work, you stop thinking about it.

Paul : To deal with the oral side of poetry stays a bit complicated for me. I’m very attached to the shape of the text in the page. To read my texts in front of an audience is difficult for me, I do it only in intimacy, to hear their musicality and find a rythm. I prefer to let the others read by themselves and discover the words. There are some words that you can’t hear and have to read, for instance when I’m using the word « las-temps » in the text I wrote for Marek. I feel that there is a better understanding if people read and can see the punctuation. Reading aloud is a kind of performance and I’m not a trained reader, I can miss punctuations or pronunce words to quickly, and it is losing in acurracy, compared to what I intended to write at first.

Marek : I would like to add that when words appear, it is a way of contact between two people. It is the most accurate way to create relationships . So, when you use them, you have to face the fact that it is a kind of dialogue rather than a monologue.

(To Marek). As you are also a student in Performative Studies, do you perform your poems on stage ?

Marek : Not at all. I read them to friends, but I can’t imagine reading them in front of an audience. When I’m writing, I try to make some kind of script of notes, each sentence or each line is some kind of tag for the music. Anyone feels different things while listening to music, that’s why I give some notes, some keys, by the lines and punctuation, but I try to avoid instructions. I want only to write, not to read in front of people.

So, what are you trying to build together and how did it hap-pen?

Marek : The first or second night after we met, we showed each other one of our poems, and we talked about the power of the words and the play with them. A few days later, Paul made a proposal : trying to cross our techniques and skills of writing. He would use mine, I would use his, with the small examples we had, to try to give an impress of one another’s poem.

Poetry can cross the languages border

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This is not a perfor-mance #3

Paul : I can’t remember how it came that we told each other that we were writing poetry – it is not the first thing yon mention when you are introducing yourself. But we read a few texts be-tween us. And within this idea of mutual work, there’s a part of good feeling and understanding between us, a relationship that was just beginning. And in the whole project of Mechanisms for an entente, I was puzzled by a question : for me english is com-plicated, and it has to be the main language and mean of com-munication between the 25 of us. But nobody of us is actually English, we use a language which is not our native language, to deal with a topic about borders. And for me, language is perhaps the most complicated border to cross, as it is so much linked to history, as Juliana described it in her lecture (1). So many things are difficult to catch in different languages that I feel that poetry could be a way to explore a language, not universal maybe, but possible to share. Such as Kenneth White, a Scot poet, or Jack Kerouac, used haiku, a traditional japanese form. Marek had to translate his poem to me, I had to translate mine, it appeared as a way of finding a mechanism between us. To use the language to work on the topic the project.

How do you hear, precisely, the language that you don’t mas-ter ?

Marek : We have alrealdy recorded our poems, each of us reading his own poem. I will ask Paul to teach me the pronunciation line by line, before learning his poem by heart and trying to cross the language barrier by undestanding of the meaning, but not of the exact words. This is how we will face it later.

Paul. All the same for me. We have to work hard on listening to each other. Both of us, for instance, have to acquire some ways of pronunciation, some specific sounds of either language. I have to learn the text by heart, knowing the correspondance between sounds and words but not their exact meaning. I also wanted to point the fact that we intended to write about each other. Which means a great confidence between us.

What is weird in some ways , is that both of you is rather keen on writing than on speaking or reading his poems. But then, you’re sliding into spoken and oral poetry !

Marek : In this case, actually, we’re not reading poems. We just get the melody, thanks to the recording, and we have only sounds because we don’t understand the words – Let’s call them notes. In fact, we will sing rather than read. In fact, the oral part of this will be music. So we deal with orality, but actually we don’t !

Aussi fut-il l’obsolète squelette,S’agitant au vent, tel une girouette,Plaintive mais tout aussi amusée des guinguettes.Éperdue, en dessous d’une lune noctambule,Qu’elle accompagne et même adule,Lorgnant d’un oeil crédule.Sourire hissé au masque d’un SaltimbanqueDans l’antre du festoiement au nom du manque,S’élançant, la nuit ne peut retenir le rire atypique.De cette jeune femme qui joue et danse,Sous le battement d’une épileptique cadence.Convulsions d’une frénésie qui balance,Corps et esprit dans un tourbillon de plaisir,Celui de l’exaltation présent avant de s’endormir,N’étant autre que le dessein d’un rire.

by Paul Maquaire

tytułDrogie dzieci, powiedziała pani w klasie,to jest brzoza, a ryby te to karasiea ta książka to dzieło Puszkinajak film - tylko do kinaa jak kochać mamę, to tak jak w piosencemusicie składać w podziencehołdy wojom i ojcom przeszłymdzięki nim w końcu wzeszłyobowiązki i wszystkie normy dnia dzisiejszegonie wyrywaj się ty tam, z rzędu trzeciegoa ty, siedzący pod oknemdobrze kiwasz głową;pada deszcz, moknęi chowam album z podstawówkiwszystko przyporządkowane, spokojnie śpią główki.

by Marek Mardosewicz

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We are looking for syncretic images of Central Europe in the little Slovak village.

There is a proposal of a game with lots of different contexts through a series of actions and events such as

celebration of Slavic feast of apples (5-6. August) acupuncture interventions with participation of locals

etc. ..

(the scheme presented below it’s just a beginning .. please, feel free to extend it)

PODCHODY / HARE AND HOUNDS

by Palce Lizać collective (Dominika Wilczyńska and Barbara Nawrocka)

train to do train a faire

Guillaume du Boisbaudry

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Hi, this my proposition

“Sorry I don’t have accent”

Nils

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Dinu Lipatti (1917-1950) was a Ro-manian pianist and composer. Stu-dent of Gheorghe Enescu and Na-dia Boulanger who was a teacher of many great musicians from Eastern and Central Europe.A hidden character in the novel The Silent Cry by Kenzaburo Ōe. The Brothers, main characters of the novel, are listening late Lipatti’s re-cordings of Chopin’s piano pieces. Waltz E Flat major opus 18. Lipatti played it incredibly fast. Their sister, died few years before, counted from hearing all the sounds of Chopin’s piece and told to notice the number to one of the brothers, but he lost his notebook and is no longer able to re-construct her calculations.The victim of a posthumous scandal. In 1966 EMI published the album with the Chopin’s first piano concerto E minor. Pianist: Dinu Lipatti. Con-ductor: unknown. A listener of BBC Radio realized the recording is the same like the recording published by Czechoslovakian Supraphon Compa-ny. Pianist: Halina Czerny-Stefańska, conductor: Václav Smetáček. At the beginning of 80’s, dr Martin Gertsch discovered the original Lipatti’s re-cording in the archive of Madeleine, the Lipatti’s widow, after her death.The author of the orchestral suite Les Tziganes (The Gypsies). This compo-sition is illustrative, dramatic, seems to have been written for the movie. Part 1: L’arrivée des tziganes (The Ar-rival of the Gypsies). Part 2: Idylle Ă Floreasca (Floreasca’s Idylle). Part 3: Ivresse ou Le festin (The Drunken-ness or The Fete).Dinu Lipatti died December 2, 1950. The reason: Hodgkin’s lymphoma. György Cziffra (1921-1994) was a Hungarian pianist and composer of Roma roots. A whiz kid. As the five-years old he was the attraction of trav-elling circus as the pianist. Wayward student. Apparently, he supposed to be unable to adapt to the conditions

of Academy of Music. As a mature musician he performed mostly compositions of Franz Liszt’s. The Liszt’s transcription of ouverture of Wagner’s Tannhäuser was one of the favorite piano pieces which Cziffra performed many times. Liszt was an unattainable model for Cziffra. Cziffra wrote also his own compositions and piano transcrip-tions of Brahms’s Hungarian dances but usually he performed com-positions of others, mostly Liszt’s music. Even while improvising he used the patterns of ironically demonic style of Liszt’s musical pieces. Cziffra emigrated from Hungary. From 1968 he was a French citizen. Andrzej Czajkowski (André Tchaikowsky; Robert Andrzej Krau-thammer; 1935-1982). Polish-French pianist and composer of Jew-ish descent. Eccentric with a highly explosive temperament. He was unpopular. Some people, like Nadia Boulanger or Artur Rubinstein, got offended at him. Rubinstein realized Czajkowski as the greatest pianist of the generation. They were the close friends in 50’s. Rubin-stein advised Czajkowski how to compose the piano concerto; he said, the audience should cry during whole performance. Czajkowski couldn’t agree for that. After the only performance of piano concerto he destroyed the score. There is only the recording of this piece. After one of the recitals in Paris Czajkowski said to Rubinstein, “Artur, tonight I performed those ballads better than you”. Rubinstein firstly laughed, but in fact he broke the friendship with Czajkowski.Czajkowski wouldn’t like to be only a pianist. In 60’s and 70’s he re-duced his activity as the pianist. Although he left only several musical pieces composed by him. Only seven opus.Czajkowski died in Oxford June 26, 1982. Reason: colon cancer. He loved Shakespeare and that’s why he left his skull to the Royal Shakespeare Company to use in the Hamlet’s productions. He wasn’t able to accept the artificial substitutions. A few years ago, his skull had been used again.

Transcarpatium. The short lexicon of the pianists from the region.

Marek Brezovský (1974-1994). Slovakian composer, pianist, song-writer and vocalist. Founder of several music bands. Student of Vysoká Škola Múzických Umení (Academy of Music) in Bratisla-va. He died overdose heroin June 22, 1994. In 1999 his close friend Oskar Rózsa recorded and mas-tered the album Hrana (The Edge) with the texts of Brezovský, among them the song Cigánska (The Gyp-sy). Cigánska Presne taký ako iní, z výšky sa na svet pozerá, vidí všelijaké ľudské činy, tvár pred ktorou sa neschovám. Koľkí prišli dole na Zem a niečo tu hľada-jú, ale čo ak je to všetko jedno... Chodí stále ako iní, díva sa na tmu bezodnú, vidí všelijaké ľudské činy, na jeho tvár nemôžem zabudnúť. Mnohí hľadia dole na Zem, a nádej tu hľadajú, ale čo ak zmizla niekde vo sne...The GypsyExactly, like the others, watch’s the world from the top, perceives all the human deeds, the face which can see everything. Most of them goes back to the reality looking for something, but what’s if it’s all the same...Goes round like the others, looking into the gloomy depths, watch’s all the human deeds, the face which’s unforgettable. Most of them search for something, looking for the hope, but what’s if the hope disappeared somewhere in the dream...

text by Jarosław Wójtowicz

SourcesMark Aintley, Dinu Lipatti. Prince of Pianists, http://www.markainley.com/music/classical/lipatti/prince_of_pianists.html.Kenzaburo Ōe, Futbol ery Manen (English title: The Silent Cry), translated into Polish by Mikołaj Melanowicz, Warszawa 1979 (first edition), 1994.http://en.wikipedia.org/wiki/Georges_CziffraDavid A. Ferré, The Other Tchaikovsky, http://andretchaikowsky.com/biography/book/index.htm.http://andretchaikowsky.com/http://sk.wikipedia.org/wiki/Marek_Brezovsk%C3%BDhttp://en.wikipedia.org/wiki/Marek_Brezovsk%C3%BDMusicDinu Lipatti, Les Tziganes: http://www.youtube.com/watch?v=oxvP0lbioN0Frédéric Chopin, Waltz E Flat op. 18, performed by Dinu Lipatti: http://www.youtube.com/watch?v=jSQtQWvZmqYFranz Liszt’s transcription of Wagner’s ouverture of Tannhäuser, performed by György Cziffra: http://www.youtube.com/watch?v=I1HpnLce_34André Tchaikowsky, 2. Piano Concerto op. 4 (interpretations of: Radu Lupu, André Tchaikowsky, Norma Fischer and Maciej Grzybowski): http://andretchaikowsky.com/composer/piano_concerto.htmMarek Brezovský, Cigánska, http://www.youtube.com/watch?v=HcrtnNTwyqY

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“Plavec” by Julie Chovin<

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Several motives on letter S - sculptures

If I had been looking for a perfect example of a sculpture (in terms of this series), I found it in Plavec

by Łukasz Jastrubczak

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miscel-lane-

ous

Hungarian joke

Miért nagy,szürke és ráncos az elefánt? Mert ha kicsi,fehér és sima lenne, akkor aszpirin volna.

by Lujza Magova

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List of participants of the project: Agata Dutkowska Alexis Emery-Dufoug Beáta Kolbašovská Cristina David Desmesure collective / Agathe & FredEdyta Masior Filip Przybyłko Guillaume du BoisbaudryJan Sowa Jarosław WójtowiczJoanna BednarczykJudit KurtágJulie Chovin Kubo Pisek László MilutinovitsLujza Magová Łukasz JastrubczakMałgorzata M. DudekMarek MardosewiczMarta Jonville Mathieu Lericq Nils Clouzeau Palce Lizac – Dominika & BarbaraPaul Maquaire Roman DziadkiewiczSeydou Grépinet Simon Quéheillard Thomas DesmaisonTomas Matauko Valérie de Saint-Do special guests : Gaston & Leon Desmesure, Dymitr Sowa-Bojadzijew, Bruno Dziadkiewicz, Florian Patiny edition of 150 copies / August 02nd 2013 Plavec printed in Copyvait by Boris Vaitovic http://blog.mecanismespourentente.eu

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The main issue of “Mechanisms For An Entente” is the production of a multiform collective artwork, to promote a deep aesthetic, philosophical and political reasoning about the becoming of Central European countries in relation to the idea of the European Union.We want to work the nature of the European condition.

Mechanisms For An Entente

Deadline staff:

Valérie de Saint-Do = editor Tomas Matauko = co-editor Łukasz Jastrubczak = design & layout Edyta Masior = corrector

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special thanks to Sylvia Jonville, Beáta Kolbašovská & Robert Farkaš

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