ect:</p>\n<blockquote><p>\n  Free support is only sustainable on either end of the spectrum. Either you have so many users that you&#8217;re able to well monetize them to the point that you have a dedicated support team tasked with making sure they are well cared for; or you have so few users that the drain on your time is negligible and can easily be handled along with other day-to-day tasks. The tricky stuff lies in the middle.\n</p></blockquote>\n<p>When I first started writing hacks for b2 and plugins and themes for WordPress, my life looked a lot different than it does now. I had a day job which paid all my bills, a wife that also worked long hours, and the work I did on my own site was what generated most of the code I released to the community.</p>\n<p>The community was also much smaller and had a different profile back then. A handful of hackers that would use each other&#8217;s code, send each other suggestions, and generally collaborate as peers.</p>\n<p>Nowdays the profile of the average WordPress user is far different. WordPress has become a tool for business users that do not need to have technical experience to make WordPress work for them. This is awesome, but it fundamentally changes the nature of the support requests I see.</p>\n<p>My station in life has changed quite a bit too. I have a daughter, I run a great team of 15 people and I&#8217;m dealing with some <a href="https://alexking.org/blog/2013/05/31/cancer">medical issues</a>. I don&#8217;t have the time that I used to, and what time I do have I&#8217;d rather spend building something than responding to emails.</p>\n<p>How I<sup id="fnref:1"><a href="http://alexking.org/blog/topic/wordpress/feed#fn:1" rel="footnote">1</a></sup> handle support today is to break it down into two types of support:</p>\n<ol>\n<li>User Support</li>\n<li>Product Support</li>\n</ol>\n<p>With <strong>User Support</strong>, we provide one-on-one attention and do our best to solve whatever issues the user might be experiencing. This can even extend to troubleshooting plugin conflicts and server configuration issues. We reserve this level of support for our paid products (<a href="http://crowdfavorite.com/wordpress/ramp/">RAMP</a>, <a href="http://crowdfavorite.com/wordpress/carrington-build/">Carrington Build</a>, etc.).</p>\n<p>For our free products, we provide <strong>Product Support</strong>. This means we listen and pay attention to bug reports and try to fix anything that appears to have a reproducible use case. However we do not provide one-on-one support for users and do not dive deeply into one-off reports of edge cases.</p>\n<p>I feel that this is a reasonable compromise, and I believe that most of the users of my products agree. There will always be people who believe they can make unreasonable demands on your time, but luckily there&#8217;s a handy button on those emails (or even voicemails, yikes!) for resolving them with minimal effort.</p>\n<hr />\n<p>A few years back I had the idea that the collective support burden on WordPress plugin developers had grown to the point that we should all outsource it to a 3rd party. To support this, I created WP HelpCenter and tried to partner with plugin and theme developers through a referral program.</p>\n<p>This ended up being a flop, for a few reasons. The main on was users that actually needed support were typically unwilling to pay for it. From their perspective the plugin/theme wasn&#8217;t working and they were doing the developer a favor by reporting a bug. They certainly weren&#8217;t going to pay anything for it. What users are willing to pay for is customization, and that&#8217;s an entirely different beast.</p>\n<p>I still think something like WP HelpCenter could work, but it would be a lot of work and would need real buy-in from all parts of the community.</p>\n<div class="footnotes">\n<hr />\n<ol>\n<li id="fn:1">\n<a href="http://crowdfavorite.com">Crowd Favorite</a> uses the same approach.&#160;<a href="http://alexking.org/blog/topic/wordpress/feed#fnref:1" rev="footnote">&#8617;</a>\n</li>\n</ol>\n</div>";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 19:46:13 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:4:"Alex";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:32;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:39:"WPTavern: I’ll Be On DradCast Tonight";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7306";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:88:"http://feedproxy.google.com/~r/WordpressTavern/~3/lbXLV2LPKVU/ill-be-on-dradcast-tonight";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:920:"<p><a href="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/dradcastlogo.jpg" rel="thumbnail"><img src="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/dradcastlogo.jpg?resize=150%2C150" alt="Dradcast Logo" class="alignright size-thumbnail wp-image-7307" /></a> I have the pleasure of being the guest host for <a href="http://dradcast.com/" title="http://dradcast.com/">episode 16 of DradCast</a> tonight at 8PM Eastern time. I invite you to tune into the live video stream as we talk about WPTavern, the news of the week and whatever else pops up during the show. It&#8217;s an hour long so it won&#8217;t take up too much of your time. If you have any questions you&#8217;d like me to answer, post them in the comments and I&#8217;ll try to get to as many as I can near the end of the show. </p>\n<img src="http://feeds.feedburner.com/~r/WordpressTavern/~4/lbXLV2LPKVU" height="1" width="1" />";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 18:21:15 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:33;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:52:"WPTavern: Global Notices Plugin For bbPress Released";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7302";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:104:"http://feedproxy.google.com/~r/WordpressTavern/~3/wc4m1gN1Zq8/global-notices-plugin-for-bbpress-released";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:756:"<p><a href="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/bbPressNotices.jpg" rel="thumbnail"><img src="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/bbPressNotices.jpg?resize=150%2C150" alt="bbPress Notices" class="alignright size-thumbnail wp-image-7303" /></a>Pippin has released a simple <a href="http://pippinsplugins.com/bbpress-notices/" title="http://pippinsplugins.com/bbpress-notices/">bbPress notices plugin</a> that allows you to place forum notices that will be seen across the entire forum. By default, the notices appear at the top of the forum and use the default bbPress styling making integration painless. </p>\n<img src="http://feeds.feedburner.com/~r/WordpressTavern/~4/wc4m1gN1Zq8" height="1" width="1" />";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 17:10:33 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:34;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:62:"Alex King: Twitter Tools 3.0.4: Twitter v1.1 API Compatibility";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://alexking.org/?p=17215";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:64:"http://alexking.org/blog/2013/06/12/twitter-tools-3-0-4-v1-1-api";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1385:".threads-post-notice {\n	background: #e8e8e8;\n	padding: 10px;\n}\n.threads-post-notice a {\n	font-weight: bold;\n}\n\n<p>I&#8217;ve released Twitter Tools version 3.0.4 which now uses the Twitter v1.1 API. Since Twitter has turned off the 1.0 API, this is pretty much a &#8220;must upgrade&#8221; situation.</p>\n<p>If Twitter Tools has been active for you over the last few days, you&#8217;ll need to do a little cleanup:</p>\n<ol>\n<li><a href="http://d.pr/i/qoaN">enable the Tweet admin screens</a></li>\n<li><a href="http://d.pr/i/kK4K">delete anything you don&#8217;t want (all of those &#8220;(no title)&#8221; ones, probably)</a></li>\n</ol>\n<p>Grab the code from <a href="https://github.com/crowdfavorite/wp-twitter-tools">GitHub</a> where active development occurs, or from <a href="http://wordpress.org/plugins/twitter-tools/">WordPress.org</a> where it is distributed.</p>\n<p>That should do it. As always post any weirdness you see in the <a href="http://wordpress.org/support/plugin/twitter-tools">support forums</a>. While I can&#8217;t provide individual support, I do look for any issues and reports that would indicate a bug that I can fix.</p>\n<p class="threads-post-notice">This post is part of the thread: <a href="http://alexking.org/blog/thread/twitter-tools">Twitter Tools</a> &#8211; an ongoing story on this site. View the thread timeline for more context on this post.</p>";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 15:11:48 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:4:"Alex";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:35;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:78:"WordPress.tv: Dr. Renee Hobbs: The Implementation Of WordPress in The Academia";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=19695";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:94:"http://wordpress.tv/2013/06/12/dr-renee-hobbs-the-implementation-of-wordpress-in-the-academia/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:705:"<div id="v-m5p7LDci-1" class="video-player">\n</div>\n<br />  <a rel="nofollow" href="http://feeds.wordpress.com/1.0/gocomments/wptv.wordpress.com/19695/"><img alt="" border="0" src="http://feeds.wordpress.com/1.0/comments/wptv.wordpress.com/19695/" /></a> <img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=wordpress.tv&blog=5089392&post=19695&subd=wptv&ref=&feed=1" width="1" height="1" /><div><a href="http://wordpress.tv/2013/06/12/dr-renee-hobbs-the-implementation-of-wordpress-in-the-academia/"><img alt="Dr. Renee Hobbs: The Implementation Of WordPress in The Academia" src="http://videos.videopress.com/m5p7LDci/video-5b1324f57b_std.original.jpg" width="160" height="120" /></a></div>";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 13:09:01 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:12:"WordPress.tv";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:36;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:50:"WordPress.tv: John 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href="http://wordpress.tv/2013/06/11/john-caserta-wordpress-for-teachers/"><img alt="John Caserta: WordPress for Teachers" src="http://videos.videopress.com/6zDe6iau/video-8a99df7f02_std.original.jpg" width="160" height="120" /></a></div>";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 05:07:57 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:12:"WordPress.tv";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:37;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:103:"WordPress.tv: Jonathan Friesem, Kari Lukovics, Daniel Klotz: Educational 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+0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:12:"WordPress.tv";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:38;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:61:"WPTavern: Interview With Brand New Theme Club – 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Occasionally, I&#8217;ll come across something that is pretty interesting such as <a title="http://teslathemes.com/" href="http://teslathemes.com/">TeslaThemes</a>. TeslaThemes is a brand new theme club with the goal of producing one theme per month. In particular, I thought their <a title="http://teslathemes.com/wp-themes/coolstuff/" href="http://teslathemes.com/wp-themes/coolstuff/">Cool Stuff theme</a> introduced a unique way of displaying content via Post Formats and a timeline. After browsing around the site, I decided to get in touch with TeslaThemes to find out how they plan on surviving the WordPress theme market, especially as a theme club. <span id="more-7292"></span></p>\n<p><strong>In an ever growing crowd of companies, what do you think will set TeslaThemes apart from the competition?</strong></p>\n<p>We are aware of this very fast growing market, and especially this makes us very confident in what we do and how we do. At this moment income is not a priority, we’re mainly focused on delivering really useful themes to end-users, we do not want to create this “<em>plastic</em>”, “<em>industrial</em>”, “<em>copy paste</em>” WordPress templates as so many do. The market is over saturated with themes and templates and they all look the same. People need something unique, that can stand out of the crowd. We have a very loyal group of followers that give us the boost and confidence for what we have planned.</p>\n<div id="attachment_7294" class="wp-caption aligncenter"><a href="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesPricing.jpg" rel="thumbnail"><img src="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesPricing.jpg?resize=500%2C187" alt="Tesla Themes Pricing" class="size-large wp-image-7294" /></a><p class="wp-caption-text">These prices will be changing soon</p></div>\n<p><strong>In your opinion, what makes a good WordPress theme?</strong></p>\n<p>Depends on who is asked. For many, they say 90% is design and 10% code, for others vice versa. We want to merge it to a golden middle, creating handcrafted design interface plus very intuitive customization process for the user, so that he enjoys personalizing his own website, without headache or paying additional developers for that. At the end of the day, when everything is done, what the rest see the design, its usability and navigation, how clean and understandable is it. For sure everyone appreciates it. No one has time to search on the page, our eyes must catch everything from a single glance. To resume, important is the design, the concept, perfect code and very intelligent and user friendly framework that will guide anyone.</p>\n<p><strong>Why have you chosen to develop commercial themes for WordPress instead of Joomla, or Drupal?</strong></p>\n<p>Frankly, we do not stop on WordPress, at this very minute we have 5 templates in the queue, where 1 is ecommerce. However, the main course is WordPress indeed. Our research shows that more and more people are opting for a simple yet complex blog or website based on WordPress, this is already both a trend and necessity. If at the beginning WordPress was meant for blogs, now it&#8217;s escalated to pretty big web applications that are using it. At TeslaThemes we can adapt any theme to any needs.</p>\n<p><a href="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesWordPress.jpg" rel="thumbnail"><img src="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesWordPress.jpg?resize=389%2C146" alt="Tesla Themes WordPress" class="aligncenter size-full wp-image-7295" /></a></p>\n<p><strong>What is the Tesla Framework?</strong></p>\n<p>Tesla Framework is another one of our proud products. The decision to develop it was unanimous and instant. There are many reason why, first of all we were thinking about our customers who are purchasing our Premium Templates. We’ve noticed that not very many have any technical background, the tickets we were receiving at the time were related rather to lack of technical experience and WordPress knowledge than some technical problems of the theme. At a certain point we had a huge data base of Q&#038;A and decided to build our own Framework, adapting and combining all the issues we’ve got during our daily activity. The end result, without modesty is a brilliant tool that helps anyone to customize its template in a very simple and fun way. We noticed an 85% drop for tickets, since we launched it and all the feedback we get from our customers is just great. Another strong reason to make it was the technical aspect, it increased our theme development up to 40%. Now any Tesla developer can work on any of our themes without any problem, switching whenever is needed, it is a unique platform that saves time and development costs. At the end of the day Tesla Framework was a very inspired decision both for end-users and our developers.</p>\n<p><a href="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesFramework.jpg" rel="thumbnail"><img src="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesFramework.jpg?resize=500%2C201" alt="TeslaThemes Framework" class="aligncenter size-large wp-image-7296" /></a></p>\n<p><strong>Theme clubs are a tough way to do business. Many have come and gone. Why have you decided to go with the club route instead of charging $60-$70 per theme?</strong></p>\n<p>That’s correct, Jeff. For sure we will not go for too long with club way. The reason we have so affordable prices for single themes and annual subscription, is lack of financial priority at the moment. Of course we are not Red Cross, we also have bills and want to drive nice cars and nice vacations. All the prices for sure will go up in the next few months. Our design and development department are working now on 5 templates that must come up by middle of July, 2013. The 24/7 support we have, the handcrafted design, uniqueness, they all cost money and I am sure, people want to have really the best and they will buy our themes. </p>\n<p><strong>One of my favorite designs from TeslaThemes is the Cool Stuff theme. What was the inspiration behind the timeline display of content?</strong></p>\n<p>That’s right, Cool Stuff is one of our best sellers. It is very simple and has a modern layout. The idea behind it was very simple, inspired by flat design trend we decided to create our first flat design theme. It was rather from fun, but turned out to be a success. As a matter of fact, 4 out of 5 themes we have in the queue, are flat. The timeline display gives a faster navigation thru the page, saves user’s time and keeps a higher focus on the content. And content is king!</p>\n<div id="attachment_7297" class="wp-caption aligncenter"><a href="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesTimeline.jpg" rel="thumbnail"><img src="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2013/06/TeslaThemesTimeline.jpg?resize=500%2C297" alt="Tesla Themes Timeline" class="size-large wp-image-7297" /></a><p class="wp-caption-text">Cool way of displaying content via post formats and a timeline</p></div>\n<p><strong>Do you have any opinions on themes bundling plugins whether they are commercial or free?</strong></p>\n<p>I think that bundling plugins (whether they are commercial or free) is not good for the end user. By nature, plugins need to be detached from the framework, because in case something goes wrong the plugin can be deactivated and the user can maintain a working website without losing traffic. On the other side, bundling plugins with a theme means to compel a user to use only one plugin for a given enhancement, when the user could have used another plugin, giving the same functionality, but which the user knows better how to use.</p>\n<p><strong>Why did you decide to license the themes under the same license WordPress has? (GPL V2)</strong></p>\n<p>Because adopting this kind of license for our themes is better than writing our own, and limit what our users can do with their themes. GPL gives a sense of freedom, and clients love to hear that they have the freedom to do whatever they want with their themes after they buy it. In addition, having this license gives us some advantages, like the opportunity to promote our marketplace on WordPress.org </p>\n<p><strong>Anything you would like to say to the WordPress Community?</strong></p>\n<p>To keep up and continue to innovate. Inspiration and satisfaction. The tough market is a risk indeed but let’s see it rather as an opportunity to stand out of the crowd with great service and products. The competition develops and brings real value for everyone.</p>\n<img src="http://feeds.feedburner.com/~r/WordpressTavern/~4/Z4Euz_XasNc" height="1" width="1" />";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 22:19:18 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:39;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:55:"WPTavern: Experimental Plugin Review – Inline Preview";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7284";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:103:"http://feedproxy.google.com/~r/WordpressTavern/~3/IqjqafuFxhs/experimental-plugin-review-inline-preview";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:2162:"<p><a title="http://www.chrisfinke.com/2013/06/11/inline-preview-plugin-for-wordpress/" href="http://www.chrisfinke.com/2013/06/11/inline-preview-plugin-for-wordpress/">Inline Preview</a> is a brand new plugin being developed by Christopher Finke. Instead of previewing posts in a new browser tab, this plugin adds an editor to the right of the post within the same tab enabling you to see what the post will look like.</p>\n<div id="attachment_7288" class="wp-caption aligncenter"><a href="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/InlinePreview1.jpg" rel="thumbnail"><img class="size-full wp-image-7288" alt="Inline Preview" src="http://i1.wp.com/www.wptavern.com/wp-content/uploads/2013/06/InlinePreview1.jpg?resize=500%2C375" /></a><p class="wp-caption-text">Editor And Post In The Same Tab</p></div>\n<p>If you end up giving this plugin a try, be warned that once you click the preview button, the only way to close the inline preview area is to either reload the page or save the draft. Once I saw a screenshot of this plugin in action, I was initially excited because this is one of the features I saw in Ghost that intrigued me. However, this plugin is only at the experimental level and I&#8217;m not sure how far Chris is going to take it. But if he plans on putting more development time into it, here are a couple things on my checklist I&#8217;d like to see.</p>\n<ul>\n<li>Have the inline preview only show the content area of the website, no sidebar, no footer, none of the unnecessary details. Since my content area is only 600 pixels wide, it would make better use of my screen real estate.</li>\n<li>Real-time editing so that as I type or add images, I can see how those changes would look on the site.</li>\n<li>The ability to change the width of the post editor and the inline preview so that I can apply a size that works best for my monitor.</li>\n<li>An easy way to close the inline editor without having to reload the entire page.</li>\n</ul>\n<p>Anything else you can think of that would make a plugin like this useful to you?</p>\n<img src="http://feeds.feedburner.com/~r/WordpressTavern/~4/IqjqafuFxhs" height="1" width="1" />";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 20:31:01 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:40;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:39:"WP Android: You’ve Got Notifications!";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:35:"http://android.wordpress.org/?p=847";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:54:"http://android.wordpress.org/2013/06/11/notifications/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:3864:"<p><a href="http://android.wordpress.org"><img src="http://wpandroid.files.wordpress.com/2013/05/wordpress-for-android-2-4-wordpress-com-notifications.jpg?w=242&h=491" alt="Version 2.4 of WordPress for Android: Notifications panel on a Samsung Galaxy S3" width="242" height="491" class="alignright size-medium wp-image-861" /></a>Need to get your WordPress.com or Jetpack notifications on the go? With version 2.4 of <a href="https://play.google.com/store/apps/details?id=org.wordpress.android&hl=en">WordPress for Android</a> you&#8217;ll see all your Notifications right on your Android device.</p>\n<h3 id="scroll_to_here">Step away yet stay connected</h3>\n<p>With the new streamlined Notifications view, you can step away from your computer but still stay connected to your readers. With just a few taps you can:</p>\n<ul>\n<li>Read comments and reply.</li>\n<li>Moderate new pending comments.</li>\n<li>Get stats highlights.</li>\n<li>See your new followers and follow them back.</li>\n<li>See who liked your posts.</li>\n</ul>\n<p>Don’t need so many notifications? You can turn off specific notification types (for example &#8220;Likes&#8221;) in the Settings panel. You can also mute entire blogs if it gets too noisy.</p>\n<p>Self-hosted WordPress.org blogs get to join the party, too! Simply connect your blog using the <a href="http://jetpack.me">Jetpack plugin</a> and your self-hosted blog&#8217;s notifications will appear. Already have Jetpack set up? Then you don&#8217;t need to do a thing.</p>\n<div id="attachment_867" class="wp-caption aligncenter"><a href="http://wpandroid.files.wordpress.com/2013/05/wordpress-for-android-notification-center-pending.png"><img src="http://wpandroid.files.wordpress.com/2013/05/wordpress-for-android-notification-center-pending.png?w=300&h=78" alt="Pending notifications in the notification center" width="300" height="78" class="size-medium wp-image-867" /></a><p class="wp-caption-text">See what&#8217;s going on with your blog quickly.</p></div>\n<div id="attachment_868" class="wp-caption aligncenter"><a href="http://wpandroid.files.wordpress.com/2013/05/wordpress-for-android-reply-to-comment-from-notification-center.png"><img src="http://wpandroid.files.wordpress.com/2013/05/wordpress-for-android-reply-to-comment-from-notification-center.png?w=300&h=132" alt="Replying to comments from the notification center" width="300" height="132" class="size-medium wp-image-868" /></a><p class="wp-caption-text">Reply to comments with ease.</p></div>\n<h3>Additional improvements and bug fixes</h3>\n<p>We also added a few more nifty features in this release:</p>\n<ul>\n<li>A new menu icon has been added that matches up with the latest &#8216;Holo&#8217; design guidelines.</li>\n<li>Settings and Sign out options have been added to the overflow menu for easier access.</li>\n<li>New fonts added for easier readability.</li>\n<li>&#8230; and many more small bug fixes and reliability improvements.</li>\n</ul>\n<h3>What&#8217;s next?</h3>\n<p>We&#8217;ve got some great new features in the works including improvements to Media, Account Setup, and the Reader.</p>\n<p>A huge thanks to the contributors that worked on this release: <a href="http://wordpress.org/support/profile/beaucollins">beaucollins</a>, <a href="http://wordpress.org/support/profile/daniloercoli">daniloercoli</a>, <a href="http://wordpress.org/support/profile/mrroundhill">mrroundhill</a>, <a href="http://wordpress.org/support/profile/isaackeyet">isaackeyet</a>, and <a href="http://wordpress.org/support/profile/aagam94">aagam94</a>.</p>\n<p>How do you like the new Notifications? Drop a comment here or follow us <a href="http://twitter.com/wpandroid">@WPAndroid</a> to let us know!</p>\n<br />  <img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=android.wordpress.org&blog=9426921&post=847&subd=wpandroid&ref=&feed=1" width="1" height="1" />";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 19:28:10 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:3:"Dan";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:41;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:56:"WPTavern: Interview With Internet Marketer Kevin Muldoon";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7269";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:108:"http://feedproxy.google.com/~r/WordpressTavern/~3/BHMHzDo53Fg/interview-with-internet-marketer-kevin-muldoon";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:12146:"<p><strong>Tell us who you are and how long you&#8217;ve been using WordPress.</strong></p>\n<p>My name is Kevin Muldoon. I am a writer, blogger and internet marketer. I am from Scotland but for the last two years I have been living in South America.</p>\n<p>I first tried WordPress in 2006. During that year I had tried just about every blogging script out there. The one I chose to use for my travel blog was Serendipity. I had been using CMS&#8217;s for several years so I started looking more into using blogging platforms to create small content websites. Eventually, that led me to WordPress and I have used it ever since. <span id="more-7269"></span></p>\n<p><strong>I discovered you through BloggingTips.com. Every time I see your name, it&#8217;s behind a different blog. Are you in the business of creating and selling websites?</strong></p>\n<p><a href="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/BloggingtipsLogo.jpg" rel="thumbnail"><img class="aligncenter size-full wp-image-7271" alt="BloggingTips Logo" src="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/BloggingtipsLogo.jpg?resize=285%2C100" /></a></p>\n<p>I have sold hundreds of websites over the years, though it is not something I always set out to do. When I sold <a title="http://www.bloggingtips.com/" href="http://www.bloggingtips.com/">BloggingTips</a> at the beginning of 2010, I had been working on it every day for 3 years. I was keen to do something else. My next blog, <a title="http://www.wphub.com" href="http://www.wphub.com">WP Mods</a>, was sold in part because of an upcoming trip throughout South America and partly to free up more time to work on other websites I was developing.</p>\n<p>To date I have over $200k worth of sales on Flippa, but I wouldn&#8217;t consider myself a website flipper. All of the websites I have sold have been developed from scratch by me.</p>\n<p><strong>I understand you make a substantial amount of your income from your work online. From your experience, which revenue generating technique has garnered the most cash?</strong></p>\n<p>I make 100% of my income online. I started working online in 2000. I was working in Finance at the time and would work on websites at night. I probably made a few hundred dollars a month, which was never enough to leave my full time job. I did make a few good sales from domains. One time in 2002 I bought a domain name at work at 8.30am and sold it at 12.00pm for around $300-$400. I had bigger sales but that was probably the most satisfying due to how quickly I turned a profit.</p>\n<p>Around 2004 I started making enough to work full time online. All of my money was coming from affiliate commissions. At the height of the gambling craze I was making over $20,000 a month. That helped pay off some debts from university and allowed some fun trips around the world.</p>\n<p>Today, I still make most of my money from affiliate referrals, adsense and banner ad sales. I am starting to make money from selling books and I earn money from freelance writing too.</p>\n<p><strong>Back in May of 2009, you and Sarah started a WordPress theme club titled appropriately enough, <a title="http://www.blogthemesclub.com/" href="http://www.blogthemesclub.com/">BlogThemesClub.com</a>. Whatever happened to the club and what valuable lessons did you learn from that experience?</strong></p>\n<p><a href="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/BlogThemesClubLogo.jpg" rel="thumbnail"><img class="aligncenter size-full wp-image-7272" alt="blogthemesclub" src="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/BlogThemesClubLogo.jpg?resize=444%2C111" /></a></p>\n<p>haha We sold that one too :)</p>\n<p>That site developed out of BloggingTips.com. Through that site I had released several WordPress themes to the community free. We then looked into releasing premium designs to blog readers but later decided that it would be better long term to sell themes from a new domain.</p>\n<p>I am primarily a writer/marketer and Sarah is primarily a coder. Due to this, we had to outsource all the design work. This was not without its difficulties. Looking back, we probably should have brought in a designer as a partner from the start. That would have allowed us to develop themes quicker. I am sure we could have made it a success if we stuck to it though we decided to cut our losses and move on as we were spending a lot of time on it.</p>\n<p>It was a good experience and I did learn a lot from running a membership driven website and with working with a partner, so it is not something look back on with regret.</p>\n<p><strong>Do you find it difficult to generate content for your various sites or does it come natural?</strong></p>\n<p>No. That is something that I have never had a problem with. Never have, never will. I am always reading other blogs and I buy books regularly too, so I am never short of ideas. My personal blog <a title="http://www.kevinmuldoon.com" href="http://www.kevinmuldoon.com">KevinMuldoon.com</a> currently has 125 draft posts, all of which are partly written or have details of what needs to be written.</p>\n<p>The main problem is time to actually write. Over the next few months I need to greatly reduce my own writing responsibilities and bring in others to help me maintain my websites and blogs.</p>\n<p><strong>Obviously you&#8217;re only one person. What tips can you provide for those looking to hire people to write for their site?</strong></p>\n<p><a href="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/WPModsLogo.jpg" rel="thumbnail"><img class="aligncenter size-full wp-image-7273" alt="WPMods Logo" src="http://i2.wp.com/www.wptavern.com/wp-content/uploads/2013/06/WPModsLogo.jpg?resize=258%2C69" /></a></p>\n<p>Unless you want your website or blog to always remain at the same level, you need to bring people in to help you. With BloggingTips.com I had over a dozen people writing regularly. By the time I sold WPMods.com I had two or three people helping me write articles.</p>\n<p>Obviously, getting the right people is key. It can be tempting to just get the cheapest writers but you need to remember that sometimes a badly written post is worse than having no post published at all. At the start it can be a balancing act trying to keep writing costs down and turn a profit, but long term it is worth it. Generally speaking, I would rather spend money on hiring good writers than spending money on an advertising campaign or some SEO service.</p>\n<p>As you rightly point out, there is only one of me, so for me to move on and do other things, I need to hire other people. There is no other way round it. The old idiom &#8220;<strong>hire people smarter than you</strong>&#8221; definitely runs true, and once they know what you are looking for, you should feel comfortable letting them get on with their job. Spending too much time micro-managing them can be counter-productive.</p>\n<p><strong>What is it about WordPress that has you using it for just about every site you create?</strong></p>\n<p>Possibility.</p>\n<p>No other platform out there, blogging or otherwise, comes even close to offering the same level of customization that WordPress does. Can you think of any other platform that offers thousands and thousands of free and premium plugins and themes?</p>\n<p><strong>What is your biggest pet peeve with WordPress?</strong></p>\n<p>I would say it is that every plugin developer out there wants to hijack my admin area and place a large menu link on my admin sidebar. There are plugins that only take two minutes to set up and then you never need to configure them again, yet they hog my sidebar. All major plugin developers, including Automattic, seem to be doing this.</p>\n<p>I am aware that there are plugins out there that let me remove links from the main menu and put them somewhere else, however I do not feel that WordPress users should need to do this. Why should we have to go to the hassle of cleaning up their mess?</p>\n<p><strong>Where would you like to see WordPress 5 years from now?</strong></p>\n<p><a href="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2009/02/wordpresslogo.png" rel="thumbnail"><img src="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2009/02/wordpresslogo.png?resize=150%2C150" alt="wordpresslogo" class="aligncenter size-thumbnail wp-image-422" /></a></p>\n<p>I like the fact that WordPress has started removing things like blogrolls and adding them back as plugins. The core version should not be too bloated.</p>\n<p>The problem is that there is so much functionality lacking from the core that you end up installing lots of plugins, thereby slowing down your site. Take commenting for example, WordPress blogs suffer from spam so badly that you need to install Akismet right off the bat. Then you need to install at least one additional plugin to reduce spam, whether it be to add a CAPTCHA field or trick bots into thinking they have completed all fields.</p>\n<p>Many people have turned to third-party commenting systems to address this, though they are not always ideal either. So, like many people, I have started using Jetpack for my comments. It works great, but using that plugin means that I a need to install many other things that I do not want installed.</p>\n<p>The same thing can be said about security. I have had a few of my blogs infected with malware over the last year so I now install security plugins on every WordPress website I own. It would be better if WordPress tackled this problem head on and make the product more secure. I understand that WordPress is always going to be targeted more than other platforms due to its popularity, though when it comes to the point of needing to install anti-spam and anti-malware plugins every time they use WordPress, you need to step back and think about whether the core product needs to be upgraded.</p>\n<p>Today, I have over a dozen plugins that I install on every website. I review the plugins I have installed regularly, though a quick check on my personal blog shows that I have 37 activated plugins. Many of these plugins address problems with other plugins or problems with the core. For example, I have&nbsp;Manual Control for Jetpack to stop the Jetpack plugin automatically enabling new modules they add and I have&nbsp;WP Missed Schedule installed to stop WordPress not publishing my articles on time (and never sending me an email to notify me of this).</p>\n<p>Last but not least, I think that WordPress is starting to look dated in some respects. Without doubt it is functional, but along the way it has lost its style. I use the WordPress iOS app regularly and it works great, however accessing WordPress through my browser seems clunky at times.</p>\n<p>WordPress has become the number one content management system in the world, though I think there is a danger of it losing its title as the best blogging platform. New blog platforms such as SquareSpace and Ghost are simplifying the whole process of blogging and allowing people to focus more on content instead of worrying about spam, viruses and configuring cache plugins.</p>\n<p>Competition is good and I hope that WordPress can take the best features of these new platforms and integrate it into their own platform.</p>\n<p><strong>Anything you&#8217;d like to say to the entire WordPress community?</strong></p>\n<p>I would encourage people to support plugin and theme developers where they can; whether it be telling others of their good work, making a donation or upgrading to their premium products. That being said, I also think WordPress users are allowed to be critical, even of those who release products for free. As a content producer, I understand why many developers get touchy about criticism, though it is essential to their products, and WordPress as a whole, getting better.</p>\n<p>So be supportive and be critical about something if you need to be, though make sure you are polite and professional when you do so. Those who complain for the sake of complaining deserve to be ignored :)</p>\n<img src="http://feeds.feedburner.com/~r/WordpressTavern/~4/BHMHzDo53Fg" height="1" width="1" />";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 16:48:25 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:42;a:6:{s:4:"data";s:13:"\n	\n	\n	\n	\n	\n	\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:42:"WPTavern: Recap Of WordCamp Milwaukee 2013";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7264";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:94:"http://feedproxy.google.com/~r/WordpressTavern/~3/JbJHpoCeOY4/recap-of-wordcamp-milwaukee-2013";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:850:"<p><a href="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2013/06/WordCampMilwaukee2013Logo.jpg" rel="thumbnail"><img src="http://i0.wp.com/www.wptavern.com/wp-content/uploads/2013/06/WordCampMilwaukee2013Logo.jpg?resize=216%2C108" alt="WordCamp Milwaukee 2013 Logo" class="alignright size-full wp-image-7265" /></a>This past weekend, WordCamp Milwaukee 2013 took place. If you missed it, Brad Parbs has a <a href="http://snowdaygroup.com/wordcamp-milwaukee-2013-recap/" title="http://snowdaygroup.com/wordcamp-milwaukee-2013-recap/">short recap of the event</a> complete with links to a bunch of different slides from presentations. 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There were at least two themes hosted on the ThemeForest marketplace that were bundling commercial WooThemes plugins along with a copy of GravityForms. Those themes have been <a title="http://themeforest.net/forums/thread/bundling-premium-gpl-plugins-on-themeforest-themes/100141" href="http://themeforest.net/forums/thread/bundling-premium-gpl-plugins-on-themeforest-themes/100141">temporarily hidden from view by ThemeForest</a> until they comply with revised guidelines. This is a great article filled with a number of great points but the comments are just as good.</p>\n<p><strong>It&#8217;s Just A Bad Idea</strong> &#8211; Bundling plugins with themes is already a bad practice but when those plugins have a commercial nature to them and need API access keys to work properly, it becomes an incredibly bad idea.</p>\n<p><strong>Support Nightmare</strong> &#8211; I love the infinite loop for support described by Coen so much, I&#8217;m just going to paste it here as it clearly illustrates how bad it can be for users to get support.</p>\n<ol>\n<li>The author of the plugin is WooThemes. “They should help me, right?”</li>\n<li>Wrong, they can’t help you. You haven’t purchased the plugin from WooThemes, so they can’t support you. This is not just because you haven’t purchased it from them, but they also have no way of knowing what’s been done with the code. This makes it virtually impossible to support the code.</li>\n<li>The WooThemes support crew will probably tell you to ask the theme author.</li>\n<li>The theme author has no real ways of supporting the plugins they bundle with the theme, simply because they didn’t write the plugin.</li>\n<li>The initial response of the theme author is often to contact the author of the plugin. Resume these steps at #1, infinite loop!</li>\n</ol>\n<p><strong>GPL</strong> &#8211; People are still confused when they see a theme or plugin licensed under the <a title="http://wordpress.org/about/gpl/" href="http://wordpress.org/about/gpl/">GPL</a> and then see licenses that specify the number of websites the plugin can be used on. Being licensed under the GPLv2 means the code is freely available and can be modified or redistributed. During the checkout process, if the word <em>restrict</em> is in the description it generates <em>red flags</em>. It&#8217;s important to note that most commercial GPL theme/plugin licenses deal strictly with how many sites will be supported by them based on which support license you buy. In some instances such as GravityForms, you&#8217;re not only purchasing a support license, but also an API access key that provides access to updates and other functionality. The API aspects of GravityForms have nothing to do with GPL. As <a title="http://coenjacobs.me/en/dont-buy-bundled-premium-plugins/#comment-9401" href="http://coenjacobs.me/en/dont-buy-bundled-premium-plugins/#comment-9401">Carl Hancock points out</a>, look at Akismet, VaultPress, or WordPress.com as good examples of plugins that are GPL but the features they offer are through an API/service which is not accessible because it&#8217;s a software as a service model.</p>\n<p>It&#8217;s important to note that redistributing any themes or plugins licensed under the GPL commercial or not for free or for a price is completely within the confines of the license as long as proper attribution is maintained and the copyright notice is left in tact. What the two themes on ThemeForest were doing was not illegal.</p>\n<p><strong>Abuse Of The Unlimited Sites License</strong> &#8211; This is an interesting one. 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However, because of how GravityForms works, they have the ability to turn off keys if they discover they  are used in such a way that <a title="http://www.gravityforms.com/terms-and-conditions/" href="http://www.gravityforms.com/terms-and-conditions/">violates their TOS</a>.</p>\n<p><strong>Not Getting What You Paid For</strong> &#8211; According to Simone, by bundling plugins like GForms in their themes, they are offering value. In reality, the are offering headaches. The following paragraph in Simone&#8217;s response is important to take note of.</p>\n<blockquote><p>Keep in mind that we are not re-selling the plugins and above all we don’t provide key licenses to our customers. When an update of those plugins is released, we will as soon as possible release a new theme update with the new version of the plugin. We know how important is to keep updated the WordPress installation.</p></blockquote>\n<p>When customers buy their themes, they&#8217;re not actually buying the plugins that are bundled with them. If that&#8217;s the case, why bother bundling the plugins at all? The only conclusion I can come to is that they are ripping off GravityForms and others while providing so called value to their customers.</p>\n<h2>Conclusion:</h2>\n<p>I hope YIT and ThemeForest have both learned their lesson in this ordeal. ThemeForest needs to tighten up its theme reviewing process. YIT needs to remove the commercial plugins until they can strike a unique reseller deal with both GForms and WooThemes. 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-- --------------------------------------------------------

--
-- Struktura tabeli dla tabeli `wp_postmeta`
--

CREATE TABLE IF NOT EXISTS `wp_postmeta` (
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  `meta_value` longtext,
  PRIMARY KEY (`meta_id`),
  KEY `post_id` (`post_id`),
  KEY `meta_key` (`meta_key`)
) ENGINE=InnoDB  DEFAULT CHARSET=utf8 AUTO_INCREMENT=732 ;

--
-- Zrzut danych tabeli `wp_postmeta`
--

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(1, 1, '2012-07-05 11:53:19', '2012-07-05 11:53:19', '<!--:pl-->AVANT ART FESTIVAL, zgodnie z myślą przewodnią 5. edycji, stworzy we Wrocławiu prawdziwą „przestrzeń dla kultury”, tym razem niemieckiej. Jak co roku głównym bohaterem festiwalu będzie muzyka we wszystkich stanach skupienia, formach i kontekstach, niemniej równie ważne będą pozostałe działania: po raz pierwszy ruszy cykl AVANT ART FILM, odbędą się spotkania z literaturą, performance’y oraz warsztaty i debaty. Więcej szczegółów wkrótce!<!--:--><!--:en-->Following the main idea of the 5<sup>th</sup> edition, AVANT ART FESTIVAL will create a true “space for culture” in Wrocław; this time – German culture. Like each year, the main hero of the festival will be music in all density variations, forms and contexts; nevertheless, the remaining activities will be as important: the AVANT ART FILM series which will commence for the first time, the event will hold meetings with literature, performances, workshops and debates. More details soon!<!--:-->', '<!--:pl-->AVANT ART 2012 stworzy przestrzeń dla kultury<!--:--><!--:en-->AVANT ART 2012 to create a space for culture<!--:-->', '', 'publish', 'open', 'open', '', 'hello-world', '', '', '2012-08-01 15:51:22', '2012-08-01 13:51:22', '', 0, 'http://avantart.pl/?p=1', 0, 'post', '', 0),
(5, 1, '2012-07-06 15:37:39', '2012-07-06 13:37:39', '<!--:pl-->Avant Art\r\nul. Bolesławiecka 1/24a\r\n52-614 Wrocław, Polska<a href="mailto:info@avantfestival.pl">\r\n</a><a href="mailto:info@avantfestival.pl">info@avantart.pl</a>\r\n\r\nDyrektor festiwalu:\r\nKostas Georgakopulos\r\n<a href="mailto:kostas@avantfestival.pl">kostas@avantart.pl</a>, tel. 513103826\r\n\r\nProducent:\r\nGrazyna Górka-Dudek\r\n<a href="mailto:grazyna@avantart.pl">grazyna@avantart.pl</a>, tel. 665727271\r\n\r\nKontakt dla mediów:\r\nMagda Kotowska\r\n<a href="mailto:magda.kotowska@highlite.pl">magda.kotowska@highlite.pl</a>, tel. 792 234 779\r\n\r\nWolontariat:\r\n<a href="mailto:wolontariat@avantart.pl">wolontariat@avantart.pl</a><!--:--><!--:en--><p>Avant Art<br />\r\nul. Bolesławiecka 1/24a<br />\r\n52-614 Wrocław, Polska<br />\r\n<a href="mailto:info@avantfestival.pl">info@avantart.pl</a></p>\r\n<p>Festival director:<br />\r\nKostas Georgakopulos<br />\r\n<a href="mailto:kostas@avantfestival.pl">kostas@avantart.pl</a>, tel. 513103826</p>\r\n<p>Producer:<br />\r\nGrazyna Górka-Dudek<br />\r\n<a href="mailto:grazyna@avantart.pl">grazyna@avantart.pl</a>, tel. 665727271</p>\r\n<p>Media:<br />\r\nMagda Kotowska<br />\r\n<a href="mailto:magda.kotowska@highlite.pl">magda.kotowska@highlite.pl</a>, tel. 792 234 779</p>\r\n<p>Volunteers:<br />\r\n<a href="mailto:wolontariat@avantart.pl">wolontariat@avantart.pl</a></p>\r\n<!--:-->', '<!--:pl-->Kontakt<!--:--><!--:en-->Contact<!--:-->', '', 'publish', 'closed', 'closed', '', 'kontakt', '', '', '2012-08-13 22:52:17', '2012-08-13 20:52:17', '', 0, 'http://avantart.pl/?page_id=5', 0, 'page', '', 0),
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(7, 2, '2012-08-13 21:31:16', '2012-08-13 19:31:16', '<!--:pl-->Avant Art\nul. Bolesławiecka 1/24a\n52-614 Wrocław, Polska<a href="mailto:info@avantfestival.pl">\n</a><a href="mailto:info@avantfestival.pl">info@avantart.pl</a>\n\nDyrektor festiwalu:\nKostas Georgakopulos\n<a href="mailto:kostas@avantfestival.pl">kostas@avantart.pl</a>, tel. 513103826\n\nProducent:\nGrazyna Górka-Dudek\n<a href="mailto:grazyna@avantart.pl">grazyna@avantart.pl</a>, tel. 665727271\n\nKontakt dla mediów:\nMagda Kotowska\n<a href="mailto:magda.kotowska@highlite.pl">magda.kotowska@highlite.pl</a>, tel. 792 234 779\n\nWolontariat:\n<a href="mailto:wolontariat@avantart.pl">wolontariat@avantart.pl</a><!--:--><!--:en--><p>Avant Art<br />\nul. Bolesławiecka 1/24a<br />\n52-614 Wrocław, Polska<br />\n<a href="mailto:info@avantfestival.pl">info@avantart.pl</a></p>\n<p>Festival director:<br />\nKostas Georgakopulos<br />\n<a href="mailto:kostas@avantfestival.pl">kostas@avantart.pl</a>, tel. 513103826</p>\n<p>Producer:<br />\nGrazyna Górka-Dudek<br />\n<a href="mailto:grazyna@avantart.pl">grazyna@avantart.pl</a>, tel. 665727271</p>\n<p>Media:<br />\nMagda Kotowska<br />\n<a href="mailto:magda.kotowska@highlite.pl">magda.kotowska@highlite.pl</a>, tel. 792 234 779</p>\n<p>Volunteers:<br />\n<a href="mailto:wolontariat@avantart.pl">wolontariat@avantart.pl</a></p>\n<!--:-->', '<!--:pl-->Kontakt<!--:--><!--:en-->Contact<!--:-->', '', 'inherit', 'closed', 'closed', '', '5-autosave', '', '', '2012-08-13 21:31:16', '2012-08-13 19:31:16', '', 5, 'http://avantart.pl/5-autosave/', 0, 'revision', '', 0),
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(9, 1, '2012-07-05 11:53:19', '2012-07-05 11:53:19', 'Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!', 'Hello world!', '', 'inherit', 'closed', 'closed', '', '1-revision', '', '', '2012-07-05 11:53:19', '2012-07-05 11:53:19', '', 1, 'http://avantart.pl/1-revision/', 0, 'revision', '', 0),
(10, 1, '2012-07-06 18:54:40', '2012-07-06 16:54:40', 'Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!', 'Hello world!', '', 'inherit', 'closed', 'closed', '', '1-revision-2', '', '', '2012-07-06 18:54:40', '2012-07-06 16:54:40', '', 1, 'http://avantart.pl/1-revision-2/', 0, 'revision', '', 0),
(12, 1, '2012-07-06 19:08:54', '2012-07-06 17:08:54', '<!--:pl--><h1>Idea</h1>\r\nJak co roku głównym bohaterem Avant Art Festival jest muzyka – muzyka we wszystkich stanach skupienia, we wszystkich swoich formach i kontekstach. Muzyka samodzielna oraz łącząca przeróżne dziedziny sztuki. Przez sześć dni (od 2 do 7 października 2012 r.) na festiwalowej scenie zobaczymy i usłyszymy wykonawców nietuzinkowych, poszukujących, przecierających nowe szlaki i jak co roku królować będą eklektyzm, oryginalność i nowatorstwo.\r\n\r\nTegoroczna edycja Avant Art Festival upłynie pod znakiem Niemiec – kraju niezwykle bogatego w ciekawych artystów. Już od wielu lat niemieccy muzycy przodują w tworzeniu nowych nurtów i estetyk, które podbijają światowe sceny swoją świeżością i pomysłowością. W czasie festiwalu wystąpią zarówno twórcy uznani – pionierzy gatunków, które od lat cieszą się popularnością na całym świecie, a także artyści młodzi – reformatorzy, napędzający muzykę swoją świeżą krwią i talentem. We Wrocławiu pojawi się<a title="DAF" href="http://avantart.pl/artysci-i-wydarzenia/daf/"> DAF </a>– jedna z najważniejszych formacji lat 80. XX wieku, która swoją twórczością położyła podwaliny pod takie gatunki jak electro czy EBM. Obok niej usłyszymy <a title="CASPAR BRÖTZMANN MASSAKER" href="http://avantart.pl/artysci-i-wydarzenia/caspar-brotzmann-massaker/">Caspar Brötzmann Massaker</a> – rzecz dla zwolenników brudnych gitarowych brzmień, pełnych czystej i nieskrępowanej ekspresji, improwizacji i uwolnionej pasji twórczej. Połączenie najnowocześniejszej technologii z nowymi technikami kreowania dźwięków zaprezentują muzycy ze słynnej wytwórni <a title="RASTER-NOTON SHOWCASE" href="http://avantart.pl/artysci-i-wydarzenia/raster-noton/">Raster-Noton</a> – <a title="FRANK BRETSCHNEIDER" href="http://avantart.pl/artysci-i-wydarzenia/frank-bretschneider/">Frank Bretschneider</a>, <a title="BYETONE" href="http://avantart.pl/artysci-i-wydarzenia/byetone/">Byetone</a> i <a title="KANGDING RAY" href="http://avantart.pl/artysci-i-wydarzenia/kangding-ray/">Kangding Ray</a>. <a title="MORITZ VON OSWALD TRIO" href="http://avantart.pl/artysci-i-wydarzenia/moritz-von-oswald-trio/">Moritz Von Oswald Trio</a> przedstawi swoją wizję stapiania w jedno tak odmiennych od siebie stylistyk, jak techno, jazz i dub. <a title="FM EINHEIT" href="http://avantart.pl/artysci-i-wydarzenia/fm-einheit/">FM Einheit</a>, niegdyś członek wpływowej industrialnej grupy Einstürzende Neubeuten, udowodni jak z pozornie niemuzycznego instrumentarium stworzyć wielowarstwową i bogatą muzykę. Berlińscy szaleńcy z <a title="BONAPARTE" href="http://avantart.pl/artysci-i-wydarzenia/bonaparte/">Bonaparte</a> udowodnią, że koncert może być nie tylko samą prezentacją dźwięków, ale także niezwykłym, ekspresyjnym spektaklem. Młodość zagra w jednej drużynie z wieloletnim doświadczeniem w postaci wspólnego projektu młodych polskich muzyków z ansamblu <a title="DEFIBRILLATOR &amp; PETER BRÖTZMANN" href="http://avantart.pl/artysci-i-wydarzenia/defibrillator-peter-brotzmann/">Defibrillator</a> razem z tytanem free jazzu <a title="DEFIBRILLATOR &amp; PETER BRÖTZMANN" href="http://avantart.pl/artysci-i-wydarzenia/defibrillator-peter-brotzmann/">Peterem Brötzmannem</a>. Artyści z<a title="DENSELAND" href="http://avantart.pl/artysci-i-wydarzenia/denseland/"> Denseland</a> w umiejętny sposób połączą na scenie post-punk z wolną improwizacją, a formacja <a title="DŸSE" href="http://avantart.pl/artysci-i-wydarzenia/dyse/">Dÿse</a> przedstawi swoją własną, bogatą w różnorodne nawiązania wersję noise rocka. Międzykontynentalny, kanadyjsko-niemiecki projekt <a title="KNUCKLEDUSTER" href="http://avantart.pl/artysci-i-wydarzenia/knuckleduster/">Knuckleduster</a> zbuduje pomost między world music, post rockiem i elektroniką, a  <a title="TANNHÄUSER STERBEN UND DAS TOD" href="http://avantart.pl/artysci-i-wydarzenia/tannhauser-sterben-und-das-tod/">Tannhäuser Sterben &amp; das Tod</a> wywróci na nice wszystkie znane dotąd muzyczne stylistyki. Taneczną stroną eksperymentowania z dźwiękiem ujawnią publiczności projekty ze stajni prestiżowej berlińskiej wytwórni Project: Mooncircle, a podczas koncertu Time Art Ensemble będzie można zanurzyć się w świecie wykreowanym z awangardowych dźwięków i wizualizacji. <a title="MEX GERNGESEHEN AVANT ART PROJECT" href="http://avantart.pl/artysci-i-wydarzenia/mex-gerngesehen-avant-art-project/">Mex Gerngesehen Avant Art Project</a>, specjalnie powołana do życia na tę edycję festiwalu kolaboracja niemieckich i polskich muzyków, pokaże to, co najważniejsze w najnowszych eksperymentalnych trendach. Avant Art Festival wychodzi też w tym roku z sal koncertowych na ulice w postaci projektu Social Up Spacing – wspólnej inicjatywy polskich i niemieckich muzyków i plastyków, którzy zaprezentują swoje recyklingowe instalacje w otwartej przestrzeni miejskiej. Ważnym uzupełnieniem programu będą odbywające się w kinie Helios pokazy filmów dokumentalnych i fabularnych na temat niemieckiej sceny muzycznej, wizualnie dopełniające scenę muzyczną festiwalu, osadzając ją w społecznym i historycznym kontekście. Odbędą się też liczne warsztaty, dyskusje panelowe i spotkania z literaturą. Piąty Avant Art Festival po raz pierwszy wyjdzie poza Wrocław – poszczególne koncerty i prezentacje odbywać się też będą w Berlinie i Kolonii.\r\n\r\nPoszukiwania czegoś nowego na terenie sztuki nie ustają nigdy. Warto przyglądać się nowym artystom, świeżym trendom i rodzącym się zagadnieniom. I po raz kolejny kryterium doboru zaproszonych na festiwal wykonawców nie jest ograniczone danym gatunkiem, nurtem czy estetyką – ważna jest ich oryginalność, wynikająca z łamania ustalonych barier w sztuce, umiejętność łączenia w spójną całość odmiennych form, eksperymentalne czy wręcz awangardowe podejście do materii dźwięku, ruchu i obrazu. Avant Art Festival jest z założenia świętem artystycznego eklektyzmu, który jest widoczny na wielu płaszczyznach. Po Avant Art Festival można spodziewać się wszystkiego – chcemy zaskakiwać i dziwić, stawiać widza w opozycji do utartych schematów i klasycznego podejścia do sztuki. Tu tradycją jest odrzucenie tradycji, kanonem jest łamanie kanonów, konwencją jest niekonwencjonalność. Stawiamy na różnorodność i wielogatunkowość. Jesteśmy otwarci na wszystko, co oryginalne.\r\n\r\nPatronat honorowy nad wydarzeniem objął Prezydent Wrocławia Rafał Dutkiewicz oraz Konsul Generalny Republiki Federalnej Niemiec we Wrocławiu Dr Gottfried Zeitz.\r\nFestiwal dofinansowano ze środków Miasta Wrocław, Ministra Kultury i Dziedzictwa Narodowego oraz z budżetu Samorządu Województwa Dolnośląskiego.<!--:--><!--:en--><p>Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2<sup>nd</sup> to October 7<sup>th</sup>, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.</p>\r\n<p>This year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton <strong>- </strong>Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.</p>\r\n<p>This year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.</p>\r\n<p>Searches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.</p>\r\n<!--:-->', '<!--:pl-->O festiwalu<!--:--><!--:en-->About the festival<!--:-->', '', 'publish', 'closed', 'closed', '', 'o-festiwalu', '', '', '2013-01-14 22:26:51', '2013-01-14 21:26:51', '', 0, 'http://avantart.pl/?page_id=12', 0, 'page', '', 0),
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(14, 1, '2012-07-06 19:09:35', '2012-07-06 17:09:35', '<!--:pl-->Organizatorem festiwalu jest fundacja Avant Art.<img class="alignright" title="logo-fundacji" src="http://avantart.pl/wp-content/uploads/2012/07/logo-fundacji.jpg" alt="" width="120" height="112" align="left" />\r\n\r\n<strong>Fundacja Avant Art</strong>\r\n<strong> PRZESTRZEŃ - KULTURA</strong>\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście  dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii  fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie  czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje”  i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami  oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom  fundacja Avant Art ma się stać się „artystycznym żywym organizmem”.  Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n<!--[if gte mso 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5.4pt;\r\nmso-para-margin:0cm;\r\nmso-para-margin-bottom:.0001pt;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:"Calibri","sans-serif";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;}\r\n</style>\r\n<![endif]--><!--:--><!--:en-->The Festival is organized by Avant Art Foundation <img class="alignright size-full wp-image-756" title="logo-fundacji" src="http://avantart.pl/wp-content/uploads/2012/07/logo-fundacji.jpg" alt="" width="120" height="112" align="left" />\r\n\r\n<strong>Avant Art Foundation\r\nSPACE – CULTURE</strong>\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning  thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example: RePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. 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(23, 1, '2012-07-06 19:31:37', '2012-07-06 17:31:37', '<!--:pl--><strong>Sprzedaż biletów na koncerty</strong> i <strong>karnetów na wszystkie wydarzenia </strong>pod linkiem  <strong><a href="http://avantartfestival.biletin.pl/pl ">BILETY ONLINE</a></strong>,\r\na także za pośrednictwem <a href="http://biletin.pl/pl/event,show,825,avant-art-festival-achtung.html" target="_blank">www.billetin.pl</a>, w <a href="http://impart.art.pl/" target="_blank">Imparcie </a>(ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w <a href="http://www.ticketpro.pl" target="_blank"><strong>SieciTicketpro</strong></a>.\r\n\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\n<a href="http://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html" target="_blank">http://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html</a>\r\n\r\n<strong>Bilety na filmy</strong> <strong></strong>i <strong>karnet filmowy</strong> do nabycia w <strong>Helios Nowe Horyzonty</strong> (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na <a href="http://www.heliosnh.pl">www.heliosnh.pl</a> .\r\n\r\nBilety dostępne będą także w miejscach festiwalowych na godzinę przed rozpoczęciem wydarzenia.<strong></strong>\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nPobierz program z cenami biletów <a href="http://www.avantart.pl/aaf_program_bilety.pdf" target="_blank">plik pdf</a>\r\n\r\n<hr />\r\n\r\nWstęp wolny na:\r\n\r\n1) Czytanie w ciemnościach. Herta Müller / produkcja RITA BAUM\r\n\r\n2) Wystawę "Miasta B w Galerii U"\r\n\r\n3) Debatę o kulturze\r\n\r\n<hr />\r\n\r\nKontakt: <a href="mailto:bilety@avantart.pl">bilety@avantart.pl</a><!--:--><!--:en--><p>The sale of the performance <strong>tickets </strong>and<strong> whole-festival tickets</strong> for all the events under the link <a href="http://avantartfestival.biletin.pl/pl">BILETY ONLINE</a> and via <a href="http://www.billetin.pl" target="_blank">www.billetin.pl</a>, at the Impart (Mazowiecka Street 17, Wrocław, open on week days from 12:00 to 18:00) and via the <a href="http://www.ticketpro.pl/jnp/home/index.html" target="_blank">Ticketpro</a> ticket sellers.</p>\r\n<p>Information about the sale points spread throughout the country can be found on:<a href="http://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html" target="_blank"> http://www.ticketpro.pl/jnp/<wbr>gdzie-kupic-bilety/index.html</wbr></a></p>\r\n<p><strong>Film tickets </strong>and<strong> the film carnet</strong> can be bought at the <strong>Helios Nowe Horyzonty cinema </strong>(Kazimierza Wielkiego street 19a-21, Wrocław) and via <a href="http://www.heliosnh.pl" target="_blank">www.heliosnh.pl</a>.</p>\r\n<p>The tickets will also be available at the day of the event, one hour before its beginning.</p>\r\n<p>Whole-festival ticket for all festival events: 90 PLN</p>\r\n<p>Film carnet: 30 PLN</p>\r\n<hr />\r\n<p><strong>Free-of-charge entry:</strong></p>\r\n<p>1) Reading in the Dark. Herta Müller / a production of RITA BAUM</p>\r\n<p>2) "Miasta B w Galerii U [B-category cities at the U Gallery]" exhibition</p>\r\n<p>3) Debate on culture</p>\r\n<hr />\r\n<p><strong>Contact:</strong> <a href="http:///mail/write?to=bilety@avantart.pl" target="_blank">bilety@avantart.pl</a></p>\r\n<!--:-->', '<!--:pl-->Bilety<!--:--><!--:en-->Tickets<!--:-->', '', 'publish', 'closed', 'closed', '', 'bilety', '', '', '2012-10-01 12:16:39', '2012-10-01 10:16:39', '', 0, 'http://avantart.pl/?page_id=23', 0, 'page', '', 0),
(24, 1, '2012-07-06 19:31:26', '2012-07-06 17:31:26', '', 'Bilety', '', 'inherit', 'closed', 'closed', '', '23-revision', '', '', '2012-07-06 19:31:26', '2012-07-06 17:31:26', '', 23, 'http://avantart.pl/23-revision/', 0, 'revision', '', 0),
(25, 2, '2012-10-01 11:59:19', '2012-10-01 09:59:19', '<!--:pl--><strong>Sprzedaż biletów na koncerty</strong> i <strong>karnetów na wszystkie wydarzenia </strong>pod linkiem  <strong><a href="http://avantartfestival.biletin.pl/pl ">BILETY ONLINE</a></strong>,\na także za pośrednictwem <a href="http://biletin.pl/pl/event,show,825,avant-art-festival-achtung.html" target="_blank">www.billetin.pl</a>, w <a href="http://impart.art.pl/" target="_blank">Imparcie </a>(ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w <a href="http://www.ticketpro.pl" target="_blank"><strong>SieciTicketpro</strong></a>.\n\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\n<a href="http://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html" target="_blank">http://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html</a>\n\n<strong>Bilety na filmy</strong> <strong></strong>i <strong>karnet filmowy</strong> do nabycia w <strong>Helios Nowe Horyzonty</strong> (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na <a href="http://www.heliosnh.pl">www.heliosnh.pl</a> .\n\nBilety dostępne będą także w miejscach festiwalowych na godzinę przed rozpoczęciem wydarzenia.<strong></strong>\n\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\nKarnet filmowy: 30 zł\n\nPobierz program z cenami biletów <a href="http://www.avantart.pl/aaf_program_bilety.pdf" target="_blank">plik pdf</a>\n\n<hr />\n\nWstęp wolny na:\n\n1) Czytanie w ciemnościach. Herta Müller / produkcja RITA BAUM\n\n2) Wystawę "Miasta B w Galerii U"\n\n3) Debatę o kulturze\n\n<hr />\n\nKontakt: <a href="mailto:bilety@avantart.pl">bilety@avantart.pl</a><!--:--><!--:en--><p>The sale of the performance <strong>tickets </strong>and<strong> whole-festival tickets</strong> for all the events under the link <a href="http://avantartfestival.biletin.pl/pl">BILETY ONLINE</a> and via <a href="http://www.billetin.pl" target="_blank">www.billetin.pl</a>, at the Impart (Mazowiecka Street 17, Wrocław, open on week days from 12:00 to 18:00) and via the <a href="http://www.ticketpro.pl/jnp/home/index.html" target="_blank">Ticketpro</a> ticket sellers.</p>\n<p>Information about the sale points spread throughout the country can be found on:<a href="http://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html" target="_blank"> http://www.ticketpro.pl/jnp/<wbr>gdzie-kupic-bilety/index.html</wbr></a></p>\n<p><strong>Film tickets </strong>and<strong> the film carnet</strong> can be bought at the <strong>Helios Nowe Horyzonty cinema </strong>(Kazimierza Wielkiego street 19a-21, Wrocław) and via <a href="http://www.heliosnh.pl" target="_blank">www.heliosnh.pl</a>.</p>\n<p>The tickets will also be available at the day of the event, one hour before its beginning.</p>\n<p>Whole-festival ticket for all festival events: 90 PLN</p>\n<p>Film carnet: 30 PLN</p>\n<hr />\n<p><strong>Free-of-charge entry:</strong></p>\n<p>1) Reading in the Dark. Herta Müller / a production of RITA BAUM</p>\n<p>2) "Miasta B w Galerii U [B-category cities at the U Gallery]" exhibition</p>\n<p>3) Debate on culture</p>\n<hr />\n<p><strong>Contact:</strong> <a href="http:///mail/write?to=bilety@avantart.pl" target="_blank">bilety@avantart.pl</a></p>\n<!--:-->', '<!--:pl-->Bilety<!--:--><!--:en-->Tickets<!--:-->', '', 'inherit', 'closed', 'closed', '', '23-autosave', '', '', '2012-10-01 11:59:19', '2012-10-01 09:59:19', '', 23, 'http://avantart.pl/23-autosave/', 0, 'revision', '', 0),
(26, 1, '2012-07-06 19:33:25', '2012-07-06 17:33:25', '<!--:pl-->Kontakt dla mediów:\r\nMagda Kotowska | <a href="mailto:magda.kotowska@highlite.pl">magda.kotowska@highlite.pl</a>, tel. 792 234 779\r\n\r\n<hr />\r\n\r\n<strong>AVANT ART FESTIVAL</strong>\r\n<strong> 5. EDYCJA - NIEMCY | 2—7 PAŹDZIERNIKA 2012 | WROCŁAW</strong>\r\n\r\n<a href="http://www.highlite.home.pl/katalog_dostepny/AVANT_ART/AAF2012_logo.zip" target="_blank">LOGO </a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/aaf2012_poster_hq.jpg " target="_blank">PLAKAT NR 1 HQ </a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/aaf2012_plakat_hq.jpg " target="_blank">PLAKAT NR 2 HQ</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/aaf2012_plakat_www.jpg" target="_blank">PLAKAT LQ</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/AAF2012_program_bilety_23wrz.doc" target="_blank">PROGRAM</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/aaf2012_zapowiedzi.zip" target="_blank">AAF 2012 ZAPOWIEDZI</a>\r\n\r\n<a href="http://www.highlite.home.pl/katalog_dostepny/AVANT_ART/AAF2012_foto_LQ.zip" target="_blank">ZDJĘCIA ARTYSTÓW 2012 LQ </a>\r\n\r\n<a href="http://www.highlite.home.pl/katalog_dostepny/AVANT_ART/AAF2012_foto_HQ.zip  " target="_blank">ZDJĘCIA ARTYSTÓW 2012 HQ</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/AAF2012_PRESSPACK_wrzesien25.doc" target="_blank">PRESSPACK DOC</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/AAF2012_PRESSPACK_wrzesien25.pdf" target="_blank">PRESSPACK PDF</a>\r\n\r\n<hr />\r\n\r\n<strong>AAF PRZESTRZEŃ DLA KULTURY (pakiety info + foto)</strong>\r\n\r\n- <a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/KONCERTY.zip" target="_blank">KONCERTY </a>\r\n\r\n- <a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/AVANT_ART_FILM.zip" target="_blank">FILMY: AVANT ART FILM</a> , <a href="http://www.highlite.home.pl/katalog_dostepny/AVANT_ART/avantartfilm_plakat.zip" target="_blank">PLAKAT AVANT ART FILM  </a>\r\n\r\n- <a href=" http://highlite.home.pl/katalog_dostepny/AVANT_ART/KOPRODUKCJE_POLSKO_NIEMIECKIE.zip" target="_blank">KOPRODUKCJE POLSKO-NIEMIECKIE</a>\r\n\r\n- <a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/CZYTANIE_W_CIEMNOSCIACH.zip" target="_blank">LITERATURA: CZYTANIE W CIEMNOŚCIACH </a>\r\n\r\n- <a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/SOCIAL_UP_SPACING.zip" target="_blank">SOCIAL UP SPACING – PRZESTRZEŃ Z ODZYSKU</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/DEBATA_O_KULTURZE.zip" target="_blank">- DEBATA</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/WYSTAWA_MIASTA_B_GALERIA_U.zip" target="_blank">- WYSTAWA – MIASTA B w Galerii U</a>\r\n\r\n<hr />\r\n\r\n<strong>AKREDYTACJE</strong>\r\n\r\n<a href=" http://highlite.home.pl/katalog_dostepny/AVANT_ART/formularz_akredytacyjny_AAF2012.doc" target="_blank">POBIERZ FORMULARZ AKREDYTACYJNY</a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/regulamin_akredytacyjny_AAF2012.pdf" target="_blank">ZOBACZ REGULAMIN DOT. AKREDYTACJI 2012</a>\r\n\r\n<hr />\r\n\r\n<strong>FOTORELACJA</strong>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/DAF/DAF_fot_Joanna_Stoga.zip"><strong>DAF</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/TANNHAUSER STERBEN_DAS_TOD_fot_Joanna_Stoga.zip"><strong>TANNHÄUSER STERBEN &amp; DAS TOD</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/RASTER_NOTON_Showcase_fot_Joanna_Stoga.zip"><strong>RASTER NOTON Showcase</strong></a><strong></strong>\r\n\r\n<strong><a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Nanoschlaf_LorencSzatarskiHewelt_fot_Joanna_Stoga.zip">Nanoschlaf meets Lorenc/Szatarski/Hewelt</a></strong>\r\n\r\n<strong><a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Pixel_Klange/NoGo_cri_ du_ coeur_fot_Joanna_Stoga.zip" target="_blank">PIXEL KLÄNGE <em>NoGo </em>by duo<em> „</em>cri du coeur“</a></strong>\r\n\r\n<strong><a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Pixel_Klange/crossing_borders_fot_Joanna_Stoga.zip" target="_blank">PIXEL KLÄNGE crossing borders</a></strong>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Moritz_Von_Oswald_Trio_fot_Joanna_Stoga.zip"><strong>Moritz Von Oswald Trio</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/KNUCKLEDUSTER_fot_Joanna_Stoga.zip"><strong>KNUCKLEDUSTER</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/FM_EINHEIT_fot_Joanna_Stoga.zip"><strong>FM EINHEIT</strong></a>\r\n\r\n<strong><a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Dyse_fot_Joanna_Stoga.zip">DŸSE</a></strong>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/DENSELAND_fot_Joanna_Stoga.zip"><strong>DENSELAND</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/DEFIBRILLATOR_PETER_BROTZMANN_fot_Joanna_Stoga.zip"><strong>DEFIBRILLATOR AND PETER BROTZMANN</strong></a>\r\n\r\n<strong><a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Caspar_Brotzmann_Massaker_fot_Joanna_Stoga.zip   ">CASPAR BRÖTZMANN MASSAKER</a></strong>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Bonaparte_fot_Joanna_Stoga.zip"><strong>BONAPARTE</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/2g_Inbetween_fot_Joanna_Stoga.zip"><strong>2g "Inbetween"</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/SOCIAL_UP_SPACING_fot_Joanna_Stoga.zip"><strong>SOCIAL UP SPACING – PRZESTRZEŃ DLA ODZYSKU</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Galeria_U_small_fot_Joanna_Stoga.zip"><strong>WYSTAWA MIASTA B W GALERII U</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Film_Avant_Art_fot_Joanna_Stoga.zip"><strong>AVANT ART FILM W HELIOS NOWE HORYZONTY</strong></a>\r\n\r\n<a href="http://highlite.home.pl/katalog_dostepny/AVANT_ART/FOTO/Debata_fot_Joanna_Stoga.zip"><strong>DEBATA O KULTURZE</strong></a><!--:--><!--:en--><p>Kontakt dla mediów:</p>\r\n<p>Magda Kotowska</p>\r\n<p><a href="mailto:magda.kotowska@highlite.pl">magda.kotowska@highlite.pl</a>, tel. 792 234 779</p>\r\n<!--:-->', 'Press Room', '', 'publish', 'closed', 'closed', '', 'press-room', '', '', '2012-11-21 12:22:05', '2012-11-21 11:22:05', '', 0, 'http://avantart.pl/?page_id=26', 0, 'page', '', 0),
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(28, 1, '2012-07-06 19:33:48', '2012-07-06 17:33:48', '<!--:pl-->MECENAT\r\n\r\n<hr />\r\n\r\n<img class="alignnone size-full wp-image-749" title="mecenat" src="http://avantart.pl/wp-content/uploads/2012/07/mecenat.jpg" alt="" width="580" height="80" />\r\n\r\nPARTNER STRATEGICZNY\r\n\r\n<hr />\r\n\r\n<img class="alignnone  wp-image-737" title="partner strategiczny" src="http://avantart.pl/wp-content/uploads/2012/07/partner-strategiczny.jpg" alt="" width="102" height="78" />\r\n\r\nPARTNERZY GŁÓWNI\r\n\r\n<hr />\r\n\r\n<img class="alignnone size-full wp-image-740" title="partnerzy-glowni" src="http://avantart.pl/wp-content/uploads/2012/07/partnerzy-glowni1.jpg" alt="" width="580" height="142" />\r\n\r\nPARTNERZY\r\n\r\n<hr />\r\n\r\n<img class="alignnone size-full wp-image-1080" title="loga_partnerzy" src="http://avantart.pl/wp-content/uploads/2012/07/loga_partnerzy.jpg" alt="" width="598" height="142" />\r\n\r\nPARTNERZY KOPRODUKCJI\r\n\r\n<hr />\r\n\r\n<img class="alignnone size-full wp-image-742" title="partnerzy-koprodukcji" src="http://avantart.pl/wp-content/uploads/2012/07/partnerzy-koprodukcji.jpg" alt="" width="580" height="41" />\r\n\r\nWSPÓŁPRCA\r\n\r\n<hr />\r\n\r\n<img class="alignnone  wp-image-442" title="PARTNERZY-4" src="http://avantart.pl/wp-content/uploads/2012/07/PARTNERZY-4.jpg" alt="" width="162" height="24" />\r\n\r\nPATRONI MEDIALNI\r\n\r\n<hr />\r\n\r\n<img class="alignnone size-full wp-image-754" title="patroni-medialni" src="http://avantart.pl/wp-content/uploads/2012/07/patroni-medialni2.jpg" alt="" width="580" height="255" />\r\n\r\n<hr /><!--:--><!--:en--><p>PATRONAGE</p>\r\n<hr />\r\n<p><strong><img title="mecenat" src="http://avantart.pl/wp-content/uploads/2012/07/mecenat.jpg" alt="" width="580" height="80" /></strong></p>\r\n<p>STRATEGIC PARTNER</p>\r\n<hr />\r\n<p><img title="partner strategiczny" src="http://avantart.pl/wp-content/uploads/2012/07/partner-strategiczny.jpg" alt="" width="102" height="78" /></p>\r\n<p>MAIN PARTNERS</p>\r\n<hr />\r\n<p><img title="partnerzy-glowni" src="http://avantart.pl/wp-content/uploads/2012/07/partnerzy-glowni1.jpg" alt="" width="580" height="142" /></p>\r\n<p>PARTNERS</p>\r\n<hr />\r\n<p><img title="partnerzy" src="http://avantart.pl/wp-content/uploads/2012/07/partnerzy1.jpg" alt="" width="580" height="162" /></p>\r\n<p>COPRODUCTION PARTNERS</p>\r\n<hr />\r\n<p><img title="partnerzy-koprodukcji" src="http://avantart.pl/wp-content/uploads/2012/07/partnerzy-koprodukcji.jpg" alt="" width="580" height="41" /></p>\r\n<p>COOPERATION</p>\r\n<hr />\r\n<p><img title="PARTNERZY-4" src="http://avantart.pl/wp-content/uploads/2012/07/PARTNERZY-4.jpg" alt="" width="162" height="24" /></p>\r\n<p>MEDIA PATRONS</p>\r\n<hr />\r\n<p><img title="patroni-medialni" src="http://avantart.pl/wp-content/uploads/2012/07/patroni-medialni2.jpg" alt="" width="580" height="255" /></p>\r\n<hr />\r\n<!--:-->', '<!--:pl-->Partnerzy<!--:--><!--:en-->Partners<!--:-->', '', 'publish', 'closed', 'closed', '', 'partnerzy', '', '', '2012-10-09 22:32:28', '2012-10-09 20:32:28', '', 0, 'http://avantart.pl/?page_id=28', 0, 'page', '', 0),
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(40, 2, '2012-07-07 22:25:05', '2012-07-07 20:25:05', '<!--:pl--><img class="alignnone  wp-image-216" title="DAF" src="http://avantart.pl/wp-content/uploads/2012/07/TITEL_DAF.jpg" alt="" width="598" height="426" /> DAF – czyli Deutsch-Amerikanische Freundschaft – to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem. \r\n\r\n<iframe width="420" height="315" src="http://www.youtube.com/embed/hgr9GTXaVsk" frameborder="0" allowfullscreen></iframe>\r\n\r\n<iframe width="420" height="315" src="http://www.youtube.com/embed/mHu0l-KAGFg" frameborder="0" allowfullscreen></iframe>\r\n\r\n<a href="http://www.myspace.com/officialdaf" target="_blank">www.myspace.com/officialdaf</a> <a href="http://www.deutschamerikanischefreundschaft.de/" target="_blank">www.deutschamerikanischefreundschaft.de</a><!--:--><!--:en--><p><img class="alignnone  wp-image-216" title="DAF" src="http://avantart.pl/wp-content/uploads/2012/07/TITEL_DAF.jpg" alt="" width="598" height="426" /></p>\r\n<p>DAF – i.e. Deutsch-Amerikanische Freundschaft – are a living legend. There are not many so influential groups in the history of music like this particular one, brought to life in 1978 by Gabi Delgado Lopez and<strong> </strong>Robert Görl – two hotheads set on creating something entirely new, which will inevitably shake the foundations of future music. There would not be the New German Wave, in the form as we know it today, without DAF; the famous British promoter, John Peel, called them the grandfathers of techno; they are the real pioneers of electropunk and the main inspiration for an entire throng of synthpop composers. The all new genre, EBM, combining the characteristics of industrial music and punk, would not come to existence without them. DAF is a band, which forerun way into the future, is a direct link combining avant-garde punk and electronic music. DAF’s style just cannot be copied – pulsating synthesizer music, operating with an energy load resembling the one operated by the best punkrock bands, disturbing rhythmic and a characteristic dense sound combined with unique lyrics became the trademarks of the group and unrivalled example for numerous other artists. Without a doubt – DAF is one of the most important bands founded on the wave of the punk rebellion, which can surprise us with its fresh and powerful sound even in the new century.</p>\r\n\r\n<iframe width="420" height="315" src="http://www.youtube.com/embed/hgr9GTXaVsk" frameborder="0" allowfullscreen></iframe>\r\n\r\n<iframe width="420" height="315" src="http://www.youtube.com/embed/mHu0l-KAGFg" frameborder="0" allowfullscreen></iframe>\r\n<p><a href="http://www.myspace.com/officialdaf" target="_blank">www.myspace.com/officialdaf</a> <a href="http://www.deutschamerikanischefreundschaft.de/" target="_blank"><br /><br />\r\nwww.deutschamerikanischefreundschaft.de</a></p>\r\n<!--:-->', 'DAF', '', 'publish', 'closed', 'closed', '', 'daf', '', '', '2012-10-03 16:32:25', '2012-10-03 14:32:25', '', 36, 'http://avantart.pl/?page_id=40', 0, 'page', '', 0),
(41, 2, '2012-07-07 22:16:30', '2012-07-07 20:16:30', '<strong>\n</strong>\n\n&nbsp;\n\nDAF – czyli <strong>Deutsch-Amerikanische Freundschaft –</strong> to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem.', 'DAF', '', 'inherit', 'closed', 'closed', '', '40-revision', '', '', '2012-07-07 22:16:30', '2012-07-07 20:16:30', '', 40, 'http://avantart.pl/40-revision/', 0, 'revision', '', 0),
(43, 2, '2012-07-07 22:18:42', '2012-07-07 20:18:42', 'DAF – czyli Deutsch-Amerikanische Freundschaft<strong> –</strong> to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem.', 'DAF', '', 'inherit', 'closed', 'closed', '', '40-revision-2', '', '', '2012-07-07 22:18:42', '2012-07-07 20:18:42', '', 40, 'http://avantart.pl/40-revision-2/', 0, 'revision', '', 0),
(44, 2, '2012-07-07 22:21:02', '2012-07-07 20:21:02', '<!--:pl--><img class="alignnone size-full wp-image-472" title="Brötzmann&amp;Defibrillator PICTURES" src="http://avantart.pl/wp-content/uploads/2012/07/BrötzmannDefibrillator-PICTURES.jpg" alt="" width="598" height="377" />\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat  Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\n<iframe src="http://player.vimeo.com/video/26478470" frameborder="0" width="500" height="281"></iframe>\r\n\r\n<iframe src="http://player.vimeo.com/video/19932821" width="500" height="400" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>\r\n\r\n<a href="http://www.sebastiansmolyn.com/en/" target="_blank">www.sebastiansmolyn.com</a>\r\n<a href="http://www.artursmolyn.com" target="_blank">www.artursmolyn.com</a>\r\n<a href="http://www.myspace.com/oliversteidle" target="_blank">www.myspace.com/oliversteidle</a>\r\n<a href="http://www.peterbroetzmann.com/" target="_blank">www.peterbroetzmann.com</a><!--:--><!--:en--><p><img title="Brötzmann&Defibrillator PICTURES" src="http://avantart.pl/wp-content/uploads/2012/07/BrötzmannDefibrillator-PICTURES.jpg" alt="" width="598" height="377" /></p>\r\n<p>Sebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.</p>\r\n<p><a href="http://www.sebastiansmolyn.com/en/" target="_blank">www.sebastiansmolyn.com</a></p>\r\n<p><a href="http://www.artursmolyn.com" target="_blank">www.artursmolyn.com</a></p>\r\n<p><a href="http://www.myspace.com/oliversteidle" target="_blank">www.myspace.com/oliversteidle</a></p>\r\n<p><a href="http://www.peterbroetzmann.com/" target="_blank">www.peterbroetzmann.com</a></p>\r\n<!--:-->', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'publish', 'closed', 'closed', '', 'defibrillator-peter-brotzmann', '', '', '2012-10-02 10:53:14', '2012-10-02 08:53:14', '', 36, 'http://avantart.pl/?page_id=44', 0, 'page', '', 0),
(45, 2, '2012-07-07 22:20:35', '2012-07-07 20:20:35', '<strong>DEFIBRILLATOR &amp; PETER BRÖTZMANN</strong>\n\n<strong>\n</strong>Grający na elektronicznej trąbce Sebastian Smolyn i posługujący się elektroniką jego brat  Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision', '', '', '2012-07-07 22:20:35', '2012-07-07 20:20:35', '', 44, 'http://avantart.pl/44-revision/', 0, 'revision', '', 0),
(46, 2, '2012-07-07 22:23:18', '2012-07-07 20:23:18', '<!--:pl--><img class="alignnone  wp-image-228" title="Frank Bretschneider" src="http://avantart.pl/wp-content/uploads/2012/07/bretschneider.jpg" alt="" width="598" height="415" /> Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana  muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.\r\n<iframe src="http://player.vimeo.com/video/1421876" width="500" height="377" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/1421876">Frank Bretschneider (live at Berghain Kantine, Berlin)</a> from <a href="http://vimeo.com/mediateletipos">mediateletipos</a> on <a href="http://vimeo.com">Vimeo</a>.</p>\r\n <a href="http://www.frankbretschneider.com/" target="_blank">www.frankbretschneider.com</a><!--:--><!--:en--><p><img class="alignnone  wp-image-228" title="Frank Bretschneider" src="http://avantart.pl/wp-content/uploads/2012/07/bretschneider.jpg" alt="" width="598" height="415" /></p>\r\n<p>Frank Bretschneider – one of the three founding-fathers of the Raster-Noton label, beside Olaf Bender and Carsten Nicolai – in opposition to numerous artists engulfed in self-admiration, he does not try to assign a special philosophy to his creations. He does not have a separate definition for it, and describes the sounds created by himself as music, practically, entirely created with the help of a computer, which is equally inspired by musical academism and pop culture, as well as science and art. This artistic modesty is translated into an extremely high quality of his creations in all spheres, in which he contributes – both as a musician, as well as composer and visual artist. His compositions are characterised by a very precise craftsmanship of sounds, complex, intertwining rhythmic structures and a particular, minimalistic approach towards the entire process of creation. His music is described in various different ways – as an abstract analogue pointillism, as compositions of the future, which should fill out futuristic waiting rooms and space port halls or as innovative organic techno – and there is a lot of truth in each and every of these descriptions. His creation can be situated in the kingdom of avant-garde, however one which does not lack a certain form of poppy sensibility – and that is why his music is suited for, both, dancing in clubs, as well as listening to back home with headphones on, on high quality audiophile equipment.</p>\r\n\r\n<iframe src="http://player.vimeo.com/video/1421876" width="500" height="377" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/1421876">Frank Bretschneider (live at Berghain Kantine, Berlin)</a> from <a href="http://vimeo.com/mediateletipos">mediateletipos</a> on <a href="http://vimeo.com">Vimeo</a>.</p>\r\n<p><a href="http://www.frankbretschneider.com/" target="_blank">www.frankbretschneider.com</a></p>\r\n<!--:-->', 'FRANK BRETSCHNEIDER', '', 'publish', 'closed', 'closed', '', 'frank-bretschneider', '', '', '2012-10-03 16:30:25', '2012-10-03 14:30:25', '', 36, 'http://avantart.pl/?page_id=46', 0, 'page', '', 0),
(47, 2, '2012-07-07 22:22:30', '2012-07-07 20:22:30', '<strong>FRANK BRETSCHNEIDER</strong>\n\n&nbsp;\n\nFrank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana  muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest<a href="#_msocom_1">[J1]</a>  w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest<a href="#_msocom_2">[J2]</a>  sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.\n<div>\n\n<hr align="left" size="1" width="33%" />\n\n<div>\n<div>\n\n <a href="#_msoanchor_1">[J1]</a>dodałam\n\n</div>\n</div>\n<div>\n<div>\n\n <a href="#_msoanchor_2">[J2]</a>znajdziemy\n\n</div>\n</div>\n</div>', '', '', 'inherit', 'closed', 'closed', '', '46-revision', '', '', '2012-07-07 22:22:30', '2012-07-07 20:22:30', '', 46, 'http://avantart.pl/46-revision/', 0, 'revision', '', 0),
(48, 2, '2012-07-07 22:24:38', '2012-07-07 20:24:38', '<!--:pl--><img class="alignnone  wp-image-231" title="Kangding Ray" src="http://avantart.pl/wp-content/uploads/2012/07/Kangding-Ray.jpg" alt="" width="598" height="481" /> Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray.  Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest  przystępna dla wszystkich zwolenników kultury klubowej. \r\n<iframe width="560" height="315" src="http://www.youtube.com/embed/5tgVESE3v-0" frameborder="0" allowfullscreen></iframe>\r\n\r\n<a href="http://www.kangdingray.com/" target="_blank">www.kangdingray.com</a><!--:--><!--:en--><p><img class="alignnone  wp-image-231" title="Kangding Ray" src="http://avantart.pl/wp-content/uploads/2012/07/Kangding-Ray.jpg" alt="" width="598" height="481" /> Releasing albums in the prestigious Raster-Noton label is synonymous for a high musical quality – exactly that can be said about the sounds created by David Letellier, a French musician residing in Berlin, known to the entire circle of fans of non-trivial electronics under the moniker of Kangding Ray. The artist can skilfully combine the sound of electronic equipment with living instruments and thus create subtle and rhythmic suites, in which glitches harmonise with walls of distorted sounds, massive bass tracks, human voices and field recordings. The result is a mix of deep, dance beats and a dark atmosphere – and the whole can be described as “abstract bass music”. These are sounds full of cold currents, melodies camouflaged in rhythm and elegant beats crafted under a Spartan discipline. It is a rarely encountered explosion of unique sensibility applied on an entirely disciplined music, filled with hidden details, created with the help of a computer. Kangding Ray proposes a dance party we have never been to before. We can describe his music as the music of the borderland – it skilfully balances on, one hand, the border of experiment and avant-garde, and on the other – it is accessible to all the supporters of the club culture.</p>\r\n\r\n<iframe width="560" height="315" src="http://www.youtube.com/embed/5tgVESE3v-0" frameborder="0" allowfullscreen></iframe>\r\n<p><a href="http://www.kangdingray.com/" target="_blank">www.kangdingray.com</a></p>\r\n<!--:-->', 'KANGDING RAY', '', 'publish', 'closed', 'closed', '', 'kangding-ray', '', '', '2012-10-03 16:30:53', '2012-10-03 14:30:53', '', 36, 'http://avantart.pl/?page_id=48', 0, 'page', '', 0),
(49, 2, '2012-07-07 22:24:30', '2012-07-07 20:24:30', '<strong>\n</strong>\n\n&nbsp;\n\nWydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray.  Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest  przystępna dla wszystkich zwolenników kultury klubowej.', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision', '', '', '2012-07-07 22:24:30', '2012-07-07 20:24:30', '', 48, 'http://avantart.pl/48-revision/', 0, 'revision', '', 0);
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(50, 2, '2012-07-07 22:24:38', '2012-07-07 20:24:38', 'Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray.  Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest  przystępna dla wszystkich zwolenników kultury klubowej.', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-2', '', '', '2012-07-07 22:24:38', '2012-07-07 20:24:38', '', 48, 'http://avantart.pl/48-revision-2/', 0, 'revision', '', 0),
(51, 2, '2012-07-07 22:19:10', '2012-07-07 20:19:10', 'DAF – czyli Deutsch-Amerikanische Freundschaft<strong> –</strong> to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem.', 'DAF', '', 'inherit', 'closed', 'closed', '', '40-revision-3', '', '', '2012-07-07 22:19:10', '2012-07-07 20:19:10', '', 40, 'http://avantart.pl/40-revision-3/', 0, 'revision', '', 0),
(52, 2, '2012-07-07 22:26:34', '2012-07-07 20:26:34', '<!--:pl--><img class="alignnone  wp-image-235" title="KNUCKLEDUSTER" src="http://avantart.pl/wp-content/uploads/2012/07/KD_pressphoto3.jpg" alt="" width="598" height="405" /> Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. <iframe width="420" height="315" src="http://www.youtube.com/embed/YkItywDsyF4" frameborder="0" allowfullscreen></iframe>\r\n\r\n <a href="http://kdmusic.org/" target="_blank">kdmusic.org</a><!--:--><!--:en--><p><img class="alignnone  wp-image-235" title="KNUCKLEDUSTER" src="http://avantart.pl/wp-content/uploads/2012/07/KD_pressphoto3.jpg" alt="" width="598" height="405" /> Knuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.</p>\r\n<p><strong><em> </em></strong><a href="http://kdmusic.org/" target="_blank">kdmusic.org</a></p>\r\n<!--:-->', 'KNUCKLEDUSTER', '', 'publish', 'closed', 'closed', '', 'knuckleduster', '', '', '2012-10-02 14:42:18', '2012-10-02 12:42:18', '', 36, 'http://avantart.pl/?page_id=52', 0, 'page', '', 0),
(53, 2, '2012-07-07 22:26:22', '2012-07-07 20:26:22', '<strong>\n</strong>\n\n<strong> </strong>\n\n<strong><em>            </em></strong>Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision', '', '', '2012-07-07 22:26:22', '2012-07-07 20:26:22', '', 52, 'http://avantart.pl/52-revision/', 0, 'revision', '', 0),
(54, 2, '2012-07-12 22:25:24', '2012-07-12 20:25:24', '<a href="http://avantart.pl/artysci-i-wydarzenia/knuckleduster/kd_pressphoto3/" rel="attachment wp-att-235"><img class="alignnone size-full wp-image-235" title="KD_pressphoto3" src="http://avantart.pl/wp-content/uploads/2012/07/KD_pressphoto3.jpg" alt="" width="598" height="405" /></a>\n\nKnuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-autosave', '', '', '2012-07-12 22:25:24', '2012-07-12 20:25:24', '', 52, 'http://avantart.pl/52-autosave/', 0, 'revision', '', 0),
(55, 2, '2012-07-07 22:26:34', '2012-07-07 20:26:34', '<strong><em></em></strong>Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-2', '', '', '2012-07-07 22:26:34', '2012-07-07 20:26:34', '', 52, 'http://avantart.pl/52-revision-2/', 0, 'revision', '', 0),
(56, 2, '2012-07-07 22:31:49', '2012-07-07 20:31:49', '<!--:pl--><img class="alignnone  wp-image-183" title="Byetone" src="http://avantart.pl/wp-content/uploads/2012/07/Byetone_2011_final_m-598x411.jpg" alt="" width="598" height="411" />\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesna, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\n<iframe src="http://player.vimeo.com/video/2051582" width="500" height="377" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/2051582">BYETONE</a> from <a href="http://vimeo.com/etrisotti">TRI</a> on <a href="http://vimeo.com">Vimeo</a>.</p>\r\n<a href="http://www.raster-noton.net/ ">www.raster-noton.net </a><!--:--><!--:en--><p><img title="Byetone" src="http://avantart.pl/wp-content/uploads/2012/07/Byetone_2011_final_m-598x411.jpg" alt="" width="598" height="411" /></p>\r\n<p>Impetuous dance and deep thoughts over artistry, a melodicity catching the ear and the rawness of means, the most recent technology and a sentimental journey into the past of music – that is how one can describe Byetone’s music in a nutshell; Byetone – one of the most important projects of the German label Raster-Noton. It is music filled with repeated phrases, the multidimensionality of the sound layers, density and energy presented together with melodicity and a downright engineer-like finesse. The tracks by Olaf Bender – as that is the name of the musician hiding behind the pseudonym of Byetone – simply opalesce thanks to numerous shifts and series of culminations – the tempo undergoes frequent changes, decelerating and accelerating by turns with the polyrhythmic phrases twirling around simple beats. The music of the projects can, on the surface, bring to mind minimal techno from the early 90s of the XX c., however it is much richer from the mentioned. The scientific interests of the artist, with processes governing the human memory, make a clear imprint on his music, which although being modern, is at the same time densely filled with citations from various stylistics of rock and pop, but skilfully manages not to be placed in the past too much – thanks to that none of his compositions can be described with a rigid definition of any of the genres. Byetone takes the listeners to an alternative sound reality, where no rules of the physical world are in force and which is ruled by an irresistible impulse to dance. These are beats, which do not pump blood into one’s heart – they pump chemicals.</p>\r\n\r\n<iframe src="http://player.vimeo.com/video/2051582" width="500" height="377" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/2051582">BYETONE</a> from <a href="http://vimeo.com/etrisotti">TRI</a> on <a href="http://vimeo.com">Vimeo</a>.</p>\r\n<p><a href="http://www.raster-noton.net/ ">www.raster-noton.net </a></p>\r\n<!--:-->', 'BYETONE', '', 'publish', 'closed', 'closed', '', 'byetone', '', '', '2012-10-03 16:27:51', '2012-10-03 14:27:51', '', 36, 'http://avantart.pl/?page_id=56', 0, 'page', '', 0),
(57, 2, '2012-07-07 22:31:39', '2012-07-07 20:31:39', '<strong>\n</strong>\n\n&nbsp;\n\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision', '', '', '2012-07-07 22:31:39', '2012-07-07 20:31:39', '', 56, 'http://avantart.pl/56-revision/', 0, 'revision', '', 0),
(58, 2, '2012-09-25 23:14:30', '2012-09-25 21:14:30', '<!--:pl--><img class="alignnone  wp-image-183" title="Byetone" src="http://avantart.pl/wp-content/uploads/2012/07/Byetone_2011_final_m-598x411.jpg" alt="" width="598" height="411" />\n\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesna, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\n\n<a href="http://www.raster-noton.net/ ">www.raster-noton.net </a><!--:--><!--:en--><p><img title="Byetone" src="http://avantart.pl/wp-content/uploads/2012/07/Byetone_2011_final_m-598x411.jpg" alt="" width="598" height="411" /></p>\n<p>Impetuous dance and deep thoughts over artistry, a melodicity catching the ear and the rawness of means, the most recent technology and a sentimental journey into the past of music – that is how one can describe Byetone’s music in a nutshell; Byetone – one of the most important projects of the German label Raster-Noton. It is music filled with repeated phrases, the multidimensionality of the sound layers, density and energy presented together with melodicity and a downright engineer-like finesse. The tracks by Olaf Bender – as that is the name of the musician hiding behind the pseudonym of Byetone – simply opalesce thanks to numerous shifts and series of culminations – the tempo undergoes frequent changes, decelerating and accelerating by turns with the polyrhythmic phrases twirling around simple beats. The music of the projects can, on the surface, bring to mind minimal techno from the early 90s of the XX c., however it is much richer from the mentioned. The scientific interests of the artist, with processes governing the human memory, make a clear imprint on his music, which although being modern, is at the same time densely filled with citations from various stylistics of rock and pop, but skilfully manages not to be placed in the past too much – thanks to that none of his compositions can be described with a rigid definition of any of the genres. Byetone takes the listeners to an alternative sound reality, where no rules of the physical world are in force and which is ruled by an irresistible impulse to dance. These are beats, which do not pump blood into one’s heart – they pump chemicals.</p>\n<p><a href="http://www.raster-noton.net/ ">www.raster-noton.net </a></p>\n<!--:-->', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-autosave', '', '', '2012-09-25 23:14:30', '2012-09-25 21:14:30', '', 56, 'http://avantart.pl/56-autosave/', 0, 'revision', '', 0),
(59, 2, '2012-07-07 22:31:49', '2012-07-07 20:31:49', 'Żywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-2', '', '', '2012-07-07 22:31:49', '2012-07-07 20:31:49', '', 56, 'http://avantart.pl/56-revision-2/', 0, 'revision', '', 0),
(60, 2, '2012-07-07 22:34:09', '2012-07-07 20:34:09', '<!--:pl--><img class="alignnone  wp-image-256" title="CASPAR BRÖTZMANN MASSAKER" src="http://avantart.pl/wp-content/uploads/2012/07/CASPAR-BRÖTZMANN-MASSAKER.jpg" alt="" width="598" height="465" /> Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.\r\n\r\n<iframe src="http://www.youtube.com/embed/4vAxJsKs_gg" frameborder="0" width="420" height="315"></iframe>\r\n\r\n<a href="http://www.casparbroetzmannmassaker.com/" target="_blank">www.casparbroetzmannmassaker.com</a><!--:--><!--:en--><p><img class="alignnone  wp-image-256" title="CASPAR BRÖTZMANN MASSAKER" src="http://avantart.pl/wp-content/uploads/2012/07/CASPAR-BRÖTZMANN-MASSAKER.jpg" alt="" width="598" height="465" /> It is difficult to overrate the influence of the figure that is Caspar Brötzmann on modern guitar-based music. This amazing instrumentalist with his unique style of playing guitar, frequently described by the name of neoprimitive, since the beginning of his career has inspired – and still inspires – throngs of new musicians, who reject the stiff compositional academism and chose expression liberated from all the rules. Brötzmann is compared to such musical personalities as Jimi Hendrix (which he owes to a similar fondness for extreme loudness and a skilful manipulations of the distortions) or Edgar Varèse, with whom he is united by a perceptive awareness of the sheer nature of sounds. After a couple of years, the musician has, in glory, returned to the stage with his leading project - Caspar Brötzmann Massaker – with Eduardo Delgado Lopez, on bass, and Danny Arnold Lommen, on drums, who support him in the projects newest incarnation. Such music cannot be heard on a daily basis – one track of the group can feature minutes of deafening sound attacks and minutes so quiet, that one can hear the strings touch the guitar neck. Psychedelic improvisations are combined with march-like, massive rock and radical minimalism with outright meticulous baroque passages. Here one is able to experience primitivism, aggression, unique sounds and extraordinary build-up of tension. This is intuitive music, naive in a positive sense – and thus, sincere and romantic in a way. Caspar Brötzmann Massaker’s output sounds like heresy in a world dominated by mellow and foppish sampler sounds. This is a pure, unrestrained and free element. Not without cause did Caspar Brötzmann receive the nickname of Demon of the Decibels.</p>\r\n<p><a href="http://www.casparbroetzmannmassaker.com/" target="_blank">www.casparbroetzmannmassaker.com</a></p>\r\n<!--:-->', 'CASPAR BRÖTZMANN MASSAKER', '', 'publish', 'closed', 'closed', '', 'caspar-brotzmann-massaker', '', '', '2012-10-02 10:55:42', '2012-10-02 08:55:42', '', 36, 'http://avantart.pl/?page_id=60', 0, 'page', '', 0),
(61, 2, '2012-07-07 22:33:43', '2012-07-07 20:33:43', '<strong>\n</strong>\n\n&nbsp;\n\nTrudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision', '', '', '2012-07-07 22:33:43', '2012-07-07 20:33:43', '', 60, 'http://avantart.pl/60-revision/', 0, 'revision', '', 0),
(62, 2, '2012-07-07 22:34:09', '2012-07-07 20:34:09', 'Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision-2', '', '', '2012-07-07 22:34:09', '2012-07-07 20:34:09', '', 60, 'http://avantart.pl/60-revision-2/', 0, 'revision', '', 0),
(63, 2, '2012-07-07 22:35:29', '2012-07-07 20:35:29', '<!--:pl-->Charlemagne Palestine to bez wątpienia jeden z najważniejszych kompozytorów naszych czasów i obok La Monte Younga, Terry''ego Rileya, Philipa Glassa, Steve''a Reicha i Tony''ego Conrada jest uznawany za jednego z ojców muzycznego minimalizmu. Ten instrumentalista, performer i artysta wizualny stworzył swój własny, pełen emocjonalności i rytualności styl, czerpiąc inspiracje z tradycyjnej muzyki etnicznej. Jego niezwykle rzadkie występy na żywo, podczas których otoczony wypchanymi zwierzętami Palestine pije koniak i pali namiętnie indonezyjskie goździkowe papierosy, są wydarzeniami oddziaływającymi na słuchacza nie tylko kreowanymi przez niego transowymi dźwiękami. W ostatnich latach odnalazł on idealnych współpracowników muzycznych – niemiecki elektroakustyczny ansambl Perlonex, którego unikalny sposób wykorzystania analogowych i cyfrowych instrumentów, pełen zapętleń i powoli rozwijających się motywów, stał się właściwym dopełnieniem tego, co od lat Charlemagne Palestine prezentuje w swojej twórczości.\r\n\r\n<a href="http://www.zangimusic.de/" target="_blank">www.zangimusic.de</a>\r\n\r\n<a href="http://www.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestine-41453926" target="_blank">www.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestine</a><!--:--><!--:en-->Charlemagne Palestine is without doubt one of the most important composers of our times and is said to be one of the fathers of musical minimalism side by side with La Monte Young, Terry Riley, Philip Glass, Steve Reich and Tony Conrad. This instrumentalist, performer and visual artist has created his own style, full of emotionality and rituality, drawing inspiration from the traditional ethnic music. His extremely rare live performances, during which Palestine drinks cognac and passionately smoke Indonesian cigarettes, while surrounded by stuffed animals, are events affecting the listener not only via the trance sounds created by him. In the recent years he found some perfect musical associates – the German electro-acoustic ensemble Perlonex, whose unique way of using analogue and digital instruments, full of loops and slowly developing motives, became the right fulfilment of that which Charlemagne Palestine presents in his output since years.\r\n\r\n<a href="http://www.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestine-41453926" target="_blank">www.zangimusic.de\r\nwww.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestine</a><!--:-->', 'CHARLEMAGNE PALESTINE + PERLONEX', '', 'draft', 'closed', 'closed', '', 'charlemagne-palestine-perlonex', '', '', '2012-08-13 15:05:05', '2012-08-13 13:05:05', '', 36, 'http://avantart.pl/?page_id=63', 0, 'page', '', 0),
(64, 2, '2012-07-07 22:34:42', '2012-07-07 20:34:42', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '63-revision', '', '', '2012-07-07 22:34:42', '2012-07-07 20:34:42', '', 63, 'http://avantart.pl/63-revision/', 0, 'revision', '', 0),
(65, 2, '2012-07-07 22:36:22', '2012-07-07 20:36:22', '<!--:pl--><img class="alignnone  wp-image-223" title="DYSE" src="http://avantart.pl/wp-content/uploads/2012/07/DYSE.jpg" alt="" width="598" height="417" /> Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina,  wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo <em>bizarre</em>. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.\r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n<iframe src="http://www.youtube.com/embed/jHSsn4O_U50" frameborder="0" width="420" height="315"></iframe>\r\n\r\n<iframe src="http://www.youtube.com/embed/QXsKDDxlyok" frameborder="0" width="420" height="315"></iframe><!--:--><!--:en--><p><img class="alignnone  wp-image-223" title="DYSE" src="http://avantart.pl/wp-content/uploads/2012/07/DYSE.jpg" alt="" width="598" height="417" /></p>\r\n<p>The group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist,  Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word <em>bizarre</em>. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.</p>\r\n\r\n<iframe src="http://www.youtube.com/embed/jHSsn4O_U50" frameborder="0" width="420" height="315"></iframe>\r\n\r\n<iframe src="http://www.youtube.com/embed/QXsKDDxlyok" frameborder="0" width="420" height="315"></iframe>\r\n<!--:-->', 'DŸSE', '', 'publish', 'closed', 'closed', '', 'dyse', '', '', '2012-10-03 16:23:43', '2012-10-03 14:23:43', '', 36, 'http://avantart.pl/?page_id=65', 0, 'page', '', 0),
(66, 2, '2012-07-07 22:36:07', '2012-07-07 20:36:07', '<strong>\n</strong><strong></strong>\n\n&nbsp;\n\nZałożona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina,  wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo <em>bizarre</em>. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision', '', '', '2012-07-07 22:36:07', '2012-07-07 20:36:07', '', 65, 'http://avantart.pl/65-revision/', 0, 'revision', '', 0),
(67, 2, '2012-07-07 22:37:09', '2012-07-07 20:37:09', '<!--:pl--><img class="alignnone  wp-image-225" title="FM-EINHEIT" src="http://avantart.pl/wp-content/uploads/2012/07/FM-EINHEIT.jpg" alt="" width="598" height="407" /> Frank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą. \r\n\r\n<iframe width="420" height="315" src="http://www.youtube.com/embed/heZHKEF-2cc" frameborder="0" allowfullscreen></iframe>\r\n\r\n<a href="http://www.fmeinheit.org/" target="_blank">www.fmeinheit.org</a><!--:--><!--:en--><p><img class="alignnone  wp-image-225" title="FM-EINHEIT" src="http://avantart.pl/wp-content/uploads/2012/07/FM-EINHEIT.jpg" alt="" width="598" height="407" /></p>\r\n<p>Frank Martin Strauss, better known under the artistic pseudonym FM Einheit, is a figure whose significance for the German experimental scene cannot be overrated. He made his first musical steps in the legendary experimental-punk group Abwärts and in the post-punk revelation of continental Europe, Palais Schamburg, in order to accept the post of “the main machinery operator” – the drummer of one of the most important and most influential bands in the history of music, the industrial avant-gardist Einstürzende Neubauten. These three bands where just the beginning of his rich music career – in the following years he co-operated with, among others, such bands and artists like KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth or Caspar Brötzmann Massaker and co-created Stein and Gry. He became famous for his particular, self-prepared percussion installations, consisting of a piece of a metal plate, scrap metal and pieces of various equipment, on which he played during the recording sessions and live performances. He still creates solo, composes soundtracks to films and theatre spectacles. The output of this percussion visionary is an unusual sound world, in which the hits of metal on metal, screwdrivers and hammers harmonise with high-end electronics. FM Einheit is one of a kind, unique artist.</p>\r\n\r\n<iframe width="420" height="315" src="http://www.youtube.com/embed/heZHKEF-2cc" frameborder="0" allowfullscreen></iframe>\r\n<p><a href="http://www.fmeinheit.org/" target="_blank">www.fmeinheit.org</a></p>\r\n<!--:-->', 'FM EINHEIT', '', 'publish', 'closed', 'closed', '', 'fm-einheit', '', '', '2012-10-03 16:26:36', '2012-10-03 14:26:36', '', 36, 'http://avantart.pl/?page_id=67', 0, 'page', '', 0),
(68, 2, '2012-07-07 22:36:59', '2012-07-07 20:36:59', '<strong>\n</strong>\n\n<strong> </strong>\n\nFrank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą.', 'FM EINHEIT', '', 'inherit', 'closed', 'closed', '', '67-revision', '', '', '2012-07-07 22:36:59', '2012-07-07 20:36:59', '', 67, 'http://avantart.pl/67-revision/', 0, 'revision', '', 0);
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(69, 2, '2012-07-07 22:37:55', '2012-07-07 20:37:55', '<!--:pl--><img class="alignnone  wp-image-1069" title="fot. Andrzej Olechnowski" src="http://avantart.pl/wp-content/uploads/2012/07/pixel-klange1.jpg" alt="" width="598" height="411" />\r\n\r\n<strong> Koprodukcja <strong>Avant Art Fesival, Wrocław;  mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln</strong>\r\n</strong>\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów  stosowane przez Wojtka Romanowskiego – to wszystko to elementy  składowe, źródła dźwięku i techniki użyte w intermedialnych  poszukiwaniach  nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\nArtyści:\r\n<strong><em>NoGo </em></strong>by duo<strong><em> „</em></strong>cri du coeur“\r\nFine Kwiatkowski / Willehad Grafenhorst\r\n<strong>crossing borders</strong>\r\nGerard Lebik / Piotr Damasiewicz /<strong> </strong>Wojciech Romanowski\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\r\nMaija Julius /mex und Georg Dietzler / gerngesehen<strong></strong>\r\n\r\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin &amp; Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n<iframe src="http://www.youtube.com/embed/yQmK-Z7IQNs" frameborder="0" width="420" height="315"></iframe>\r\n\r\n<iframe src="http://www.youtube.com/embed/OYxfGdOD5DY" frameborder="0" width="420" height="315"></iframe>\r\n<strong>\r\n</strong>\r\n\r\n<a href="http://www.mexappeal.de/?p=3532" target="_blank">www.mexappeal.de</a>\r\n\r\n<a href="http://gerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html" target="_blank">gerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html</a><!--:--><!--:en--><img title="fot. Andrzej Olechnowski" src="http://avantart.pl/wp-content/uploads/2012/07/pixel-klange1.jpg" alt="" width="598" height="411" />\r\n\r\n<strong>Co-production: Avant Art Fesival, Wrocław;  mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln</strong>\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\nArtists<em></em><strong><em>:</em></strong>\r\n\r\nNoGo by duo<strong><em> „</em></strong>cri du coeur“\r\n\r\nFine Kwiatkowski / Willehad Grafenhorst\r\n\r\n<strong>crossing borders</strong>\r\n\r\nGerard Lebik / Piotr Damasiewicz /<strong> </strong>Wojciech Romanowski\r\n\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];  Maija Julius / mex;  Georg Dietzler / gerngesehen\r\n\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin &amp; Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n<iframe src="http://www.youtube.com/embed/yQmK-Z7IQNs" frameborder="0" width="420" height="315"></iframe>\r\n\r\n<iframe src="http://www.youtube.com/embed/OYxfGdOD5DY" frameborder="0" width="420" height="315"></iframe>\r\n\r\n<a href="http://www.mexappeal.de/?p=3532" target="_blank">www.mexappeal.de</a>\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html<!--:-->', '<!--:pl-->PIXEL KLÄNGE<!--:--><!--:en-->PIXEL KLÄNGE<!--:-->', '', 'publish', 'closed', 'closed', '', 'mex-gerngesehen-avant-art-project', '', '', '2012-10-08 11:31:23', '2012-10-08 09:31:23', '', 36, 'http://avantart.pl/?page_id=69', 0, 'page', '', 0),
(70, 2, '2012-07-07 22:37:47', '2012-07-07 20:37:47', '<strong>\n</strong>\n\n<strong> </strong>\n\n<strong>            </strong>Mex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu Duo Cri Du Coe prowadzonego przez Fine Kwiatkowski i Willehada Gratenhorsta, obiekty dźwiękowe i sound art Hansa W. Kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów  stosowane przez Wojtka Romanowskiego – to wszystko to elementy  składowe, źródła dźwięku i techniki użyte w intermedialnych  poszukiwaniach  nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.', 'MEX GERNGESEHEN AVANT ART PROJECT', '', 'inherit', 'closed', 'closed', '', '69-revision', '', '', '2012-07-07 22:37:47', '2012-07-07 20:37:47', '', 69, 'http://avantart.pl/69-revision/', 0, 'revision', '', 0),
(71, 2, '2012-10-08 11:32:26', '2012-10-08 09:32:26', '<!--:pl--><img class="alignnone  wp-image-1069" title="fot. Andrzej Olechnowski" src="http://avantart.pl/wp-content/uploads/2012/07/pixel-klange1.jpg" alt="" width="598" height="411" />\n\n<strong> Koprodukcja <strong>Avant Art Fesival, Wrocław;  mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln</strong>\n</strong>\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów  stosowane przez Wojtka Romanowskiego – to wszystko to elementy  składowe, źródła dźwięku i techniki użyte w intermedialnych  poszukiwaniach  nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\n\nArtyści:\n<strong><em>NoGo </em></strong>by duo<strong><em> „</em></strong>cri du coeur“\nFine Kwiatkowski / Willehad Grafenhorst\n<strong>crossing borders</strong>\nGerard Lebik / Piotr Damasiewicz /<strong> </strong>Wojciech Romanowski\nBettina Wenzel / hans w. koch / Joker Nies\n\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\nMaija Julius /mex und Georg Dietzler / gerngesehen<strong></strong>\n\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin &amp; Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\n\n<iframe src="http://www.youtube.com/embed/yQmK-Z7IQNs" frameborder="0" width="420" height="315"></iframe>\n\n<iframe src="http://www.youtube.com/embed/OYxfGdOD5DY" frameborder="0" width="420" height="315"></iframe>\n<strong>\n</strong>\n\n<a href="http://www.mexappeal.de/?p=3532" target="_blank">www.mexappeal.de</a>\n\n<a href="http://gerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html" target="_blank">gerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html</a><!--:--><!--:en--><p><img title="fot. Andrzej Olechnowski" src="http://avantart.pl/wp-content/uploads/2012/07/pixel-klange1.jpg" alt="" width="598" height="411" /></p>\n<p><strong>Co-production: Avant Art Fesival, Wrocław;  mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln</strong></p>\n<p>Pixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.</p>\n<p>Artists<em></em><strong><em>:</em></strong></p>\n<p>NoGo by duo<strong><em> „</em></strong>cri du coeur“</p>\n<p>Fine Kwiatkowski / Willehad Grafenhorst</p>\n<p><strong>crossing borders</strong></p>\n<p>Gerard Lebik / Piotr Damasiewicz /<strong> </strong>Wojciech Romanowski</p>\n<p>Bettina Wenzel / hans w. koch / Joker Nies</p>\n<p>Curators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];  Maija Julius / mex;  Georg Dietzler / gerngesehen</p>\n<p>Co-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut</p>\n<p><iframe src="http://www.youtube.com/embed/yQmK-Z7IQNs" frameborder="0" width="420" height="315"></iframe></p>\n<p><iframe src="http://www.youtube.com/embed/OYxfGdOD5DY" frameborder="0" width="420" height="315"></iframe></p>\n<p><a href="http://www.mexappeal.de/?p=3532" target="_blank">www.mexappeal.de</a></p>\n<p>gerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html</p>\n<!--:-->', '<!--:pl-->PIXEL KLÄNGE<!--:--><!--:en-->PIXEL KLÄNGE<!--:-->', '', 'inherit', 'closed', 'closed', '', '69-autosave', '', '', '2012-10-08 11:32:26', '2012-10-08 09:32:26', '', 69, 'http://avantart.pl/69-autosave/', 0, 'revision', '', 0),
(72, 2, '2012-07-07 22:39:27', '2012-07-07 20:39:27', '<!--:pl--><img class="alignnone  wp-image-194" title="r-n_logo_final" src="http://avantart.pl/wp-content/uploads/2012/07/r-n_logo_final-11.jpg" alt="" width="598" height="598" /> W ramach 5. AVANT ART  FESTIVAL zagrają: <a title="KANGDING RAY" href="http://avantart.pl/artysci-i-wydarzenia/kangding-ray/">KANGDING RAY</a>, <a title="FRANK BRETSCHNEIDER" href="http://avantart.pl/artysci-i-wydarzenia/frank-bretschneider/">FRANK BRETSCHNEIDER </a>oraz <a title="BYETONE" href="http://avantart.pl/artysci-i-wydarzenia/byetone/">BYETONE</a>. Nazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też  wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną. <a href="http://www.raster-noton.net/" target="_blank">www.raster-noton.net</a><!--:--><!--:en--><img class="alignnone  wp-image-194" title="r-n_logo_final" src="http://avantart.pl/wp-content/uploads/2012/07/r-n_logo_final-11.jpg" alt="" width="598" height="598" />\r\n\r\nThe name Raster-Noton has a galvanizing influence on all the fans of non-trivial electronic music. Innovative, original, fresh, high quality – such are the epithets the artists, related to the label, are most frequently described with and the sole fact of releasing under its banner is a mark of great prestige. It was founded by the initiative of three major names of the modern sound experiment – Olaf Bender, Carsten Nicolai and Frank Bretschneider – and became a platform of promoting all the phenomena, which exist on the fertile soil of overlapping planes of pop, art and science. Raster-Noton is not only music – it is a union, which also acts on the field of the art of installation or publishing related books and albums and all that connected by a common basis – it is intended to be an amalgamate of sound, art and design. Over one hundred releases, which are seen as the strict leaders of this aesthetic, are on the labels account – in no way is it possible to mention them all, but a few names is enough to heighten the blood pressure of, not only those who put emphasis on the details of the compositions, the particularity of ways of using instruments or quality of sound, but also all who look for something more than just mere schematic pop battering on the dance floor. So: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski or Carl Michael Von Hausswolff – to name just a few of them. Music from the Raster-Noton label is radical minimalism, glitch clicks and knocks, as well as style, elegance and a particular philosophy in approach to the matter of sound. German avant-garde has always had a powerful tradition – and Raster-Noton is its praiseworthy appearance adapted to the modern times.\r\n\r\n<a href="http://www.raster-noton.net/" target="_blank">www.raster-noton.net</a><!--:-->', 'RASTER-NOTON SHOWCASE', '', 'publish', 'closed', 'closed', '', 'raster-noton', '', '', '2012-07-30 22:11:22', '2012-07-30 20:11:22', '', 36, 'http://avantart.pl/?page_id=72', 0, 'page', '', 0),
(73, 2, '2012-07-07 22:39:13', '2012-07-07 20:39:13', '<strong>\n</strong>\n\n&nbsp;\n\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też  wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON', '', 'inherit', 'closed', 'closed', '', '72-revision', '', '', '2012-07-07 22:39:13', '2012-07-07 20:39:13', '', 72, 'http://avantart.pl/72-revision/', 0, 'revision', '', 0),
(74, 2, '2012-07-07 22:39:27', '2012-07-07 20:39:27', 'Nazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też  wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON', '', 'inherit', 'closed', 'closed', '', '72-revision-2', '', '', '2012-07-07 22:39:27', '2012-07-07 20:39:27', '', 72, 'http://avantart.pl/72-revision-2/', 0, 'revision', '', 0),
(75, 2, '2012-07-12 20:33:00', '2012-07-12 18:33:00', '<a href="http://avantart.pl/artysci-i-wydarzenia/raster-noton/r-n_logo_final-2/" rel="attachment wp-att-194"><img class="alignnone size-full wp-image-194" title="r-n_logo_final" src="http://avantart.pl/wp-content/uploads/2012/07/r-n_logo_final-11.jpg" alt="" width="598" height="598" /></a>\n\nW ramach 5. AVANT ART  FESTIVAL zagrają: <a title="KANGDING RAY" href="http://avantart.pl/artysci-i-wydarzenia/kangding-ray/">KANGDING RAY</a>, <a title="FRANK BRETSCHNEIDER" href="http://avantart.pl/artysci-i-wydarzenia/frank-bretschneider/">FRANK BRETSCHNEIDER </a>oraz <a title="BYETONE" href="http://avantart.pl/artysci-i-wydarzenia/byetone/">BYETONE</a>.\n\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też  wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.\n\n<a href="http://www.raster-noton.net/">http://www.raster-noton.net/</a>', 'RASTER-NOTON SHOWCASE', '', 'inherit', 'closed', 'closed', '', '72-autosave', '', '', '2012-07-12 20:33:00', '2012-07-12 18:33:00', '', 72, 'http://avantart.pl/72-autosave/', 0, 'revision', '', 0),
(76, 2, '2012-07-07 22:35:29', '2012-07-07 20:35:29', 'Charlemagne Palestine to bez wątpienia jeden z najważniejszych kompozytorów naszych czasów i obok La Monte Younga, Terry''ego Rileya, Philipa Glassa, Steve''a Reicha i Tony''ego Conrada jest uznawany za jednego z ojców muzycznego minimalizmu. Ten instrumentalista, performer i artysta wizualny stworzył swój własny, pełen emocjonalności i rytualności styl, czerpiąc inspiracje z tradycyjnej muzyki etnicznej. Jego niezwykle rzadkie występy na żywo, podczas których otoczony wypchanymi zwierzętami Palestine pije koniak i pali namiętnie indonezyjskie goździkowe papierosy, są wydarzeniami oddziaływającymi na słuchacza nie tylko kreowanymi przez niego transowymi dźwiękami. W ostatnich latach odnalazł on idealnych współpracowników muzycznych – niemiecki elektroakustyczny ansambl Perlonex, którego unikalny sposób wykorzystania analogowych i cyfrowych instrumentów, pełen zapętleń i powoli rozwijających się motywów, stał się właściwym dopełnieniem tego, co od lat Charlemagne Palestine prezentuje w swojej twórczości.\r\n\r\n&nbsp;', 'CHARLEMAGNE PALESTINE + PERLONEX', '', 'inherit', 'closed', 'closed', '', '63-revision-2', '', '', '2012-07-07 22:35:29', '2012-07-07 20:35:29', '', 63, 'http://avantart.pl/63-revision-2/', 0, 'revision', '', 0),
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(85, 1, '2012-07-08 11:05:02', '2012-07-08 09:05:02', '<!--:pl--><dl class="programDay" id="p6">\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/debata-o-kulturze-w-ramach-avant-art-festival-2012/">DEBATA O KULTURZE</a><span class="time"><span>12:00</span><span class="nation">[PL]</span></span></dt><dd>PANEL II : Kooperacja! Koprodukcja! R/ewolucja!?<br /><em>— debata</em><br />pop up 203</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/social-up-spacing-przestrzen-dla-odzysku/">Social Up Spacing – otwarcie</a><span class="time"><span>15:00</span><span class="nation">[DE,NL,PL]</span></span></dt><dd>Plac przed Impartem</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/avant-art-film/">AVANT ART FILM</a><span class="time"><span>17:00</span><span class="nation">[PL]</span></span></dt><dd>THE NOMI SONG<br /><em>— film</em><br />Helios Nowe Horyzonty</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/mex-gerngesehen-avant-art-project/">PIXEL KLÄNGE</a><span class="time"><span>19:30</span><span class="nation">[DE,PL]</span></span></dt>\r\n<dd><em>— performans</em><br />Impart</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/daf/">DAF</a><span class="time"><span>21:00</span><span class="nation">[DE]</span></span></dt>\r\n<dd><em>— koncert</em><br />Impart</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/project-mooncircle/">Project: Mooncircle 10th anniversary</a><span class="time"><span>23:00</span><span class="nation">[DE]</span></span></dt>\r\n<dd><em>— showcase</em><br />Przestrzeń Muzyczna PUZZLE</dd>\r\n</dl><!--:--><!--:en--><dl class="programDay" id="p6">\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/debata-o-kulturze-w-ramach-avant-art-festival-2012/?lang=en">DEBATA O KULTURZE</a><span class="time"><span>12:00</span><span class="nation">[PL]</span></span></dt><dd>PANEL II : Kooperacja! Koprodukcja! R/ewolucja!?<br /><em>— debate</em><br />pop up 203</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/social-up-spacing-przestrzen-dla-odzysku/?lang=en">Social Up Spacing – opening</a><span class="time"><span>15:00</span><span class="nation">[DE,NL,PL]</span></span></dt><dd>Square in front of Impart</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/avant-art-film/?lang=en">AVANT ART FILM</a><span class="time"><span>17:00</span><span class="nation">[PL]</span></span></dt><dd>THE NOMI SONG<br /><em>— movie</em><br />Helios Nowe Horyzonty</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/mex-gerngesehen-avant-art-project/?lang=en">PIXEL KLÄNGE</a><span class="time"><span>19:30</span><span class="nation">[DE,PL]</span></span></dt>\r\n<dd><em>— performans</em><br />Impart</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/daf/?lang=en">DAF</a><span class="time"><span>21:00</span><span class="nation">[DE]</span></span></dt>\r\n<dd><em>— concert</em><br />Impart</dd>\r\n<dt><a href="http://avantart.pl/artysci-i-wydarzenia/project-mooncircle/?lang=en">Project: Mooncircle 10th anniversary</a><span class="time"><span>23:00</span><span class="nation">[DE]</span></span></dt>\r\n<dd><em>— showcase</em><br />Przestrzeń Muzyczna PUZZLE</dd>\r\n</dl><!--:-->', '06', '', 'private', 'closed', 'closed', '', '06-2', '', '', '2012-10-03 13:54:23', '2012-10-03 11:54:23', '', 34, 'http://avantart.pl/?page_id=85', 0, 'page', '', 0),
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