#Morawsky

[oc-oscarcruz]

The activities performed in the sector of CIs originate from an individual creativity of talented and competent workers. Creativity like any other mental work requires intellectual engagement, reflection concentration, creative passion, and personal interest. At the same it is the process of crossing some designated borders, questioning and overthrowing accepted and universally applicable principles or rules, defining problems, and the reality in different  ways. This means a violation of certain taboos, breaking the stereotypes, repudiation of allegiance to some theses applied in popular consciousness.

(Morawsky, 2017)

[yama-bato]

Max Morawski

https://chesterartsfair.co.uk/portfolio-item/max-morawski/

[revelstein]

Zawodowiec. Andrzej takich lubi

Znajomy, może nawet kolega Andrzeja Dudy, aktor Bartłomiej Morawski, z którym to Duda chętnie się fotografował dając mu w ten sposób poparcie, kiedy ów Morawski startował w wyborach, w barwach PiS oczywiście (jakiś czas temu o tym pisaliśmy), dostał właśnie wyrok 5 lat odsiadki. I żeby było jasne, wcale nie za przynależność przynajmniej ideową do PiS, bo za to niestety jeszcze sądy nie skazują,…

[witekspicsbanknotes]

Fancy local banknotes of Morava / Czech rep.

[lesser-known-composers]

Eugeniusz Morawski (1876-1948) - Nevermore (symphonic poem), 1911

Performed by Brandenburg State Orchestra, under the baton of Jürgen Bruns.

[jakubmajchrzak]

Wrocław – miasto myśli. Studiuj w Instytucie Filozofii UWr (2023)

A commercial for the Philosphy studies on University of Wrocław. Combined techniques of simple screened digital animation and raw video footage.

Camera, editing, post-production and music by Jakub Majchrzak. Concept by Jakub Majchrzak and Emilia Konwerska. Voices by Karol Morawski and Urszula Lisowska.

[lightthereis]

The Kiss, by piotr morawski

[illyanarasputinfan]

Wojciech Morawski

[la-semillera]

EILEEN AGAR & HALINA POSWIATOWSKA  

No es verdad que la nostalgia sepa callar. Susurro-Susurro-Susurro- de verdad oigo la nostalgia temblar, pulsación en la boca y después Hoja-Hoja- jirones del frio vivo un poco de nada, hasta el fondo de la nada, la tristeza partida en dos, en cuatro y más y más, finalmente, un ovillo amasado por mucho tiempo en las manos calientes. La nostalgia no anhela comprender nada, ya que ha crecido por encima de su anhelo. O incluso por encima de las Estrellas, Estrellas…

Únicamente acaríciame, correspondencia entre la poeta Halina Poświatowska y el escritor Ireneusz Morawski

Bernard Shaw Feeding the Birds / Eileen Agar / 1934

[ausetkmt]

Avatar Films Have Always Been A Gross Reimagining Of Colonialism

After 13 years, the sequel to Avatar(2009) has finally arrived. The original science fiction epic, written and directed by James Cameron, broke multiple box office records in its theatrical run and became the highest-grossing film of all time for a decade. Many will remember accompanying their families to sold-out theatres mere days before Christmas for a film that employed the use of groundbreaking technology which would change the art of filmmaking forever. However, Avatar (and its sequel Avatar: The Way Of The Water), is in fact a problematic analogy of indigenous oppression. 

To recap, Avatar follows disabled ex-marine Jake Sully (Sam Worthington) as he learns the ways of the Omaticaya clan of the Na’vi people in an avatar body that looks and functions just like theirs. Along with their culture, he falls in love with one of the Na’vi, a fierce warrior named Neytiri (From Scratch’s Zoe Saldana), and switches sides against the humans, subsequently leading the Omaticaya people in their war against Colonel Quaritch (Stephen Lang) and the Resources Development Association (RDA).

Many will remember the blue alien species facing adversity, but not many will remember (or have even noticed) that the central conflict in Avatar is an allegory for colonialism. An ignorant, aggressive, money-hungry corporation supported by military enforcement wishes to destroy the sacred homeland of indigenous communities in order to obtain valuable resources — sounds a little familiar to me. In fact, James Cameron has admitted that Avatar is based on the colonisation of Native Americans. In court documents from a 2015 plagiarism case where visual effects artist Gerald Morawski claims Cameron stole the idea from him, Cameron produced a sworn declaration detailing how he came up with the idea for the film. “Avatar is a science fiction retelling of the history of North and South America in the early colonial period,” read the statement. “Avatar very pointedly made reference to the colonial period in the Americas, with all its conflict and bloodshed between the military aggressors from Europe and the indigenous peoples. Europe equals Earth. The native Americans are the Na’vi. It’s not meant to be subtle.”

Indeed, Quaritch and the RDA are very obvious symbols of colonial whiteness; they even use a slew of derogatory, colonial verbiage, referring to the Na’vi as “savages” on multiple occasions. Sadly, this focal conflict follows into the sequel, with previously deceased Colonel Quaritch returning as the story’s villain via an avatar body that had all his memories stored in the event of his death. This time, he has one mission: getting revenge on Jake Sully. Colonel Quaritch is now even more bloodthirsty and dangerous, eager to destroy Jake and his new family, and he is willing to go as far as becoming the very beings he hates the most in order to exact vengeance. With the RDA and their weapons backing him, Quaritch lays waste to several Na’vi communities, burning down their homes and killing them in cold blood.

“The truth is, reimagining colonial violence and the suffering of indigenous people through the eyes of an alien species isn’t the epic story Cameron thinks it is.”

Indigenous people have taken issue with the themes in Avatar for years, but it’s only now with the increasing visibility of social media that there is a wider platform for them to share their opinions and continue a discourse about the problematic nature of this story. Now that indigenous people are being heard, some are calling for a boycott of the film’s highly anticipated sequel.

Much of the recent criticisms got louder following the resurfacing of a 2010 article by the Guardian that details the involvement of Cameron and Avatar’s Sigourney Weaver and Joel Moore in the Brazilian Xingu peoples’ campaign against the Belo Monte hydroelectric dam project. Acknowledging that the Avatar had created “a bit of a spotlight on [them] right now to raise awareness in certain key areas”, Cameron expressed his desire to make a 3D “experiential” documentary on the Xingu’s battle.

After watching indigenous ceremonies and meetings Cameron made extremely disparaging comments about the Lakota. “I felt like I was 130 years back in time watching what the Lakota Sioux might have been saying at a point when they were being pushed and they were being killed and they were being asked to displace and they were being given some form of compensation,” said Cameron. “This was a driving force for me in the writing of Avatar – I couldn't help but think that if [the Lakota Sioux] had had a time-window and they could see the future… and they could see their kids committing suicide at the highest suicide rates in the nation… because they were hopeless and they were a dead-end society – which is what is happening now – they would have fought a lot harder.”

Cameron has since addressed the subsequent accusations of racism in a UNILAD article, noting that he wanted to “listen and to be sensitive to issues that people have.” However, Cameron has not apologised directly to the Lakota people for his degrading comments. 

Simply acknowledging people's feelings as “valid” is not enough. The truth is, reimagining colonial violence and the suffering of indigenous people through the eyes of an alien species isn’t the epic story Cameron thinks it is. It’s an appropriative and tasteless virtue-signalling of a traumatic issue that still affects millions of native people today.

Despite Cameron claiming that he wishes to move away from the white saviour trope, the backstory of Avatar’s central white character says otherwise. By positioning Jake as the Na’vi’s saviour, the film’s “fuck white people” metanarrative conveniently disavows whiteness as inherently bad. Even in Avatar: The Way of Water, despite bringing even more death and destruction to the beautiful land of the indigenous Metkayina tribe who provide a safe haven for his family, Jake pretty much remains the hero of the story.

This representation of Jake as one of the “good” whites implores people to view whiteness as an institution and a system, rather than individuals who can be complicit in a system of violence and oppression. In doing this, Cameron suggests that sometimes, whiteness can save us. It feels like some weird colonial wet dream that appoints certain well-meaning white people as the saviours of native people in the perpetual struggle against other white people. Both Avatar films’ metanarratives are framed as counter-hegemonic, but they ultimately end up reproducing hegemony by positioning white people as heroes — thus supporting and legitimising white supremacy. 

The franchise props up whiteness as something special and unique that enrichens and sets you apart from everyone else. In Avatar: The Way of Water, Jake and Neytiri’s kids are seen as outcasts, similar to Jake, because they were born with five fingers like humans instead of four like other indigenous Na’vi. Because of this, they are teased by other Na’vi. However, throughout the course of the film, the Sully kids are revealed to have special abilities; Kiri (Weaver) the daughter of the late Grace Augustine’s (also Weaver) avatar body, has a particularly special connection with Ewya, the Na’vi’s omniscient deity. It’s interesting that in both films, the characters that are connected to whiteness (apart from the RDA) are treated as different and special among the indigenous communities they make a home in.

Ultimately, colonialism is a real-life monster that has and continues to affect indigenous people globally for generations. Though the story of Avatar is fictional; its themes aren’t, and it’s imperative that we think critically about the on-screen representation of certain issues and groups because the media largely informs our understanding of the subjects depicted. It also informs our application of these issues — from individual to collective praxis. It’s even more important when you consider the global visibility of this film.

James Cameron most likely thought that this film would implore pro-colonialists and Western imperials to think about their empire’s history differently. But if he really wanted to fight for the rights of indigenous people, he could have directly provided aid, reparations, or any kind of tangible support to these communities instead of producing a multi-billion dollar franchise that emblematizes their trauma. His net worth is literally $700 million. But do the people whose struggle inspired filmmakers like Cameron and line his millionaire pockets see even a cent of those profits? No. Of course not. 

It’s true: Western colonialism begets a debt that cannot ever be repaid. But white Westerners, at the very least, can make a start — and putting a spin on indigenous trauma for profit isn’t it.

[kovalski-flagsoftheworld1]

35) Austria (CD)

1. Średniowieczny sztandar Marchii Austriackiej (Dom Babenbergów) (976–1136)

2. Flaga Arcyksięcia Austriackiego (1453–1804)

3. Flaga Arcyksięcia Austriackiego. Żółte pole z czarnym dwugłowym orłem z koroną na szczycie i trójkolorowym herbem Austrii na piersi (1685–1740)

4. Flaga handlowa Arcyksięcia Austriackiego (1749–1786)

5. Flaga Cesarstwa Austriackiego. Flaga monarchii Habsburgów, a także flaga Cesarstwa Austriackiego; z austro-węgierskiego kompromisu z 1867 r., flaga Austrii Przedlitańskiej. Czasami używana jako nieoficjalna flaga narodowa Austro-Węgier (1804–1918)

6. Niewdrożona chorągiew marynarki wojennej (1869–1918)

7. Chorągiew kupiecka Austro-Węgier (1869–1918)

8. Flaga państwowa kraju związkowego Austria. Jest to flaga państwowa Austrii przyjęta w 1934 roku i używana do czasu przyłączenia Austrii do Niemiec w latach 1938–1945. Flaga ta była używana w okresie rządów jednopartyjnego państwa Frontu Ojczyźnianego (1934–1938)

9. Flaga Rzeszy Niemieckiej/Wielkiej Rzeszy Niemieckiej (1938–1945)

10. Królestwo Czech

11. Księstwo Bukowiny

12. Księstwo Karyntii

13. Księstwo Krainy

14. Królestwo Dalmacji

15. Królestwo Galicji i Lodomerii (1772–1800; 1849–90)

16. Królestwo Galicji i Lodomerii (1890–1918)

17. Wybrzeże Austriackie

18. Książęcy okręg Gorizia i Gradisca

19. Cesarskie Wolne Miasto Triest

20. Austro-węgierskie panowanie w Bośni i Hercegowinie

21. Margrabstwo Morawskie

22. Księstwo Salzburga

23. Śląsk Austriacki

24. Księstwo Styrii

25. Okręg Tyrol

26. Królestwo Węgier

27. Królestwo Chorwacji-Slawonii

28. Corpus separatum [Ciało rozdzielone] (Fiume)

[yama-bato]

Max Morawski

Title: Artefact ACX-2

About the Photo:

Our minds respond to visual stimuli in complex, not fully understood ways. Here I show how the mesmerising, dynamic shape formed by the lines of ACX-2 gives it nonfigurative, symbolic qualities.

Scientists say that abstract art activates our entire brains and enables a holistic cognitive state. We become exploratory, tap into our brains’ inner power, and start to see life with clarity. I hope we can carry such lateral thinking into our lives. It may help us regain balance and escape the shackles of immediate, everyday concerns.

[joeljvirtue]

Mike Morawski - Business Structures for Success

Key Takeaways

Start by establishing your company identity with a strong business name and an LLC, set up by a business attorney to provide a solid foundation.

Building a website is essential—even a simple one boosts credibility and acts as a digital business card to attract investors.

To develop relationships and begin raising capital, focus on networking to build valuable connections, as strong relationships are key to securing investment funding.

Use a database to nurture leads effectively. Tools like Capitalist Pro help centralize contacts, streamlining communication to guide leads into active investments.

Creating a company thesis/slide deck allows you to showcase your business to investors with clarity and polish, setting you up to make a lasting impression.

Episode Timeline

[00:00 - 01:00] Introduction

[01:00 - 03:30] Establishing Your Business Name

[03:30 - 06:00] Forming Your LLC

[06:00 - 08:30] Importance of having a professional Website

[08:30 - 12:00] Building Relationships for Capital Raising

[12:00 - 13:00] Importance of a Database

[13:00 - 14:30] Implementing Capitalist Pro as a powerful CRM tool

[14:30 - 16:30] Nurturing Leads with the Eight-by-Eight Program

[16:30 - 18:00] Mindset and Approach to Competition

[18:00 - 19:00] Introducing Mike’s New Book: Multifamily Investment Secrets

[19:00 - 20:00] Closing Remarks

Contact

Website: https://mikemorawski.com/

Email: mike@mikemorawski.com

Check out this Insider Secrets episode!

[mirandamckenni1]

Art Won't Save Us from Capitalism This video is already out on Nebula. Watch here: https://ift.tt/orpMEjz Listen to Lola Sebastian's new podcast Nevergreen: https://ift.tt/LZzgs34 "The victim who is able to articulate the situation of the victim has ceased to be a victim: he or she has become a threat." —James Baldwin - Support the channel on Patreon: https://ift.tt/Y9SJx14 Twitter: https://twitter.com/lily_lxndr Instagram: https://ift.tt/ab746TU Letterboxd: https://ift.tt/TxLNSDs - Mural by Miles and Mara - https://ift.tt/NCW9mb2 Pottery by Vic - https://ift.tt/LFUWcxe Tattoo by Miles - https://ift.tt/DQgC7nl Part 1 filmed at Community Digital Arts Hub - https://cdahstudio.ca/ Part 3 filmed at Tattoo Art Connexion Montreal - https://ift.tt/8H91Y6Z Script edited by talah e. Voiceover by @JacobGeller The end credits song is "The Great Depression" by Willi Carlisle. Listen here: https://ift.tt/wNGxDCj - Sources: Paolo Freire, "Pedagogy of the Oppressed" Zadie Smith, "Shibboleth" (The New Yorker) https://ift.tt/IUSw8PC Sam Biddle, “Israeli Weapons Firms Required to Buy Cloud Services From Google and Amazon ” (The Intercept) https://ift.tt/IY0SVx2 Lee Baxandall & Stefan Morawski (ed.), “Marx & Engels on Literature & Art” Kunail Chaudhary, "Canadian pension funds invested $1.6 billion in companies tied to Israeli apartheid" (The Breach) https://ift.tt/wBcMLUW Kay Bonnetti's interview with Toni Cade Bambara, collected in "Conversations with Toni Cade Bambara" (ed. Thabiti Lewis) Toni Cade Bambara, "Gorilla, My Love" Further reading & viewing: Mitch Speed, “The Case Against Art?” https://ift.tt/E6SqwjU Herby Revolus, “Why Celebrity ‘Activism’ Doesn’t Work” https://youtu.be/u4N4-wwPXig?si=tWKxzXV9MNz3RyjT Walter Rodney, “How Europe Underdeveloped Africa” Tabitha Arnold's newsletter Labor Intensive Art https://ift.tt/Jpl0Kv6 Journal of Art for Life https://ift.tt/ueZxgzv - Table of contents: 0:00 Cold open 1:33 Join the conversation! 13:15 Make it make sense! 25:37 Wash your dishes! via YouTube https://www.youtube.com/watch?v=0oTzg2R3RcY

[wildbeautifuldamned]

Pair Of Zebra Morawski Ornaments Blown Glass ebay treasuretrinkettrove

[montysworld]

DREKOTY - SOLICITOUS / TROSKLIWY (official music video) from Zuzanna Plisz on Vimeo.

WINS: 2018/ Raindance Film Festival – BEST MUSIC VIDEO 2018/ La Guarimba International Film Festival – BEST MUSIC VIDEO 2018/ Caostica 16. International Short Film and Videoclip Festival – BEST MUSIC VIDEO 2018/ Ars Independent Festival – BEST MUSIC VIDEO 2018/ Soundie Music Video Awards – BEST INTERNATIONAL MUSIC VIDEO 2018/ Bogotá Music Video Festival – SPECIAL JURY MENTION 2018/ PL Music Video Awards – BEST MUSIC VIDEO – INDIE MUSIC CATEGORY 2018/ FILMCONVERT Short Film Competition – BEST MUSIC VIDEO

OFFICIAL SELECTIONS: 2018/ CAMERIMAGE International Film Festival - Official Music Video Competition 2018/ Woodstock Film Festival – Official Music Video Selection 2018/ Austin Music Video Festival - Official Music Video Competition / Best Narrative Category 2018/ Napoli Film Festival – Official Music Video Selection 2018/ Portland Unknown Film Festival – Official Music Video Selection 2018/ Render: The Vancouver International Music Video Festival – Official Selection 2018/ Soundie Music Video Awards – also nominated for Best Script, Best Special Effects 2018/ Szczecin European Film Festival POP SEFF – Official Music Video Competition 2018/ International Music Video Underground – Official Music Video Competition -----

OFFICIAL MUSIC VIDEO for DREKOTY

Cast: Giant Woman: Beata Zygarlicka Giant: Artur Steranko Medic: Dominik Piejko Driver: Marek Krzysztofek Peasants: Cyryl Cerwas, Józef Cerwas, Franciszek Chałupka, Jan Dudor, Marek Krzysztofek, Jan Kwaśniewski, Jan Majerczak, Dominik Sterkowicz --- Written and directed by Zuzanna Plisz DoP & VFX: Kacper Fertacz --- Producer: Tomasz Morawski / HAKA FILMS Production Manager: Wojciech Strzemiński / HAKA FILMS --- Art Direction: Ewa Mroczkowska Make Up: Anna Dąbrowska Editing: Nikodem Chabior Gaffer: Maciej Gamdzyk Best boy: Adam Zdunek, Jakub Gamdzyk QTake: Rafał „Żółw“ Szajkowski 1st AC: Maciej Kwaśniewski Art Director assistance: Daniel Różański Sound: Błażej Kanclerz Matte painting: Kacper Fertacz, Zuzanna Plisz, Juliusz Zenkner Colorist: Michał Kowalski Storyboard: Juliusz Zenkner --- Stage – MNIAM Studio / Michał Jaksik Help: Jarek Filipiak Equipment: HELIOGRAF, PANAVISION, ALL FOR MOVIES, YELLOWÓZ, GetCamera, Kino Kafel

Graded with FILMCONVERT --- Special thanks: Marek Skupień, Andrzej Jędrzejewski, RIO DE POST, Maciej Jabłoński, DI FACTORY, Michał Herman, Monika Żuczkowska, Celina Grobarczyk, Cyryl Cerwas, Michał Jaksik, Piotr Hermanowski, Maciej Gamdzyk, Mateusz Cudzich, Bolesław Bara – Dyrektor MOK Nowy Targ, Stanisław Apostoł, Krystyna Węglarz – Sołtys Nowej Białej, Benedykt Kołodziej – Prezesa Wspólnoty Urbarialnej, Jakub Kwiatkowski – Catering & Events, Jacek Nawrat, Adam Gawenda, Dominika Łapka, Tomasz Jurkiewicz, Joanna Grabowska, Edyta Gabryszewska, Joanna Fertacz, Ewa Sobiech, Jakub Knapik, Paweł Krawczyk, Damian Kocur, Dariusz Galiniak, Dominika Wolska, Maciej Renowicz, Kafel Pieniążek