View source for Central and Eastern Europe

==Constructivists, Futurists==
===Terms===
formism (1910s, Chwistek, Czyżewski), Pure Form (1920s, Witkiewicz), strefism (1920s, Chwistek), mechano-faktura (1920s, Berlewi), unism (1920s, Strzemiński), photogenism (1920s, Funke), robot (1920s, Čapek)

===People===
* 1910s-20s: [[Wassily Kandinsky]] (Moscow/Weimar), [[Kazimir Malevich]] (Moscow/St. Petersburg), [[Naum Gabo]] (Moscow/Berlin), [[Vladimir Tatlin]] (Moscow), [[El Lissitzky]] (Moscow/St. Petersburg/Vitebsk), [[Alexander Rodchenko]] (Moscow), [[Lajos Kassák]] (Budapest), [[Leon Chwistek]] (Krakow/Lwow), [[Stanisław Ignacy Witkiewicz]] (Warsaw), [[Anatol Stern]] (Warsaw), [[Karel Teige]] (Prague), [[Josef Vydra]] (Bratislava), [[Jaromír Funke]] (Prague/Bratislava), [[Henryk Berlewi]] (Warsaw/Berlin/Paris), [[Ljubomir Micić]] (Zagreb/Belgrade), [[Josip Seissel]] (Jo Klek; Zagreb), [[Ion Vinea]] (Bucharest), [[Marcel Janco]] (Bucharest), [[Victor Brauner]] (Bucharest/Paris), [[Władysław Strzemiński]] (Warsaw/Lodz), [[Katarzyna Kobro]] (Warsaw/Lodz), [[Mieczyslaw Szczuka]] (Warsaw), [[Avgust Černigoj]] (Trieste/Ljubljana), [[Ferdo Delak]] (Ljubljana), [[Vytautas Kairiūkštis]] (Vilnius), [[Jaan Vahtra]] (Tartu)

===Networks, Journals===
* [[MA]], Budapest/Vienna, mid 1910s-mid 1920s
* [[Bauhaus]], Weimar/Dessau/Berlin, 1920s-mid 1930s
* [[Productivist Group]] and [[VkHUTEMAS]], Moscow, 1920s
* [[Devětsil]], Prague, 1920s
* [[Zwrotnica]], Krakow, 1920s
* [[Blok]], Warsaw, 1920s; [[Praesens]], Warsaw, late 1920s; [[a.r.]], Lodz, 1930s
* [[Zenit]], Zagreb and Belgrade, 1920s
* [[Travelers]], Zagreb, 1920s
* [[Group of Estonian Artists]], Tartu and Tallinn, 1920s
* [[Contimporanul]], Bucharest, 1920s
* [[75HP]] and [[Punct]], Bucharest, mid-1920s
* [[Tank]], Ljubljana, late 1920s
* [[School of Arts and Crafts, Bratislava|School of Arts and Crafts]], Bratislava, 1930s

===Events===
* [[Congress of International Progressive Artists]] in [[Düsseldorf]] in May 1922. Formation of The International Faction of Constructivists was organized by [[Theo Van Doesburg]] (representing the journal De Stijl), [[Hans Richter]] (representing 'the Constructivist groups of Romania, Switzerland, Scandinavia and Germany') and [[El Lissitzky]] (representing the editorial board of Veshch'-Gegenstand-Objet). The faction’s declaration was later published in De Stijl (no. 4, 1922).
* [[First Russian Art Exhibition]] [Erste russische Kunstausstellung] opened at Galerie van Diemen in [[Berlin]] on 15 October 1922. Organised by [[Naum Gabo]]. [http://www.jstor.org/pss/775187] [http://www.tate.org.uk/research/tateresearch/tatepapers/10autumn/lodder01.shtm]
* [[The New Art Exhibition]], May - June 1923, organised by [[Władysław Strzemiński]] and [[Vytautas Kairiūkštis]] in [[Vilnius]]. Meeting ground for Russian and Western European avant-garde movements. 
* [[The First Zenit International Exhibition of New Art]] organised by [[Ljubomir Micić]] in April 1924 in [[Belgrade]]. Featured one hundred works advertised as "futurism, cubism, expressionism, ornamental cubism, suprematism, constructivism, neoclassicism and the like".
* 'International Art Exhibition', organised by [[Contimporanul]] group in November 1924 in [[Bucharest]] brings together almost the entire Romanian avant-garde along with international artists.
* [[A.r.#a.r. International Collection of Modern Art|a.r. International Collection of Modern Art]] donated by [[a.r.]] group to the Municipal Museum of History and Art (now Museum of Art; Museum Sztuki) in [[Lodz]] opened to the public in February 1931. It included 111 works and represented - as no other contemporary European collection had done - the main movements of avant-garde art, from Cubism, Futurism and Constructivism, through Purism and Surrealism, to Neo-Plasticism, Unism and Formism.
* 'Central European Avant-Gardes' exhibition, Los Angeles County Museum of Art, 2002, curated by Timothy O. Benson, included ca 300 artworks.

===Literature===
{{:Media_art_in_Central_and_Eastern_Europe_Bibliography|transcludesection=avantgarde-cee}}

===See also===
Avant-garde in [[Hungary#Avant-garde|Hungary]], [[Poland#Avant-garde|Poland]], [[Czech_Republic#Avant-garde|Czech Republic]], [[Slovakia#Avant-garde|Slovakia]], [[Croatia#Avant-garde|Croatia]], [[Serbia#Avant-garde|Serbia]], [[Slovenia#Avant-garde|Slovenia]], [[Romania#Avant-garde|Romania]], [[Estonia#Avant-garde|Estonia]], [[Latvia#Avant-garde|Latvia]], [[Lithuania#Avant-garde|Lithuania]].
Further [[Media art in Central and Eastern Europe Bibliography#Avant-garde|bibliography]].

==Literature, literary theory, aesthetics==
===Terms===
structuralism (1920s, Prague Linguistic Circle), linguistic functionalism (1920s, Prague Linguistic Circle), proletkult (1920s, international), Poetism (1920s, Teige and Nezval), factography (1920s, LEF), aesthetic object (1930s, Ingarden), phoneme (Jakobson), morphophonology (Trubetzkoy), genetic structuralism (1960s, Goldmann), communicative functions (1960s, Jakobson)
===People===
* 1910s-30s: [[Vladimir Mayakovsky]] (Moscow), [[Josip Brik]] (St. Petersburg/Moscow), [[Nikolai Trubetzkoy]] (Moscow/Vienna), [[Viktor Shklovsky]] (St. Petersburg/Berlin), [[Petr Bogatyrev]] (Moscow/Prague), [[Roman Jakobson]] (Moscow/Prague), [[Jan Mukařovský]] (Prague), [[Karel Teige]] (Prague), [[Vítězslav Nezval]] (Prague),  [[Jaroslav Seifert]] (Prague), [[Bedřich Václavek]] (Prague), [[Roman Ingarden]] (Lwow), [[György Lukács]] (Berlin/Moscow/Budapest)
* 1960s: [[Lucien Goldmann]] (Bucharest/Paris), [[Felix Vodička]] (Prague)
===Networks===
* [[Russian Formalists]], Moscow Linguistic Circle and OPOYEZ in St. Petersburg, 1910s-20s
* [[Prague Linguistic Circle]], 1920s-30s
* [[Devětsil]], Prague, 1920s
* [[LEF]], Moscow, 1920s

==Audiovisual compositions, Synaesthesia==
===People===
* 1900s-20s: [[Mikalojus Konstantinas Čiurlionis]] (Warsaw/Vilnius), [[A.N.Scriabin]], [[Vladimir Baranoff-Rossiné]], [[Alexander László]], [[Arnošt Hošek]], [[Zdeněk Pešánek]] (Prague), [[Erwin Schulhoff]], [[Miroslav Ponc]] (Prague)
* 1960s-70s: [[Alois Piňos]] (Prague), [[Petr Kotík]] (Prague), [[Milan Grygar]] (Prague), [[Bulat Galeyev]] (Kazan)

===Networks===
* [[Prometei]], Kazan, 1960s-2000s 

===Colour organs===
* ''There will be a day when a composer will compose music with a notation that will be conceived in terms of music and light… and that day, the artistic unity we were talking about will probably be closer to perfection..'', Vladimir Baranoff-Rossiné, 1925.
* '''(Colour) pianos''' (or organs) were constructed by the likes of Alexander Scriabin (with Preston Millar), Vladimir Baranoff-Rossiné, Alexander László, and Zdeněk Pešánek (with Erwin Schulhoff) in an attempt to navigate between musical and visual realms. 
* Scriabin composed a color-music piece ''Prometheus: The Poem of Fire'' (1911) and contracted [[Preston Millar]] to build an instrument to produce colors along to the music, named [[Chromola]] (Clavier à lumières; tastiéra per luce; keyboard with lights).
* Futurist painter Baranoff-Rossiné's instrument introduced patterns and shapes into a color organ, built upon a modern piano, thus called the [[Optophonic Piano]] (Piano optophonique). The piano projected light through painted and rotating glass plates, whose colors, shapes and rhythms closely complemented the music (1916, developed since 1912); it was presented in the Theatre of Vsevolod Meyerhold, at his exhibition in Kristiana in Oslo (1916), and in the Bolshoi Theater in Moscow (1924). Baranoff-Rossiné performed until the late 1920s, but his work was displayed in several museums in Europe and the US from 1966 to 1975.
* Alexander László, a Hungarian raised in Germany, a pianist and orchestra conductor, composed and performed music for various silent films in 1900s-10s. Arguing for a relation between the film and the music, he wrote a theoretical text on color-light-music, "Farblichtmusik" (1925). The theories were brought into practice in a series of performances across Europe. His device, [[Sonchromatoscope]], consisted of a few switches above his piano, controlling a few projection lights and a slide projector lightning the stage above the piano. When the first reviews arrived, the main remark was that the projections were too simple. It was in a completely different league than the Chopin-like complexity of the piano music. In those days Oskar Fischinger was experimenting with abstract films. László contacted him to help improve his performance. Multiple extra slide projectors and overlapping projection lights were added to increase the complexity and the number of possible colors. This resulted in a a visual spectacle which completely turned the reviews over. Both László and Fischinger have toured with the show. [http://www.see-this-sound.at/works/494]
* With their [[Spectrophon-Piano]] (1928), Pešánek and Schulhoff attempted to create an audio-visual sculpture. The piano enabled the dynamic synthesis of music and coloured light in performances in big concert halls.

===Events===
* [[See This Sound]] exhibition, Linz, 2009. [http://www.see-this-sound.at/en]

===Literature===
{{:Media_art_in_Central_and_Eastern_Europe_Bibliography|transcludesection=audiovisual-cee}}

===See also===
Audiovisual compositions in [[Czech Republic#Audiovisual compositions|Czech Republic]], [[Slovakia#Audiovisual_compositions|Slovakia]].
Further [[Media_art_in_Central_and_Eastern_Europe_Bibliography#Audiovisual_compositions|bibliography]].

==Experimental film==
===Terms===
montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), Cine-Eye (1920s, Vertov), cinema club, [[Open Form]] (1950s-60s, Hansen), [[antifilm]] (1962, Pansini)

===People===
* 1920s-40s: [[Sergei Eisenstein]] (Moscow), [[Dziga Vertov]] (Moscow), [[Alexander Hammid]] (Prague), [[Otakar Vávra]] (Prague), [[Franciszka and Stefan Themerson]] (Warsaw)
* 1960s: [[Radúz Činčera]] (Prague), [[Vladimir Petek]] (Zagreb), [[Mihovil Pansini]] (Zagreb), [[Tomislav Gotovac]] (Zagreb), [[Ivan Martinac]] (Split), [[Živojin Pavlović]] (Belgrade), [[Karpo Godina]] (Ljubljana), [[Ivica Matić]] (Sarajevo)
* 1970s-80s: [[Gábor Bódy]] (Budapest/Berlin), [[Jozef Robakowski]] (Lodz), [[Zbigniew Rybczynski]] (Lodz), [[Miklós Erdély]] (Budapest), [[Wojciech Bruszewski]] (Lodz), [[Vladimír Havrilla]] (Bratislava), [[Petr Skala]] (Prague)
* 1990s-2000s: [[Lukasz Ronduda]] (theorist, Warsaw)

===Events===
[[GEFF]] festival (Zagreb, 1963-70), [[MAFAF]] festival (Pula, 1965-90), [[8 mm Novi Sad|8 mm]] (Novi Sad), [[Alternative Film Festival Split|Alternative Film Festival]] (Split), [[April Meetings]] festival (Belgrade, 1972-77), [[Alternative Film & Video Festival Belgrade|Alternative Film & Video Festival]] (Belgrade, *1982), [[This Is All Film! Experimental Film in Yugoslavia 1951-1991]] exhibition (Ljubljana, 2010)

===Networks===
* [[Zagreb Cinema Club]], Zagreb, 1930s and 1950s-60s
* [[Start]] film club and [[SAF]] film co-operative, Warsaw, 1930s
* [[Split Cinema Club]], Split, 1950s-60s and 1980s
* [[Balázs Béla Studio]], Budapest, 1960s-1980s
* [[Open Form]], Lodz and Warsaw, 1960s-70s
* [[Sarajevo Cinema Club]], Sarajevo, 1960s
* [[Workshop of Film Form]], Lodz, 1970s
* [[Belgrade Cinema Club]] and [[Academic Film Center Belgrade]], Belgrade, 1960s-70s; [[Black Wave]], Belgrade, 1970s
* [[Kinema Ikon]], Arad, 1975-1990
* [[Sigma]] group, Timisoara, 1970s
* [[Parallel Cinema]] (necrorealist movement), St. Petersburg and Moscow, mid 1980s

===Literature===
* Lukasz Ronduda (eds.), ''1,2,3 -- avant-gardes : film, art between experiment and archive'', Centre for Contemporary Art, Warsaw ; Berlin ; New York : Sternberg, 2007.
* Ana Janevski (ed.): ''As Soon as I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s'', Museum of Modern Art, Warsaw, 2010. With essays by [[Ana Janevski]] (on experimental art and film in Yugoslavia), [[Stevan Vuković]] (on political upheaval in 1968 in Belgrade), and [[Łukasz Ronduda]] (on contacts between Yugoslav and Polish artists in the 1970s). [http://artmuseum.pl/wydarzenie.php?id=book_As_Soon_as_I_Open_My_Eyes_I_See_a_Film] [http://rwm.macba.cat/en/sonia/sonia_ana_janevski/capsula Interview with Ana Janevski, June 2011]
* [[Bojana Piškur]] et al (eds.), ''This Is All Film: Experimental Film in Yugoslavia 1951-1991'' [Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991], catalogue, Museum of Modern Art, Ljubljana, 2010. 154 pages. ISBN: 9789612060909

===See also===
Experimental film in [[Hungary#Experimental_film.2C_avant-garde_film|Hungary]], [[Poland#Experimental_film.2C_avant-garde_film|Poland]], [[Czech_Republic#Experimental_film.2C_avant-garde_film|Czech Republic]], [[Slovakia#Experimental_film|Slovakia]], [[Croatia#Experimental_film|Croatia]], [[Serbia#Experimental_film|Serbia]], [[Slovenia#Experimental_film|Slovenia]], [[Bosnia_and_Herzegovina#Experimental_film|Bosnia and Herzegovina]], [[Romania#Experimental_film.2C_avant-garde_film|Romania]], [[Estonia#Experimental_film|Estonia]], [[Lithuania#Experimental_film|Lithuania]].
Further [[Media art in Central and Eastern Europe Bibliography#Experimental_film|bibliography]].

==Cybernetics==
See [[Computing and cybernetics in CEE]].

==Electroacoustic music==
===Trivia===
* Lev Termen, the patriarch of musical electronics, a talented physicist, created Aetherophone (later called the '''Theremin''' or Thereminovox) in 1920 - unsurpassed till now in the family of performing electronic instruments (owing to its keen sound control options).
* Other early instruments include Sonchromatoskop by Sándor László (1920), Sonar by N.Anan'yev (c1930), Ekvodin by V.A.Gurov (1931), Emiriton by A.Ivanov and A.Rimsky-Korsakov (1932). While in the United States, Termen also created Theremin Cello (electric Cello with no strings and no bow, using a plastic fingerboard, a handle for volume and two knobs for sound shaping, c1930), Theremin keyboard (a piano-like device, c1930), Rhythmicon (world's first drum machine, 1931), and Terpsitone (platform that converts dance movements into tones, 1932). In the 1930s, professor E.A.Sholpo established a laboratory for sound synthesis where he developed his '''Variophone''' (1932), a precursor of the synthesizers. A.A.Volodin, a scientist in the field of electronic sound synthesis, designed a whole series of new instruments.
* In Moscow, Eugene Murzin constructed one of the world's first synthesizers in 1955. He named his invention, ANS synthesizer, in honor of Alexander Nikolayevich Scriabin, as the ANS worked on the principle of the transformation of light waves into electronic soundings. The compositions created on the ANS in the Moscow Studio of Electronic Music since 1958 played the major role in the development of electronic music in USSR. In the 1960s, the ANS was the only synthesizer in the Union, and became the training ground of a great number of young composers, including one of the most dedicated experimenters in the field of electronic music, Edward Artemyev. Artemyev's compositions are characterized by a constant search for new sounds and by a desire to obtain maximum timbre modification from minimal sound material. In the music for A. Tarkovsky's film  Solaris (1972), Artemyev discovered an entire realm of unusual (for that time) sound effects; he founded a new trend in electronic music that musicologists have named 'space music'. (In 1972 the studio acquired the module synthesizer "SYNTHI-100" of English company "Taylor".)
* Warsaw Autumn Festival initiated by Baird and Serocki presented since 1956 works by Berg, Schönberg, or Bartók;  Stockhausen or Schaeffer visited. Polish Radio Experimental studio was founded by Patkowski in 1957.
* In Czechoslovakia, the first representative Seminar on Electronic Music, organized on the initiative of several Czech and Slovak composers, musicologists and sound technicians, was held at the Research Institute of Radio and Television in Pilsen in 1964. It appeared a miracle to many people interested in this kind of musical creativity. The seminar dealt seriously and manifestly with questions of electronic music, for the first time in Czechoslovak cultural context.  The representative survey on electronic music written by Czech musicologist Vladimir Lebl and published in 1966 was the fundamental theoretical work, followed by his translation of the book "La Musique concrete" by Pierre Schaeffer. Several compositions by the classicists of concrete, tape and electronic music appeared in radio broadcasts in 1965 and the first LP with electronic music pieces by both inland and foreign composers was published as soon as in 1966. Followed by foundation of experimental music studios in Bratislava (1965) and Pilsen (1967).
* During 1950s-70s the number of composers visited New Music courses in Darmstadt (Kotonski, Piňos, Jeney, Sáry), studied and worked with studios WDR Cologne (Kotonski, Eötvös, Dubrovay), GRM Paris (Kotonski, Kabeláč, Piňos, Vidovszky), Munich (Piňos), STEM Utrecht (Kabeláč), or IRCAM Paris (Eötvös).
* Gorizont became known as some sort of Russian version of Kraftwerk, releasing an LP by the "Soviet State" record label Melodia.

===Terms===
musique concréte (1949, Schaeffer, Paris), elektronische Musik (1950, Eimert and Meyer-Eppler, Cologne), New Music, synthesizer (ANS synthesizer, 1955, Moscow; RCA Music synthesizer, 1955), white noise, vocoder, atonal music, serialism

===Studios===
[[Polish Radio Experimental Studio]] Warsaw (1957, Patkowski), [[Experimental studio of electronic music Moscow]] (1958, Murzin), [[Experimentalstudio für künstliche Klang- und Geräuscherzeugung]] East Berlin (1953 or 1962?), [[Experimental Studio of Slovak Radio]] Bratislava (1965, Kolman), [[Experimental Studio of Czech Radio Pilsen]] (1967-94), [[New Music Studio Budapest]] (1970), [[Electronic Studio of Radio Belgrade]] (1972, Radovanović), [[Electro-acoustic Music Studio]] at Academy of Music Krakow (1973, Patkowski), Electronic music studio Sofia (1974), [[Electroacoustic Music Studio of the Hungarian Radio]] Budapest (1975, Decsényi), [[Studio for Electronic Music]] Dresden (1984, Wissmann), [[Audiostudio of Czechoslovak Radio Prague]] (1990-94), [[Theremin Center]] Moscow (1992, Smirnov), [[Electronic Music Studio at the Estonian Academy of Music]] Tallinn (1995, Sumera) [http://www.emdoku.de/cgi-bin/LookStudio?key1=Abbreviation&string1=.*&key2=Abbreviation&string2=.*&nkeys=1&format=short&subm1=submit+search%21 more]

===People===
* mid-1950s-60s: [[Jozef Patkowski]] (Warsaw), [[Wlodzimierz Kotonski]] (Warsaw), [[Evgeny Murzin]] (engineer, Moscow), [[Edward Artemiev]] (Moscow), [[Peter Kolman]] (Bratislava), [[Miloslav Kabeláč]] (Pilsen), [[Vladimír Lébl]] (musicologist, Prague), [[Antonín Sychra]] (musicologist, Prague), [[Milan Knížák]] (Prague)
* 1970s: [[Vladan Radovanović]] (Belgrade), [[Péter Eötvös]] (Budapest), [[Zoltán Jeney]] (Budapest), [[László Vidovszky]] (Budapest), [[László Sáry]] (Budapest)
* 1980s: [[Mindaugas Urbaitis]] (Kaunas)
* 1990s: [[Andrey Smirnov]] (Moscow), [[Lepo Sumera]] (Tallinn)

===Events===
* 1950s-60s: [[Warsaw Autumn Festival]] (Warsaw, *1956), [[Exposition of Experimental Music]] (Brno, 1969-70)
* 1990s: [[Evenings of New Music]] (Bratislava, *1990), [[IFEM]] and [[FEM]] festival (Bratislava, 1992-96), [[Exposition of New Music]] (Brno, *1993).
* 2000s: [[Next]] festival (Bratislava, *1999), [[X-Peripheria]] festival (Budapest, *2000)

===See also===
Electroacoustic music in [[Germany#Electroacoustic_music|East Germany]], [[Poland#Electroacoustic music|Poland]], [[Slovakia#Electroacoustic music|Slovakia]], [[Czech Republic#Electroacoustic and experimental music, sound art|Czech Republic]], [[Hungary#Electroacoustic and experimental music, sound art|Hungary]], [[Serbia#Electroacoustic_music|Serbia]],  [[Croatia#Electroacoustic_music|Croatia]], [[Romania#Electroacoustic_music|Romania]], [[Bulgaria#Electroacoustic_music|Bulgaria]], [[Lithuania#Electroacoustic_and_experimental_music|Lithuania]], [[Latvia#Electroacoustic_music|Latvia]], [[Estonia#Electroacoustic_and_experimental_music|Estonia]].
Further [[Media art in Central and Eastern Europe Bibliography#Electroacoustic_music|bibliography]].
See also [[Audiovisual tools and instruments]], [[Electronic art music]], [http://www2.ak.tu-berlin.de/Studio/EMDoku/Vorwort-E.html The International Documentation of Electroacoustic Music] and [http://www.amazings.com/featuresnews.html].

==Multimedia environments==
===People===
* 1950s-60s: [[Josef Svoboda]] (Prague), [[Jaroslav Frič]] (Prague), [[Lev Nusberg]] (Moscow), [[Francisco Infante]] (Moscow), [[Stano Filko]] (Bratislava)
* 1970s: [[Attila Kováts]] (Cologne/Budapest)
* 1980s: [[András Mengyán]] (Budapest)

===Networks===
* [[Dvizheniye]], Moscow, 1960s
===See also===
Multimedia environments in [[Czech Republic#Multimedia environments|Czech Republic]],  [[Hungary#Interactive_environments_and_installations|Hungary]].
Further [[Media_art_in_Central_and_Eastern_Europe_Bibliography#Multimedia_environments|bibliography]].

==Computer art, Dynamic objects, Cybernetic sculpture==
===Terms===
new materials, information aesthetics (1960s, Bense and Moles)

===People===
* 1960s: [[Vladimir Bonačić]] (dynamic objects, Zagreb), [[Petar Milojević]] (Belgrade/Toronto)
* 1970s: [[Edward Ihnatowicz]] (cybernetic sculpture, Poland/London), [[Stanisław Dróżdż]] (concrete poetry, Poland), [[Zdeněk Sýkora]] (computer-aided painting, Prague), [[Jozef Jankovič]] (Bratislava), [[Juraj Bartusz]] (Bratislava), [[Ryszard Winiarski]] (paintings and objects, Warsaw), [[Mihai Jalobeanu]] (Cluj), [[Sherban Epuré]] (Romania/New York City), [[Zoran Radović]] (Belgrade/Berlin), [[Sergej Pavlin]] (Ljubljana)
* 1980s: [[Tamás Waliczky]] (Budapest), [[Vladan Radovanović]] (Belgrade)
* 1990s: [[Zoltán Szegedy-Maszák]] (Budapest), [[Jan Pamula]] (Krakow), [[Alexandru Patatics]] (Timisoara)

===Events, Networks===
* [[New Tendencies]], Zagreb, 1960s-mid 70s

===Works===
* http://monoskopram.tumblr.com/tagged/computer_art

===See also===
Computer art in [[Czech Republic#Computer_and_computer-aided_art|Czech Republic]], [[Early computer art in Slovakia (1970s-80s)|Slovakia]], [[Hungary#Computer_and_computer-aided_art|Hungary]], [[Poland#Computer_and_computer-aided_art|Poland]], [[Croatia#Computer_and_computer-aided_art|Croatia]], [[Slovenia#Computer_and_computer-aided_art|Slovenia]], [[Serbia#Computer_and_computer-aided_art|Serbia]], [[Romania#Computer_and_computer-aided_art|Romania]], [[Bulgaria#Computer_and_computer-aided_art|Bulgaria]].
Further [[Media art in Central and Eastern Europe Bibliography#Computer_art|bibliography]].

==Video==
===Terms===
new art practices (1970s)

===People===
* 1970s: [[Woody Vasulka]] (Prague/New York City), [[Jozef Robakowski]] (Lodz), [[Wojciech Bruszewski]] (Lodz), [[Antoni Mikołajczyk]] (Lodz), [[Ryszard Waśko]] (Lodz), [[Nuša and Srečo Dragan]] (Ljubljana), [[Miha Vipotnik]] (Ljubljana), [[Sanja Iveković]] (Zagreb), [[Dalibor Martinis]] (Zagreb), [[Goran Trbuljak]] (Zagreb), [[Ivan Faktor]] (Osijek)
* 1980s: [[Pawel Kwiek]] (Warsaw), [[Petr Skala]] (Prague), [[Team T]] group, [[Izabella Gustowska]] (Poznań), [[Yach-Film]] group, [[Marina Abramović]] (Novi Sad/Belgrade/Amsterdam), [[Raša Todosijević]] (Belgrade)
* 1990s: [[Peter Rónai]] (Bratislava), [[Cãlin Dan]] (Bucharest/Amsterdam), [[Apsolutno]] group (Novi Sad), [[Ando Keskküla]] (Tallinn), [[Jaan Toomik]] (Tallinn), [[Deimantas Narkevicius]] (Vilnius), [[Ryszard Kluszczynski]] (theorist, Lodz/Poznan)

===Events===
[[April Meetings]] festival (Belgrade, 1972-77), [[Video CD]] biennial (Ljubljana, 1983-89), [[WRO Biennale]] (Wroclaw, since 1989), [[Sub Voce]] exhibition (Budapest, 1991), [[French-Baltic-Nordic Video and New Media Festival]] (Riga/Vilnius/Tallinn, *1992), [[Ex Oriente Lux]] exhibition (Bucharest, 1993), [[Videomedeja]] festival (Novi Sad, *1996), [[New Video, New Europe]] exhibition (Chicago, 2004), [[E.U. Positive]] exhibition (Berlin, 2004), [[Instant Europe]] (Udine, 2005)

===Networks===
* [[FAVIT]], Ljubljana, 1970s
* [[Student Cultural Center Belgrade|Student Cultural Center]], Belgrade, since 1970s
* [[Infermental]], Berlin and international, 1980s
* [[ŠKUC]], Ljubljana, 1980s
* [[Video Salon]], Prague, late 1980s
* [[WRO]], Wroclaw, 1990s-2000s

===Archives===
* [[Transitland]] archive, 1990s-2000s

===See also===
Video in [[Hungary#Video_art|Hungary]], [[Poland#Video_art|Poland]], [[Czech_Republic#Video_art|Czech Republic]], [[Slovakia#Video_art_(1990s-2000s)|Slovakia]], [[Croatia#Video_art|Croatia]], [[Serbia#Video_art|Serbia]], [[Slovenia#Video_art|Slovenia]], [[Romania#Video_art|Romania]], [[Bulgaria#Video_art|Bulgaria]], [[Estonia#Video_art|Estonia]], [[Latvia#Video_art|Latvia]], [[Lithuania#Video_art|Lithuania]].
Further [[Media art in Central and Eastern Europe Bibliography#Video|bibliography]].

==New media art, Media culture==
===Terms===
mailing list, discussion forum, media lab (1990s-2000s), net art (1990s), streaming, tactical media, hacker culture, audiovisual performance, digital signal processing (DSP), Pure Data, Max/MSP, vvvvv, SuperCollider, online social network

===People===
* 1990s-2000s: [[János Sugár]] (Budapest), [[Miloš Vojtěchovský]] (Prague), [[Keiko Sei]] (Prague/Brno), [[Nina Czegledy]] (Budapest/Toronto), [[Stephen Kovats]] (Dessau), [[Silver]] (Prague), [[Alexei Shulgin]] (Moscow/London), [[Olia Lialina]] (Moscow), [[Rasa Smite]] and [[Raitis Smits]] (Riga), [[Luchezar Boyadjiev]] (Sofia), [[Cãlin Dan]] (Bucharest), [[Vuk Ćosić]] (Ljubljana), [[Marko Peljhan]] (Ljubljana), [[Igor Štromajer]] (Ljubljana), [[John Grzinich]] (Mooste), [[Ákos Maróy]] (Budapest/New York City), [[Petko Dourmana]] (Sofia), [[Ivor Diosi]] (Bratislava/Prague), [[Guy van Belle]] (Brussels/Bratislava), [[Jakub Nepraš]] (Prague)

===Events===
[[The Media Are With Us]] conference (Budapest, 1990), [[Ostranenie]] (Dessau, 1993/95/97/99), [[Orbis Fictus]] exhibition (Prague, 1994), [[Hi-tech/Art]] exhibition and symposium series (Brno, 1994-97), [[MetaForum]] conferences (Budapest, 1994-96), [[Butterfly Effect]] (Budapest, 1996), [[Dawn of the Magicians?]] (Prague, 1996-97), [[LEAF]] conference (Liverpool, 1997), [[Beauty and the East]] Nettime conference (Ljubljana, 1997), [[Communication Front]] (Plovdiv, 1999-2001), [[Media Forum]] (Moscow, *2000), [[Enter Multimediale]] festival (Prague, 2000/05/07/09), [[Multiplace]] festival (Bratislava/Prague/Brno/international, *2002), [[FM@dia]] (Prague, 2004), [[Trans european Picnic]] (Novi Sad, 2004)

===Networks===
* [[The Soros Foundation|Soros Center of Contemporary Arts]] (loose) network: [[C3]] (Budapest), [[Ljudmila]] (Ljubljana), [[Radio Jeleni]] (Prague), [[MediaArtLab]] (Moscow), mid 1990s-early 2000s
* V2_East / [[Syndicate]], international, mid 1990s-2000
* [[Nettime]], international, mid 1990s-2000s
* [[Media Research Foundation]] and [[C3]], Budapest, 1990s
* [[Terminal Bar]] and [[NoD Media Lab]], Prague, mid 1990s-early 2000s
* [[E-lab]] and [[RIXC]], Riga, mid 1990s-2000s
* [[Kuda.org]], Novi Sad, mid 1990s-2000s

===Literature===
{{:Media_art_in_Central_and_Eastern_Europe_Bibliography|transcludesection=newmedia-cee}}

===See also===
* [[:Category:Media_art_labs]]
* [[:Category:Media_art_festivals]]
* [[:Category:Media_art_conferences]]

==Media theory==
===People===
[[Vilém Flusser]] (Prague/Germany/Brazil)
===Events===
[[The Media Are With Us]] (Budapest, 1990), [[Prague Media Symposium]] (Prague, 1991-98), [[MetaForum]] (Budapest, 1994-96), [[Mutamorphosis]] (Prague, 2007)

==Art theory, history, and criticism==
===People===
[[Jindřich Chalupecký]] (Prague), [[Jiří Valoch]] (Prague), [[Tomáš Štrauss]] (Bratislava/Germany), [[Igor Zabel]] (Ljubljana), [[Boris Groys]] (Moscow/Berlin), [[Miško Šuvaković]] (Belgrade), [[Ješa Denegri]] (Belgrade), [[Marina Gržinić]] (Ljubljana), [[Piotr Piotrowski]] (Poznan/Warsaw), [[Viktor Misiano]] (Moscow), [[Keiko Sei]] (Brno/Karlsruhe/Thailand), [[Tomáš Pospiszyl]] (Prague), [[Bojana Pejić]] (Belgrade/Berlin), [[IRWIN]] (Ljubljana), [[Boris Buden]] (Zagreb), [[Georg Schöllhammer]] (Vienna), [[Marian Mazzone]], [[Reuben Fowkes]] (Budapest), [[Gerald Raunig]] (Vienna), [[Inke Arns]] (Dortmund), [[Dmitry Vilensky]] (St. Petersburg)

===Networks===
[[Third Text]], [[Springerin]] magazine (Vienna), [[Tranzit]] (Vienna), [[EIPCP]] (and [[Transversal]] journal, Vienna), [[Chto delat]] (St. Petersburg), [[SocialEast]], [[Prelom]] magazine (Belgrade), [[IDEA]] Arts+Society magazine (Cluj), [[ARTMargins]] (int), [[Artyčok]] (Prague)

==More==

{{Countries}}