Lower Devonian Fenestrata (Bryozoa) of the Prague Basin, Barrandian area, Bohemia, Czechoslovakia / Frank K. McKinney -- and Jirí Kríz --.

n.s. no.15(1985)

Open Door International Summer School at Mlada Boleslav, Czechoslovakia, July 31st – August 4th, 1933

19 x 32 cm

Solar energy in Czechoslovakia

The purpose of my tour to Czechoslovakia was to participate the Third International Conference Applied Optics in Solar Energy, which was held in Prague, Octoher 2-6, 1989, and then visit some scientific institutes and solar collector plants as guest of the Czechoslovakian Academy of Science. This was made possihle hy an exchange researcher grant from the Royal Swedish Academy of Engineering Sciences.

The Institutional Framework around Successful Art Forms in Communist Czechoslovakia

Mr. Michl posed the question of how the institutional framework that the former communist regime set up around art production contributed to the success of Czech applied arts. In his theoretical review of the question he discussed the reasons for the lack of success of socialist industrial design as opposed to what he terms pre-industrial arts (such as art glass), and also for the current lack of interest into art institutions of the past regime. His findings in the second, historical section of his work were based largely on interviews with artists and other insiders, as an initial attempt to use questionnaires was unsuccessful. His original assumption that the institutional framework was imposed on artists against their will in fact proved mistaken, as it turned out to have been proposed by the artists themselves. The basic blueprint for communist art institutions was the Memorandum document published on behalf of Czechoslovak visual artists in March 1947, i.e. before the communist coup of February 1948. Thus, while the communist state provided a beneficial institutional framework for artists' work, it was the artists themselves who designed this framework. Mr. Michl concludes that the text of the memorandum appealed to the general left-wing and anti-market sentiments of the immediate post-war period and by this and by later working through the administrative channels of the new state, the artists succeeded in gaining all of their demands over the next 15 years. The one exception was artistic freedom, although this they came to enjoy, if only by default and for a short time, during the ideological thaw of the 1960s. Mr. Michl also examined the art-related legislative framework in detail and looked at the main features of key art institutions in the field, such as the Czech Fund for Visual Arts and the 1960s art export enterprise Art Centrum, which opened the doors into foreign markets for artists.

Two decades on from the break-up of Czechoslovakia: Departures, diversions and destinations. CEPS Commentary, 7 March 2013

Twenty years after the split of Czechoslovakia, expert analysts from the Czech Republic, Slovakia and the UK shed light on the political geography of this part of Central Europe in an extended three-part Commentary. The end points in the Euro-Atlantic integration processes of the successor states may be similar, argue the authors, but the journeys have been very different. Recent experience would suggest that in terms of EU politics, the Slovaks will be rather passive whilst the Czechs might be a little more troublesome. On the domestic front, the political discourse and competition in both states will largely revolve around the question of competence and corruption.