#Justyna Kamińska

[doomedandstoned]

Tripping Through the Void with SUNNATA

It's been four years since Doomed & Stoned visited SUNNATA and my how they've grown in the interim! Three successful independent releases, legendary live performances, an exponentially growing fanbase, and broad critical acclaim have shifted the spotlight on the Warsaw doomers. Long before they became the juggernaut of the heavy underground, we knew them as an exciting upstart called Satellite Beaver. This week, we give Sunnata’s latest collections of songs a thorough going over and speak with Szymon Ewertowski (guitar, vox), Adrian Gadomski (guitar), Michał Dobrzański (bass), and Robert Ruszczyk (drums) about what fuels their fire.

Heart of Storm

By Simon Howard

Polish loners Sunnata offer the melodic pilgrim a ritualistic, dark, heavy journey into the atmospheric Outlands, hypnotizing us with an eternal 48 minutes of tripping. Pineal glands will decalcify, doors of perception will be cleansed, and the listener will be enlightened.

Sunnata have been creating a musical Zenith in a blend of genres since 'Climbing the Colossus' (2014) and 'Zorya' (2016). This well-crafted album is hard to believe, in the fact that this band have only been around since 2014. Incorrect. Jump in the TARDIS of Tunes, and rewind ourselves back to 2008. Under the moniker of Satellite Beaver, they released two demos and one final EP in 2012, aptly named, The Last Bow. If the reader is not familiar with Satellite Beaver, then you have an amazing musical journey ahead of you.

Outlands by SUNNATA

'Outlands' (2018) was recorded at Monochrom Studio, mixed and mastered by Haldor Grunberg of Satanic Audio, and brilliantly saturated in the artwork by Maciej Kamuda.

I really cannot attest to what was in the Kool-Aid at Monochrom Studio, but the results are spiritually absorbed into the listener's soul. Mind expanding mantras like "Lucid Dream," "The Ascender," and the epically entrancing closing track "Hollow Kingdom" appeal to me on planes we can only experience ourselves. Outlands transitions from mellow meditational hymns to heavenly heavy riffs, blending this album into something transcendental for avid or new fans of Sunnata. This journey will be taken upon by many, and many times. Musical Mecca has been found. The void has been filled.

Soon It Will All Be Gone

A Conversation with Sunnata

Interview by Billy Goate | Photos by Justyna Kamińska

How would you characterize the evolution of sunnata from ‘Climbing the Colossus’ to ‘Zorya’ to your latest record, ‘Outlands’?

It’s been a long way. I would describe it as emotional trip from anger on our debut Climbing the Colossus, through spatial epicness and a need for air on Zorya to introverted melancholia you can dive into on Outlands. In general, we have always been the "sad guys" who were into kind of a gloomy, dark state of mind and soul and our approach towards the music evolved along with our skills of using instruments to express what we feel inside. That’s why I’d characterize our evolution as a path to greater complexity of emotions, where our debut was the simplest and our latest album the most complicated, emotion-wise.

Are there thematic motifs that the band finds attractive when writing songs? Which themes were most influential on 'Outlands’?

We definitely have become more lyrically confident since our previous album and even though we still consider the role of our lyrics as backing for the rest, I think we can finally admit that Sunnata actually has something to say! (laughs) It might not be your most positive answer ever, but our motifs on Outlands consist of loneliness, despair, the negative influence of religious fanaticism, helplessness, and development of the self and whatever conflict you have inside of you. We dig deep, reopen wounds, and push to get to the core. We prefer fighting yourself to fighting others, until you turn into none.

Are the songs on the new album connected in any way? Is this all a “Lucid Dream” that culminates in a journey into the “Outlands,” with “The Ascender” climbing some forbidden mountain of the gods? And what is the “Gordian Knot” -- an internal fight-or-flight struggle? At the end of the journey, is the prize the conquest of a “Hollow Kingdom”? So many questions!

Sure! Song order always comes last, so we have no intention in putting a story together in any way. However, this sort of lyrical consistency allows us to arrange one after another in a way that triggers certain emotions and impressions. Let’s get through the album piece by piece:

"Lucid Dream" encourages you to give, not to receive; to understand that if you separate your self-esteem from the external world and build value of self and the will to explore, you will grow as a human.

"Scars" is a story of being misled, lied to, cheated on, and abandoned on the one hand, but also a story of growing strength and power to end whatever harms you.

"Outlands" was actually inspired by some politically related events. It's all about sacrifice as a way to bring attention to an idea or social problem ignored before. Too deep to dig into it in a single interview.

"The Ascender" track is focused around any sort of radicalism giving an illusion of being permitted to force your point of view on others. We disagree with anyone’s feeling to be justified for actions that do harm. It’s an illusion that keeps you away from self.

"Gordian Knot" is exactly what you have interpreted: inner struggle -- one that can make you fall apart or disintegrate, in any way.

"Hollow Kingdom" has been chosen as climax, the ending song in praise of emptiness. Its structure, repetitive feeling, and overwhelming melancholia are the best ending of an album we could choose from this track list.

Tell us about the artwork, the artist you chose, and the layers of meaning behind this many-faced wraith?

The only constant is change to us. That’s why this time, instead of going with the magnificent Jeffrey Smith of Ascending Storm once again, we decided to go with another talented artist, Maciej Kamuda, who is also author of Weedpecker and Major Kong artwork. We felt a strong urge to do something different. Deity presented on the front cover is a variation on deep symbolism of Goddess Kali. We didn’t want her to look in a way she’s known from Hinduism. We were inspired more by deep, complex symbolism behind her various forms. If you read about her, you will instantly get it.

One consistent word that comes up in all the descriptions of your music -- live performances especially -- is “ritualistic.” Whether it is the careful setting of the stage, the lighting of the incense, or the hypnotic, trance-like rhythms of the music. What is the importance of ritual for the band and what does this bring to your compositions and performances.

Ritualism in our music comes from trance-inducing forms we create. Immersed in void and drugged with noise, we jam a lot in search of the desired emotion trigger -- we can’t name it, we just get the feeling. If we do, we proceed further. Our work routine and who we are as people actually doesn’t have much to do with dark shamanism, but everything changes once we take instruments and start playing together. It’s similar to being possessed with something. All other details you mentioned -- stage setting, light, clothes, and merch -- are secondary to this and their role is to create certain atmosphere to take people on the journey with us.

I've heard rumors of a music video in the works?

Videos are our curse. We’ve been working on them for every album, but for various reasons all these projects were abandoned. Right now, we are at the beginning of production process for video of "The Ascender" song and we really do hope that it will work out this time. I can’t tell much yet, but we would like the outcome to be something similar to our music -- '90s aesthetics in a psychedelic, doomy setting. We’ll see what time will tell.

Let’s close by giving our readers a peek at your touring plans for 2018 and beyond. What “Outlands” are you off to in the days and months ahead?

We can’t reveal many dates since they are not officially announced yet, but after the our spring tour of Scandinavia with the crazy lads of Boss Keloid, we have various festivals in the summertime confirmed and good perspectives on touring Europe with Dopethrone in October, plus an appearance at Gizzardfest in Rotherham, UK. I believe that best is yet about to come. We just need to follow our own path.

Ruling Land of Emptiness

By Shawn Gibson & Billy Goate

To understand the significance of Sunnata's musical achievements, we need at least a cursory understanding of the soil in which the band is planted. Poland's heavy music scene has been experiencing a surge of activity over the past decade or two, but its music roots are deep-seated and stretch back generations to the darkly complex oeuvre of composers like Frederic Chopin, Leopold Godowsky, Karol Szymanowski, Henryk Górecki, and so many others.

Sunnata's home base of Warsaw encompasses an impressive if turbulent history, evolving from a smattering of villages more than 1400 years ago to become one of the ten largest capital cities in Europe. Warsaw has had more than its share of doom to contend with, too, from disease and famine to regional and global wars -- including the devastating Nazi occupation, which spurred the great underground resistance movement known as the Warsaw Uprising.

Given this context, it's significant that Sunnata has adopted a name representing one of the fundamental principles of Buddhism. Śūnyatā is a transliteration of the Sanskrit word शून्यता (pronounced as "shoonyataa"), which signifies voidness. Think of it as a meditative state of "emptiness" in which the mind is devoid of desire, specifically the stubborn presence of that word we all learn by age two: mine. Śūnyatā involves the diminishing of one's ego, and the band that wears this name has dedicated the better part of a decade to exploring this philosophy through the medium of ritual heavy music.

Photo by Aleksandra Burska

"Hollow Kingdom," the closing track on Outlands, is one example of Sunnata's approach to voidness, with its droning ups and downs and subtle twists. Sunnata let this song be the pedals of a cherry blossom drifting in the breeze. Another highlight is "The Ascender" (my favorite of the record). It's the kind of vessel one imagines boarding to cross over to निर्वाण (nirvana). The backing vocals near the beginning of the song calls to mind prayers and mantras of Tibetan monks. Guitars buzz like propellers, shuttling you along to another plane of existence. The heavy psychedelic vibe and stirring chorus makes for an uplifting experience that is, one imagines, not unlike astral projection. Sunnata are your gurus fixed atop the mountain, lulling you ever closer on an ascendant journey skyward. Along the way, there's an avalanche of emotions.

One imagines the many plagues, fires, wars, and uprisings that might have influenced "Scars." The song strikes a thrash-like tempo, with jazzy cymbals and a psyched-out tambourine. Then, at the five-minute mark, all hell breaks loose with a thundering bassline, fuzzed-out guitars, and a pummeling drumbeat. Doom has come to claim its reign! Similarly, "Gordian Knot" attacks like a nest of pissed-off hornets. Still rocking hard by the two-minute mark, things lighten up for a spell as fuzzy desert riffs and reassuring chants (with those wonderful backing vocals) lull you to sanctuary. The aggressive pace returns, leading to a crescendo of screaming vox to chase every worry from your mind. Only the journey consumes you now.

Taken in sum, Outlands is an exhilarating magic carpet ride, albeit with some turbulence. Sunnata hone the powerful elements of rock and metal like master alchemists, dispensing measured doses of doom, sludge, psychedelic, and stoner, melding them seamlessly, and transcending boundaries only few conceived possible. The heavy doom passages are somehow made even heavier by this psychedelic blend, which brings one closer to a state of voidness.

High spiritual concept meets the earthy might of doom in Outlands. It is the enlightenment of the yogis, the ascension of gurus, a musical Kathmandu. I've visited the temple now multiple times over the course of weeks and months and it continues to be a cathartic experience for me. Outlands will make your heart flutter and embolden your spirit with its mesmerizing riffs and hypnotic rhythms. It will usher you down a river of feeling and bury you in a cascade of sonic desolation. The chants and mantras sent my spirit soaring heavenward. Returning to earth, I felt as if I have been everyplace in existence and at the same time perfectly still, third eye open -- mind, body, and spirit aligned. Awareness is the gift I received from this Outlands. Who knows? In listening, perhaps you will find your own Śūnyatā, as well.

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[endlich-allein]

Rammstein part 3 (Warsaw, Poland, 16-07-2022) © Justyna Kamińska for rockmetal.pl

[aurora-daily]

AURORA @ Off Festival by Justyna Kamińska // 04.08.18 // Katowice, Poland

[vm4vm0]

Włodi/1988 - Wyobraź Sobie REMIX from Bujas / Kosz on Vimeo.

Scenariusz i Reżyseria - Kuba Bujas, Krzysztof Kosz Zdjęcia - Kamil Płocki Produkcja - Dorota Bafi Świderska, Izabela Łopuch Drugi Reżyser - Roma Zachemba

Scenografia - Marta Zając, Kuba Zwolak / Najs studio; Mateusz Gryzło, Mateusz Kozak, Kamil Nowakowski Kostiumy - Zofia Komasa, Hanna Maciąg Charakteryzacja - Ewa Drobiec, Piotr Dzbanek Włodarczyk Make up/Włosy - Koleta Colette Gabrysiak, Ola Łęcka Dyżur - Mariusz Maniek Haska, Daniel Zielak Zieliński

Kamera - Marcin Mikołajczyk i Grzegorz Olkowski / ATM System Focus Puller - Tomasz Czerwiński Asystent Kamery - Michał Warren Cholewiński

Światło - Krzysztof Bors / Piramida Film Gaffer- Robert Płaskonka Oświetlacze - Bartek Waszczuk, Olaf Jurdyga Grip - Dasiek

Supervisor na planie - Sylwester Lipiński

Lokacja - Billennium

Postprodukcja - Katarzyna Michalak / Televisor Montaż - Katarzyna Orzechowska Kolor - Piotr Nowicki Supervisor - Paweł Krzemiński On-line - Mariusz Seliga, Damian Bogusiak Oprawa dźwiękowa - Katarzyna Orzechowska, Przemysław Jankowiak

Casting - Paweł Czajor, Ola Gruber Wystąpili - Paweł Włodi Włodkowski, Paweł Ławrynowicz, Piotr Sędkowski, Kiril Denev, Dorota Glac, Mateusz Dobies, Wojciech Wachuda, Kinga Jasik, Dagmara Brodziak, Przemysław Jankowiak, Agata Skórska, Marek Kossakowski, Paulina Napora, Maria Patykiewicz, Piotr Pamuła, Krystian Modzelewski, Mateusz Kamiński, Piotr Grabowski, Ewelina Zawada

Pies - Elvis Opieka psa - Miłosz Wiśniewski, Maja Dobrowolska

Podziękowania specjalne - Frederick van Eeden, Bartosz Łopiński, Ewa Goska, Justyna Książek, Magda Ceran, Billennium, Zofia Kamińska, Marcin Skajer Skajnowski, Piotr Śliwa Mr. Pancake, Witek Michalak, Piotr Zajączkowski, Marcin Drabiński, Chimney, Katarzyna Michalak, Televisor, ATM System, Piramida Film, MJUD, Anna Słowińska, Rekwizytornia Praga

[gimpresska-blog]

X Festiwal Pieśni Patriotycznej w Wyszkowie

"Pieśni Legionów, żołnierskie śpiewki,

znane melodie, słowa

niechaj nie milkną, by wciąż w nas trwała

tożsamość narodowa"

Śpiewająca lekcja patriotyzmu i historii, która chwyciła za serca wszystkich widzów, odbyła się 28 XI 2017 r. Już po raz dziesiąty w Samorządowej Szkole Podstawowej w Wyszkowie najmłodsze pokolenie, czyli przedszkolaki, uczniowie szkół podstawowych i gimnazjów z powiatu węgrowskiego, gmin: Grębków, Liw, Korytnica Węgrowska, Wierzbno i Miedzna, wyśpiewali przepiękne pieśni i piosenki na X Festiwalu Pieśni Patriotycznej.

 Jak co roku celem imprezy było popularyzowanie pieśni patriotycznych               i piosenek żołnierskich, twórcze uaktywnienie dzieci i młodzieży, integracja środowisk szkolnych i lokalnych, a przede wszystkim promocja dorobku kulturowego placówek oświatowych z różnych gmin. Pomysł zorganizowania festiwalu narodził się w 2008 roku dzięki zaangażowaniu pani  Barbary Kazimierczak - nauczycielki muzyki i edukacji wczesnoszkolnej w SSP                 w Wyszkowie. W jubileuszowym konkursie wzięło udział 73 uczestników              z 6 przedszkoli, 11 szkół podstawowych i 3 gimnazjów.

Komisja w składzie:

Maria Sawicka – nauczycielka historii i emerytowany dyrektor tej szkoły,

Katarzyna Chlebny – kierownik Referatu Oświaty Gminy Liw,

Sylwester Drużba - organista z parafii św. Leonarda w Liwie i instruktor pianina w WOK-u,

Anna Kostyra – wokalistka zespołu "Voci Cantate" oraz zespołu jazzowego "Trochę jazzu”

jednogłośnie wyłoniła zwycięzców:

W kategorii PRZEDSZKOLA:

Laura Grenda, Kinga Kowalczyk, Joanna Gerej, Patrycja Wojtyra („Polska”) z Samorządowego Przedszkola w Ruchnie, opiekun                  - p. Elżbieta Żołędowska,

Marta Gzocha, Klaudia Bałdyga („Wojenko wojenko”) z Przedszkola nr 3 im. Marii Konopnickiej     w Węgrowie, opiekun - p. Barbara Bardadyn,

Szymon Dobrzyński i Magdalena Wróblewska („Gdy żołnierze idą drogą”) z Oddziału Przedszkolnego w Szkole Podstawowej w Trzebuczy, opiekun   -  p. Sylwia Zalewska.

W kategorii SZKOŁY  PODSTAWOWE  kl. I-III:

Antonina Miklaszewska („Flaga”) z Zespołu Szkolno-Przedszkolnego w Grębkowie, opiekun -  p. Aneta Miklaszewska,

Aleksandra Zajkowska („Dziś idę walczyć mamo”) z Samorządowej Szkoły Podstawowej w Liwie, opiekun -  p. Elwira Sulich,

Gabriela Mieszała („Bo w piechocie fajno jest”) ze Szkoły Podstawowej w Miedznie,  opiekun - p. Edyta Ryczkowska. W kategorii SZKOŁY  PODSTAWOWE kl. IV-VII:Julia Topolska i Justyna Karczewska („Niepodległa, niepokorna”) z Zespołu Szkolno– Przedszkolnego w Grębkowie, opiekun -  p. Hanna Żółkowska-Koper,Maja Szczepanik oraz chór w składzie: Natalia Frączek, Marta Gawor, Gabriela Strzałkowska („Psalm stojący w kolejce”) z Samorządowej Szkoły Podstawowej w Liwie, opiekun -  p. Zofia Kamińska,Magdalena Kuryłek i Aleksandra Paczuska („My tu znamy każdy kąt”) z Samorządowej Szkoły Podstawowej w Wyszkowie, opiekun -  p. Barbara Kazimierczak,               3.Olaf Kowalczyk i Huber Siwczyk („Tango na głos, orkiestrę i jeszcze jeden głos”) z Zespołu Szkolno–Przedszkolnego w Korytnicy, opiekun - p. Agnieszka Kałuska.Pani dyrektor Irena Sowińska wręczyła dyplomy i nagrody dla zwycięzców konkursu oraz podziękowania dla nauczycieli, którzy przygotowali uczestników festiwalu. Podziękowania otrzymali również sponsorzy. Dyrektorzy przedszkoli i szkół biorących udział w festiwalu z okazji jubileuszu otrzymali pamiątkowe statuetki i foldery. Irena Sowińska serdecznie podziękowała także wszystkim nauczycielom, uczniom prowadzącym i zaangażowanym w przygotowanie konkursu oraz Radzie Rodziców za przygotowanie poczęstunku dla uczestników i gości. Nie obyło się bez jubileuszowego tortu, który zakończył uroczystość. Festiwal Pieśni Patriotycznej w Wyszkowie  został wpisany do Kalendarza Imprez Powiatu Węgrowskiego na 2018 rok.Szczególnie cieszy duża grupa laureatów I miejsca festiwalu pochodząca z naszej szkoły. Gratulujemy!Hanna Żółkowska-Koper

[jaspersonsmilla]

2018

January

Ian McGuire - Na wodach północy

Marcin Wójcik - Celibat

Colm Toibin - Nora Webster

Martyna Bunda - Nieczułość

Richard Flanagan - Śmierć przewodnika rzecznego

Michael Crummey - Dostatek

Adam Wajrak - Wilki

Elizabeth Asbrink - 1947

Sven Lindquist - Wytępić całe to bydło

Marcin Wicha - Rzeczy których nie wyrzuciłem

Bernadette McDonald - Keeper of the mountains

February

Zadie Smith - Swing Time

Bernadette McDonald - Kurtyka

Radka Franczak - Serce

Paul Beatty - Sprzedawczyk

Anna Kamińska - Simona

Jon Krakauer - Missoula 

Bea Uusma - Ekspedycja

Wojciech Kuczok - Czarna

André Aciman - Call me by your name

Wojciech Jagielski - Z zachodu na wschód

Andrzej Zawada - K2 pierwsza zimowa wyprawa

Julian Barnes - The Only Story

Anna Dziewit-Meller - Damy, dziewuchy, dziewczyny. Historia w spódnicy

March 

Anna Dziewit-Meller - Damy, dziewuchy, dziewczyny

Karl Ove Knausgard - Zima

Karolina Sulej - Wszyscy jesteśmy dziwni

Hisham Matar - Powrót

Richard Flanagan - Nieznana terrorystka

Barbara Seidler - Pamiętajcie, że byłem przeciw

Justyna Kopińska - Z nienawiści do kobiet

Aleksandar Hamon - Dwa Razy Życie. Bośnia i Ameryka

Mohsin Hamid - Exit West

Elizabeth Strout - Amy and Isabelle

Ali Smith - Autumn

JM Coetzee - Lata szkolne Jezusa

Maurice Herzog - Annapurna

April

Edward St Aubyn - Patrick Melrose 1

Charlie LeDuff - Detroit

Anne Enright - Tajemnica rodu Hegartych

Andrzej Mularczyk - Co się komu śni

Kristin Hannah - Słowik

Jonathan Safran Foer - Strasznie głośno, niesamowicie blisko

Enright -

Cezary Łazarewicz - Koronkowa robota

Jacek Leociak - Młyny boże

Bartek Dobroch, Przemysław Wilczyński - Broad Peak. Niebo i piekło

Nino Haratischwili Ósme życie

Zyta Rudzka - Krótka wymiana ognia

Agneta Pleijel  - Wróżba

May

Sigríður Hagalín Björnsdóttir - Wyspa

Edward St. Aubyn - Mleko matki. W końcu.

Mikołaj Grynberg - Księga wyjścia

Gabriel Tallent - Moja najdroższa

Dorota Masłowska - Inni ludzie

Agnieszka Jucewicz, Grzegorz Sroczyński - Żyj wystarczająco dobrze

Reni Eddo-Lodge - Dlaczego nie rozmawiam już z białymi o kolorze skóry

Emily Fundland - History of Wolves

Ewa Winnicka, Cezary Łazarewicz - 1968

Paweł Smoleński - Syrop z piołunu

June

Asne Seierstad - Dwie siostry

John Steinbeck - Grona gniewu

Orhan Pamuk - Rudowłosa

Arlie Hochschild Russell - Obcy we własnym kraju

Marek Edelman - I była miłość w getcie

Nino Haratischwili - Ósme życie tom 2

Kasia Nosowska - A ja żem jej powiedziała

Marcin Michalski, Maciej Wasielewski - 81:1. Opowieści z Wysp Owczych

Marlon James - Księga nocnych kobiet

Jakub Małecki - Dżozef

July

Gail Honeyman  - Eleanor Oliphant

Vigdis Hjorth - Spadek

Bob Dylan - Kroniki

Julian Barnes - Pedant w kuchni

Rafał Fronia - Anatomia góry

Aleksandra Lipczak - Ludzie z placu słońca

Anna Bikont - Sendlerowa

Olga Tokarczuk - Opowiadania bizarne

Agata Tuszyńska - Oskarżona Wiera Gran

Janice Y. K. Lee - Emigrantki

August

Kirstie Clements - Vogue

Marie Darrieussecq - Świństwo (Truizmy)

Sorj Chalandon - Zawód ojca

Naomi Alderman - Siła

Mohsin Hamid - Uznany za fundamentalistę

Philip Roth - Spisek przeciwko Ameryce

Alysia Abbott - Tęczowe San Francisco

Miasto cierni

Piotr Trybalski - Ja, Pustelnik

Królowe mogadiszu

Karolina Bednarz - Kwiaty w pudełku

Dziecko w czasie

Middlesex

Vernon Subutex

Wolność i spluwa

September

Silva rerum

Kurt Vonnegut - Śniadanie mistrzów

Kurt Vonnegut - Syreny z tytana

Kurt Vonnegut - W dniu urodzin Wandy June

Jorge Luis Borges - Fikcje

Aldous Huxley - Crome Yellow

McEwan - Pokuta

Problem trzech ciał

Solnit

October

Jorge Luis Borges - Alef

Jorge Luis Borges - Labirynty

Kurt Vonnegut - Slapstick albo nigdy więcej samotności

Kurt Vonnegut - Niech pana Bóg błogosławi, panie Rosewater

Kurt Vonnegut - Niech pana Bóg błogosławi, doktorze Kevorkian

Aldous Huxley - W cudacznym korowodzie

McEwan - Saturday

Solnit

November

Aldous Huxley - Kontrapunkt

Aldous Huxley - Niewidomy w Gazie

Amerykańska - ogar piekielny

Tom Hanks

Księga szeptów

Więzy krwi

Ministerstwo niezrównanego szczęścia

McEwan - Czarne psy

December 

Auster

Saul Bellow - Henderson król deszczu

Saul Bellow - Ofiara

Roth - Ludzka skaza

Roth - Teatr Sabata

Roth - Goodbye, Columbus

Peter Carey: A Long Way from Home

Krótka historia o długiej miłości

Heart Berries, by Terese Marie Mailhot

The House of Impossible Beauties, by Joseph Cassara

Mrs., by Caitlin Macy

Biografia Herberta

The Mars Room, by Rachel Kushner

Dehorah Levy: The Cost of Living

Aleksander Lwow - do kupienia

Christina Hesselholdt - Vivian

Marina - sprawdzać legimi

Barry Unsworth - Sacred Hunger

Kevin Powers: A Shout in the Ruins

Betonia

Ali Smith: Winter

Urobieni

Urodziłem się pewnego błękitnego dnia

Michelle Obama

Korzenie

Kobieta na schodach

Jonathan Franzen - Wolność

Javier Marias - Tak się złe zaczyna 

Javier Marias - Serce tak białe - do kupienia

Javier Marias - Twoja twarz jutro. Gorączka i włócznia

Javier Marias - Twoja twarz jutro. Taniec i sen 

Javier Marias - Twoja twarz jutro. Trucizna, cień i pożegnanie 

Gabriel Garcia Marquez - Generał w labiryncie

Gabriel Garcia Marquez - Jesień patriarchy

Gabriel Garcia Marquez - Życie jest opowieścią

[breathtechnologies]

Synergy and Commonalities Between Mindfulness Meditation and Psychedelics: Exploring the Potential for Mental Health Treatment

Paweł Holaś and Justyna Kamińska’s research explores how mindfulness meditation and psychedelic-assisted therapies might work together to improve mental health.

Detailed Study Analysis

The study looks at how these two methods overlap in brain function and experience. It shows they are effective in treating depression, addictions, and anxiety disorders, leading to significant improvements in symptoms and overall well-being.

Key Research Insights

The research finds that both mindfulness and psychedelics change how we think about ourselves, increase awareness of the present moment, and have similar effects on brain pathways that can help with depression. The study suggests that using these methods together in therapy could lead to better results.

Visual Elements in the Study

The study includes:

Diagrams showing how mindfulness and psychedelic experiences are similar in the brain.

Flowcharts about how these therapies could work well together.

Graphs comparing their effects on mental health conditions.

Additional Learning Resources

For more information, the study recommends:

Original research articles in neuropsychology journals.

Online platforms about combining different mental health treatments.

Websites and forums focused on mindfulness and psychedelic research.

Conclusions and Future Directions

The study concludes that combining mindfulness meditation with psychedelic-assisted therapy could be a strong approach to treating mental health issues. However, it points out the need for more well-designed studies to confirm these findings and understand how they can be used in clinical practice.

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Rammstein part 2 (Warsaw, Poland, 16-07-2022) © Justyna Kamińska for rockmetal.pl

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Rammstein part 1 (Warsaw, Poland, 16-07-2022) © Justyna Kamińska for rockmetal.pl

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Scenariusz i Reżyseria - Kuba Bujas, Krzysztof Kosz Zdjęcia - Kamil Płocki Produkcja - Dorota Bafi Świderska, Izabela Łopuch Drugi Reżyser - Roma Zachemba

Scenografia - Marta Zając, Kuba Zwolak / Najs studio; Mateusz Gryzło, Mateusz Kozak, Kamil Nowakowski Kostiumy - Zofia Komasa, Hanna Maciąg Charakteryzacja - Ewa Drobiec, Piotr Dzbanek Włodarczyk Make up/Włosy - Koleta Colette Gabrysiak, Ola Łęcka Dyżur - Mariusz Maniek Haska, Daniel Zielak Zieliński

Kamera - Marcin Mikołajczyk i Grzegorz Olkowski / ATM System Focus Puller - Tomasz Czerwiński Asystent Kamery - Michał Warren Cholewiński

Światło - Krzysztof Bors / Piramida Film Gaffer- Robert Płaskonka Oświetlacze - Bartek Waszczuk, Olaf Jurdyga Grip - Dasiek

Supervisor na planie - Sylwester Lipiński

Lokacja - Billennium

Postprodukcja - Katarzyna Michalak / Televisor Montaż - Katarzyna Orzechowska Kolor - Piotr Nowicki Supervisor - Paweł Krzemiński On-line - Mariusz Seliga, Damian Bogusiak Oprawa dźwiękowa - Katarzyna Orzechowska, Przemysław Jankowiak

Casting - Paweł Czajor, Ola Gruber Wystąpili - Paweł Włodi Włodkowski, Paweł Ławrynowicz, Piotr Sędkowski, Kiril Denev, Dorota Glac, Mateusz Dobies, Wojciech Wachuda, Kinga Jasik, Dagmara Brodziak, Przemysław Jankowiak, Agata Skórska, Marek Kossakowski, Paulina Napora, Maria Patykiewicz, Piotr Pamuła, Krystian Modzelewski, Mateusz Kamiński, Piotr Grabowski, Ewelina Zawada

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