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Institutions

Reinforcing and legitimising the status of fiction as a component of reality,  science has introduced the concept of the co-efficient of fictitiousness, which, although it is absent from the statistics, is supposed to provide, as dark energy does, one of the basic components which explain the composition, structure and functioning of reality. Research into the co-efficient is subject to strict secrecy and conducted in the most important research institute of Metavera, its very core: the World Fiction Institute, founded in Paris in 1920. The institution is located in a building of a size which is unprecedented globally; however, it is impossible to say exactly how large it is due to the continuous extension works being carried out. It is also difficult to state this conclusively due to the fact that, due to the requirement of making statutory activity as plausible as possible, the Institute of Fiction has to remain fictitious. The international Metavera conference in March 1921 finally established the boundaries between the genres of fiction and limited the activities of the Metaveran special services to service to art. A year later, the Council of arch-strategists was founded, which has ever since been in charge of the construct named the Kingdom of Metavera. The monarch , who remains a fictitious figure, is selected by democratic elections. Ever since, attempts to define Metavera have encountered an ever-increasing number of problems. It has become progressively more difficult to separate the object of research from its description; according to Richard Feynman, this is linked to the progress made in quantum mechanics. The OPF (Office for the Protection of Fiction) services guard the purity of the genre of fiction; their task is to separate art-oriented content from that employed for political manipulation. After World War II, the World Institute of Fiction has become the greatest construction of conceptual architecture in the world, Consisting as it does of nothing but open doors, it has no limitations either in scope or territory. The Arc de Triomfe in Paris has been proclaimed the first gateway to the Institute. Other entry points are: the Arc du Carrousel, Arch 22 in Banjul, the Arch of Triumph in Bucharest, Novogrod and Potsdam, and also in Barcelona and Teheran. In Poland, the declared gateways are: the arch in Ślesin, Zamość, the arch of the Artus Court in Gdańsk and the gate into the Gdańsk Shipyard, as well as the currently built structures in Trzebinia, Lubin and Michałowice. The first Consulate of Metavera in Poland opened in 1993 in Krakow in the Palace of Art, on the occasion of the opening of an individual exhibition of Piotr Szmitke, an arch-strategist of Metavera, who, five years earlier, in Paris, had declared the Manifesto of Metaverism. Formulated as an artistic doctrine, the Manifesto defined the main principles and methodology of the ideology. Since, a noticeable evolution of the Metaveran monarchy has taken place in the territory of Poland, which, after 1989, has undergone a systemic transformation under the credo of the Round Table. It is difficult not to mention the influence of Metavera, since this last note of the October Revolution, that is to say, the ultimate transfer of ownership, sanctioned in law and sealed with historical facts, has turned out to be the perfect operation conducted on social consciousness, carried out under the anaesthetics of the media, until the time of the destruction of the World Trade Center. Concentrating on the artistic variety of Metaverism, towards the end of the 20th century it intensified the creation of hypostatic beings amongst the Metaverist bohemia. Influencing the opinions and attitudes of the recipients of art, it has become a serious contender in the art world market, at the same time becoming a distorted mirror reflecting recognisable pathologies. The tradition of Metavera, which makes it possible to follow, analyse and discover fiction, puts the Metaveran community in an awkward situation in respect of those state organs which promote fiction or indeed employ its techniques. This also refers, to a yet greater extent, to political parties, which on principle feed to their believers a modified vision of reality. The characteristics which allow the identification of the enemies of Metavera are the lack of a sense of humour, devotion devoid of reflection, a liking for brass bands, pop music and football. Due to these factors, the citizens of Metavera have limited support amongst the masses. The controversial 1995 Act which annulled the principle that De gustibus non est disputandum did nothing to gain more supporters to the Metaveran monarchists. The first Metaveran Consulate in the Krakow Palace of Art, the subsequent one at the Museum of Silesia and then in Krakow’s Bunkier Sztuki in 1995 have issued 138 passports, including ten special passports for honorary citizens of the Metavera state of art: Wisława Szymborska, Henryk Mikołaj Górecki, Władysław Hasior, Waldemar Malicki, Jan Kidawa-Błoński, Olga Szwajgier, Henryk Waniek, Jerzy Nowosielski and Piotr Krakowski.

 

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