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This samizdat miniature with its photocopied (from a microfilm) and manually bound pages represents a typical form of smuggling underground materials from Soviet Ukraine. Microfilms and miniature forms were the only way to safely smuggle abroad illegal literature and documents from the Soviet Union.

This samizdat book was rolled and hidden in a luggage of a Smoloskyp courier. This was the way how Smoloskyp couriers managed to smuggle many other Ukrainian samizdat and dissident materials, including Bil’mo by M. Osadchyi, O. Berdnyk’s manuscripts, the entire collection of the documents of the Ukrainian Helsinki Group, D. Shumuk’s memoirs, a photo collection belonged to M. Rudenko, and so on. The obtained materials were later published in both Ukrainian and English, and were circulated in international media.

Mykhailo Braichevsky wrote his article Priednannia chy voz’ednannia? (Annexation or Reunification?) in 1966 in which he openly criticised the Theses on the 300^th Anniversary of the Reunification of Ukraine and Russia (1654-1954), a document imposed by the Communist Party of the Soviet Union in 1954 as the only permitted interpretation of the events of 1654 in Ukrainian history, namely, the Pereiaslav Council and the Treaty of Pereiaslav, after which Ukraine became a part of the Russian Empire. Braichevsky’s work was circulated in samizdat in Ukraine,  smuggled abroad, and was published in Canada as a brochure. As a result of this writing, Braichevsky was fired from the Institute of History, where he worked as a researcher. In the next decade he was oppressed by the Soviet authorities and the Communist Party that demanded his public “repentance” and acknowledgment of his research “falsities.” He was not allowed to officially continue his research career.

1980. aastate algul ilmusid Ungari muusikamaastikule ansamblid, mis ei pööranud tähelepanu staatusele niinimetatud pop-äris. Nad esindasid rohujuuretasandi uut lainet, mis tähendas pööret lihtsate muusikaallikate poole ja poeetiliselt kõrgkeelse luule maailma. Varsti said nad populaarseks linnanoorte seas, kuid samal ajal marginaliseerisid neid tollased monopoolsed levikanalid.

Sellises olukorras oli mõneti üllatav, et üks neist ansamblitest, Bizottság (Komitee) suutis 1983. aastal plaadi välja anda. See lugu on muutunud üldtuntud anekdoodiks. Populaarsuse tõttu küsis üks raadioreporter ühelt riikliku plaadifirma juhilt, kas nad saaksid avaldada uue laine ansamblite muusikat. Too vastas möödaminnes, et on seda teemat juba arutanud Wahorniga Bizottságist. See polnud tõsi, kuid Wahorn sattus seda raadiost kuulma ja läks otsusetegija juurde asja arutama.

Mõne aja pärast leppisid nad kokku lasta välja kontsertalbum tingimusel, et ansambel muudab oma nime (Bizottságist A.E.Bizottságiks viitega Albert Einsteinile). Plaat oli populaarne ja see müüdi paari päevaga läbi. Arvudega siiski manipuleeriti. Plaati valmistati ainult 14 000 eksemplari, nii et ametnikud said hiljem väita, et müüdi ainult väike kogus, plaat ei olnud kuigi populaarne ja esindas nišimuusikat (tolle aja edukuse „kullastandard“ oli 100 000 müüdud plaati).

Album kajastab mitmeid iseloomulikke jooni, mis Bizottsági (Komitee) eriliseks tegid: sürrealistlikud sõnad sobivad tollesse aega, kuna paljudel juhtudel ei kasutatud sõnu nende tavatähenduses (kuigi sõnad mõjuvad ka tänapäeval poeetiliselt); naljakad improviseeritud dialoogid laulude vahel, eriline kõla (näiteks naistrummari eristuvad soolod, erilised korduvad kitarrifraasid, SDV-s valmistatud oreli terav kõla jne; märkimisväärne järelproduktsioon (väärib märkimist, et tsensorid muutsid laulu „Bestia“ (Metsaline), sõna „vallutamine“ on muudetud heliefekte kasutades kuuldamatuks.

Kokkuvõttes oli see muljetavaldav debüütalbum ja vaatamata piiratud arvule (aasta hiljem valmistati veel 10 000 plaati ja kaksteist aastat hiljem ilmus ka CD) nimetatakse seda regulaarselt kõigi aegade parimate Ungari plaatide edetabelites.

11 issues of a bookwork-like samizdat art magazine published in 1983-1985 by Artpool in Hungarian (with summaries in English) about  local and global art events related to the neo-avantgarde (which were “invisible” to the official art press of the time).

The unique character of this publication-series lay in the creative misuse of differing regulations concerning graphical artworks and the press. For this reason, each copy was certified as art, signed, and numbered.

The materials published were produced (recorded, photographed, typed, copied, stamped, bind) and distributed by the editors themselves, and the layout was convergent with mail art and fanzine traditions, done by a trained and talented graphic artist.

Securitatea was a quarterly aimed at improving the training of Securitate operative personnel. Its articles were written by Securitate officers for Securitate officers and thus they touched upon practical problems faced during their specific mission of preventing and neutralising any actions that potentially threatened the communist regime. Among the many dangers that were outlined in the pages of the quarterly as undermining “state security” were foreign radio stations, and especially Radio Free Europe (RFE). The article chosen as a featured item of the collection presents under the title “Cu referire la relațiile cetățenilor români cu unele posturi de radio capitaliste” (About the relations of Romanian citizens with some capitalist radio stations) the perspective of the Securitate upon the activity of RFE and evaluates its contribution in providing an alternative source of information for Romanians. In the absence of underground publications, RFE represented the main source of alternative information in communist Romania. Thus, the Securitate regarded RFE and contacts between Romanian citizens and employees of the Romanian desk of this radio station as dangerous to the communist regime. Accordingly, the entire article focuses on revealing how RFE allegedly acts in order to undermine “state security.” Starting from the premise that RFE is the locus “of espionage, ideological diversion, and hostile propaganda,” the anonymous author traces the connection between this radio station and the American espionage machine, namely the CIA. The Central Intelligence Agency was credited with financing RFE and setting its agenda even after the American Congress officially took responsibility for financially supporting its functioning. The control of the CIA over RFE was underlined once again when discussing its organisation. The two management structures in the United States and Europe were allegedly infiltrated by CIA agents who engaged the radio station in their “ungentlemanly” war against communist countries and used it to collect information about them. As a result, the CIA used the microphone of RFE to proffer slanders and shamefully distort the realities of the communist countries, according to the Securitate’s interpretation of the broadcasting of news and other political programmes by this radio station. Even worse from the point of view of the Securitate was that people travelling abroad were an easy prey for “agents” working at the Romanian desk of RFE. After underlining the connection between its director, deputy director, and programme producers with the CIA, the article describes how they allegedly succeeded in manipulating Romanian tourists in order to collect valuable information about the country, its leadership, and the impact of its social and economic policies on the mood of the population. In other cases, they even managed to trick their “victims” and persuade them to emigrate. The narrative of blaming RFE for these “unpatriotic” deeds was an ideologically convenient explanation for the fact that the great majority of Romanians listened to and trusted RFE, in spite of the fact that this might have caused problems. At the same time, such a narrative was meant to highlight the vital role played by the Securitate as a guardian of the communist regime in Romania.