CoaRse CaLIBration
Through creative making of their own collaborative book, students explored historical literary phenomena, such as "zaum," or "trans-sense" language, a nullification or distortion of meaning through invented words, as well as visual abstraction, neo-primitivism, "Rayism," "Suprematism," "Prouns," and other visual innovations that manifest as illustrations and cover and page designs. Students took inspiration from the authors, artists and book designers from the early years of the Avant-garde, when visual and verbal "abstraction" developed simultaneously.
A century's distance from the creative ferment of the Avant-garde has given time to literary scholars and art historians to sort out radical innovations in verbal and visual cultures as if they were discrete phenomena. Time, also, has separated complex creative processes that transpired between people working in close partnership and common purpose into individuated lines of authorial credit. The scholarly impulse to conceive of cultural history on the model of scientific discovery is not, however, well-suited for understanding the ambiguous work processes and products of this brief historical moment.
As Aleksei Kruchenykh, whose "Dyr bul shchyl" (1912) is generally acknowledged as the first instance of "zaum" poetry, explained in a letter to A.A. Shemshurin, the visual and verbal elements of his book art, produced with collaborators such as Mikhail Larionov, or his wife Ol'ga Rozanova, are inextricably confused [for more on "Dyr bul shchyl" and its publication history, see Dexter Blackwell's case study on this site]:
Course readings and discussions were informed by Gerald Janecek's pioneering works on zaum, and the Russian Avant-garde artist book, as well as Nancy Perloff's most recent contribution to the topic, both of whom address the integrated nature of multimodal, collaborative arts. An "intellectual" grasp of the matter is not sufficient, however, for deep understanding. To jolt student researchers of the Avant-garde from any of their own automatic assumptions about art and literature, a hands-on, creative unit of zaum poetry writing, illustration and book-making, allowed an opportunity to view and reconstruct cultural historical processes, as it were, inside-out.Many have noticed that the genius of external beauty is highest of all, so that if anyone likes best of all the way, say, Te li le is written (from the painterly aspect) but not its meaning (toothless meaning, of which, by the way, there is none in zaum’ either), then it seems that such a reader is right and not a ruffian at all.
The word (letter), of course, has undergone a great change here; perhaps it has even been replaced by painting, but what does a “drunkard of paradise” care about all this prose? And I have already met persons who bought Te li le without understanding anything about dyr-bul-shchyl but who admired its painting.
On the matter of instantaneous writing:-Alexei Kruchenykh
- The first impression (by correcting it 10 times we lose it and perhaps therefore lose everything).
- By correcting, thinking over, polishing, we banish chance from art that in a momentary art of course occupies an honored place, by banishing chance we deprive our works of that which is most valuable, for we leave only that which has been experienced and thoroughly acquired, and all of the life of the unconscious goes to pot!
