Mirskontsa as Event
Small, unevenly cut, and on the cusp of imagining new articulations of representation, Mirskontsa offers a special blend of content. From its nondescript but jarring figures, to its classical odes, Mirskontsa positions readers within a new relation to the text through the instantiation of multiple layers of conscious poetics. That is to say, by simultaneously (and immediately) locating alternative poetic formations, classical and personalized characters, and Rayonistic scenes, Mirskontsa bursts apart with literary life.
Mirskontsa offers an analytic inasmuch as it offers a book. Where Mirskontsa directs, we must follow. Consistent with variations of Ouspensky's theory of the fourth dimension and Roman Jakobson's re-vitalization of Sausserian linguistic practices, Mirskontsa begs the question of meaning-making across and upon a text, not simply in its narrative. In this way, it is possible to consider the hand-made quality of the text as an important signifier for the completion of the sound-shape image of the a book written 'backwards.'
explain world backwards-ness in theoretical terms (including relation to Jakobson and allude to fourth dimensionality theory
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This page references:
- Malevich, K. "Death of a person simultaneously on an airplane and on a railroad," in Vzorval' (1913)
- Larionov, Mikhail. Illustration from MirsKONtsa (WorldBACKwards), 1912
- Kruchenykh, A, and Khlebnikov, V. MirsKONtsa (WorldBACKwards), 1912 (cover)
- "Poems of V. Khlebnikov" (page from MirsKONtsa (WorldBACKwards), 1912