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• 1 2017-04-13T10:53:02-07:00 Figuration:Collaboration 26 Tim Lewis - Final Course Scalar Project plain 423662 2017-05-12T16:08:47-07:00 The occasion for the Russian Avant Garde is commonly typified in the emergence of complex theoretical perspectives stemming out of the minimalism of Russian Futurism. This moment is typically particularized through the production of intricately/intimately designed, handmade books concurrent with a turn towards 'cubo-futurist' abstractions, as seen for example in the paintings of Kazimir Malevich . At work in this notable transition across and through striated artistic movements (Futurism, Suprematism, and Constructivism) is a simultaneous refusal and affirmation in art, language, and thought: Beyond the simple dimensions of the writerly, readerly, and narratively lies an essential, yet unheard of, active communicative element that informs and situates the aforementioned aspects of a text. 
  
  Inasmuch as hand-made books during the early Russian Avant Garde (1910-1915) were a uniquely collaborative effort--in that multiple artists, writers, and thinkers etc. were involved in the production of each text--so too were these books replete with figures and forms beyond simple geometrics. Collaboration, therefore, operates as a uniquely literary concept-- even in syntax, layout, and signification. Even more, the development and representation of collaboration as a radical literary action is evident in these text's construction of temporality.
  
  Principally marked in one of the earliest hand-made books of the era, Mirskonsta ('world-backwards'), the concept of a theory of language uniquely distinct from past, present, and future models of sound-ing emerged in this era and opened the possibility for a powerful intervention in what philosopher Maurice Merleau-Ponty would later call The Phenomenology of Perception.
  In the new linguistic undertaking of the Russian Avant Garde, the past and the future are not in some innocently new relation; instead, this occasion represents the reality that temporalities collaborate with each other to signify meaning in the immediate present. In the everyday relationships of artists, hauntingly sovereign female forms, and sense-restructuring poetry, these handmade books offer a new consideration for a literary theory that accounts for more than the author, the reader, and the narrative: A fourth dimension (temporality) of corporal intertextuality.