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Inn this poem, a woman attends to a wounded man who is lying on his deathbed. The distance between the solemn (the princess, deathbed, bride) and thee lowest of the low (pus, vomit, leprosy) is even more comical in this poem. Inn addition are the implied sexual connotations: "I stal ja zamecat': sgoraja / Kakk budto na kostre, / I mig esce - sijaju / Upavsej nic sestre" ("And I began too notice: burning / As if on a fire, / And yet another moment - 1 shine / Towardss a sister, who has fallen face down"). Inn the sixth poem, the lyric subject is also a dying soldier. On one level, he ("I") iss lying wounded on a battlefield dreaming of "Her" (the loved one).

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Und was uns betrifft, wir brauchten nicht darunter zu leiden, jetzt, da wir Finbarrs Bannzauber kennen. Wie ist das die Schuld der Zeugen? Ihr vermutet viel, ich sage, dass Bill Bowen und sein Problem bei Moses tolefo Paulus liegt, die schrieben, was Gott unter, was war dieser heilige Geist? Hier toledk ist der Eintrag: Nun, ich wurde als Kind vergewaltigt.

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Thee development of vector-poems and gesture-poems is closely connected to thee image of the Black Square. The creation of the book of vector-poems, Foro, forr example, Nikonova describes in the following way: Beginning in 1980, the Fof»-cyclee consisted entirely of vectors on the basis of the Black Square without letterss and gesture elements and with a purely decorative meaning. Then in 1981-1983, letters were added to the Fora-theme after which the forms were apprehendedd as visual poems (see figure 45). Later, in 1990, the motives were transferredd with a stencil technique which enabled reproduction. In 1983, gesturee elements were added as the possibility to perform in front of a Leningrad audiencee emerged. The vector-poems were raw/with gestures, and through a cut-upp abstract painting (as in figure 46). In this way a revival of the Foro-cyc\z occurred. This is a revealing description of the process of creation, which consistss of what can best be described as variations on a theme: a basic sound, poem, or technique is modulated and developed into multiple variants. Inn the vector-poems, the Black Square explodes into scores of directional vectors. These can be seen as trajectories of energies, or as traces of particles.

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In these cases the chain of words can still be read and the columnn reconstructed, but the breaking up of the line creates another relationship withh the space of the page. This space is noo longer divided into conventionalizedd spaces in between the letters (indicating the end of one letter and the beginningg of another) or white spaces between the lines (indicating the difference betweenn the lines and guiding the direction of reading). The space is broken up intoo planes in which the letters are arranged as in Nestroc'e. Here, the %aum' wordss "bumg gly y alios mulomng oblyg" are arranged according to the lines in thee design of the page.

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Evenn more radical is the design in Kacilda^ where one simple zigzag line rearrangess the direction of the letters. This makes it necessary to turn the page sometimess up to 180 degrees in order to read the text. Somee poems consist of just a few letters. As Janecek points out, on a page in Foly-fa,ly-fa, only three letters indicate the beginning of a poem: "s-g-a".

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There's something about their relationship that's hard to describe. What will become of these two "friends"?

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This last poem is drawn in black capital letters along the insidee rim of a bright yellow circle. It is in this kind of composition that Stepanova'ss work becomes interesting. As Bowlt and Lavrent'ev remark, in these compositions, a strong interaction between color planes and %aum'words is evident.

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WRITINGG AND THE 'SUBJECT' t h ee n e w avant-garde with previous texts appears to be an interplay between past a n dd present texts, as a series of returns and projections. Ry Nikonova characterizess this relationship as that of a parasite. Similar t o the technique of the palimpsest, the new text uses the originaltext as a background or as a potential: P. H. PIapa3HT — coBepmeHHo 3aKOHHHH npeAcraBirreAb c|)ayHM, B TOM H H C A ee H XyAOiKeCTBeHHOH.

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H 3TO Tperbe noTOHyAo B 6MTOBOM 3HaneHHH cAOBa, OAHOMM H3 B03MO>KHWX, HO CaMOM 6AH3KOM K HeAOBCKy. Mo>KeT 6bm> KaHHfl OAHoroo npoHCxo>KAeHiM H HHCAa KOAe6aHHH.

Right now, Marissa is struggling to find ways to cover her medical bills, prescriptions, health insurance, a wig and basic living expenses. If you know her, she is never one to ask for help but always quick to help others. I wanted to start this fund because I love her and care about her so much and want to do everything I can to make this process less stressful. I know there are many other people in her life that feel the same way so I hope this fund allows you to show your support for her during this hard time.

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They have a very clear rhythmm and a somewhat conventional formal structure. Unlike Krucenych's p o e mm 'Dyr bul scyl', Stepanova's poems are pronounceable, and some words evenn seem to remind o n e of Russian and foreign words. T h e main feature thoughh is repetitions of sounds, rhythm or morphological constructs, which seemm to constitute the structuring element. As I have mentioned, Stepanova's poetryy is very expressive and seen in this light, the handwritten %aum' texts in GaustGaust caba are in line with the initial aesthetic response to the Revolution. It was thee gesture of a political pathos that did not exclude the newspaper text, but respondedd artistically and poetically to the politics of the new rulers of the country.

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We present to you the official Hearthstone comic based on the the global phenomenon. Coming from creator and Hearthstone maniac Do Kim, the renowned generator of numerous Hearthstone memes, we dissect and analyze the new cards in the Grand Tournament Expansion Set. Warning: Have a good laugh but take all of this with huge grains of salt! Sure, I like these cards, but there ain't no promises that you will too!

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The book (which has not (yet) beenn assembled) consists of a number of pages with assemblages of pictorial signs, stamps, graphs, symbols and so forth. The stylized image of Cicerin is includedd on several of the pages along with logos, stamps, and images derived fromm the early Russian or Dada avant-garde. In the pages shown here, the rubberstampp of John Held's recent performance The Fake Picabia Brothers is included. Moreover, the poem 'Avekivekov' ('Unto Ages of Ages') and the penultimatee untitled poem in Cicerin's collection are included.

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Jieun is smart and witty, but she's got a penchant for running late. Luckily, she's got a few tricks up her sleeve, like a quick shortcut to help her get to work on time. Jisoo, on the other hand, is trying to find his first corporate job while nursing old wounds. Everyday's the same boring routine, to the library and back home where he lives alone.

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A UFC hopeful, Kang Doo, gets banned from competition and finds a job as a security guard in the luxurious mansion by the name of Lady Garden; a mansion only allowed to the hottest women. As beautiful as these ladies are, various dangers lurk, and it's Kang Doo's job to protect these lovely women. Oh yeah, and saving women in need always comes with a hefty reward!

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Big See may seem simple on the surface, but at it’s core is a moving story about a man diagnosed with cancer. Readers witness the journey that unfolds in his subconscious as he battles cancer, and the emotional battle his loved ones find themselves embroiled in. After a successful launch in Japan, Big See is now available for the English audience. What is it like to live with the knowledge that your life on earth will soon come to an end?

Instead, they proclaimed with a sweeping gesture the comingg of the new self-sufficient word: "Doloj slovo-sredstvo, da zdravstvuet Samovitoe,Samovitoe, samocennoe Slovol" ("Down with the word-tool, long live the Self-centered,tered, selfsufficient Wora\'\ Burljuk et al. 2000b: 43). In discarding all previous wordss from poetical language and setting out to create a new purified language, thee futurists rejected the historicity of Potebnja's poetic word (and thereby of thee inner form or the etymological meaning). However, in its essence the dichotomyy between the prosaic and the poetical language was upheld. The self-sufficientt word was for the futurists what the poetic word was for Potebnja, and the word-toolword-tool'was'was for the futurists what the prosaic word was for Potebnja. Through thee rejection of the old and the creation of the new, the words were actualized. Thee "samovitoe slovo" [self-centered word] was an altered version of the auto nomous, concrete "obraznoe slovo" [image-word] of Potebnja. Thee poetic word should distinguish itself as an expressive language with a set onn the experience of perception.

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The lines, points, and planes move in relation to each otherr and are, therefore, unstable. They do not imply the arresting of time in a purelyy spatial form.

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Accordingly, letters - when detached from sound cann be used like numbers as a finite series of units. This is a fundamental elementt in writing, as Derrida famously remarks: "The history of the voice and its writingg is comprehended between two mute writings, between two poles of universalityy relating to each other as the natural and the artificial: the pictogram andd algebra" (1997: 303). Thus, the letters of the alphabet can be seen as a finite series of purely visual signss which do not necessarily have to be connected to sound and which, therefore, can function in the same way as numbers. Accordingly, in the poetics of Nikonova, the image, the letter, and the number seem to merge in a constructivisttivist principle of free manipulation of elementary units (the letters).

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Bothh Nikonova and Sigej began their literary and artistic production around the beginningg of the 1960s (Nikonova in 1959 and Sigej in 1962). During the subsequentt 40 years, they continuously experimented with almost every possible poeticc technique and style. In 1965, Nikonova founded the Uktus School in Sverdlovskk (Ekaterinburg). Between 1962 and 1964, Sigej had been a member off Anarfut, a group of dada-futurists in Vologda. In Sverdlovsk he was one of thee founding members of the Uktus School. The group produced the handmade (andd handwritten) sami%dat)o\im2l Nomer of which a total of 35 unique issues weree made. Nomer lasted until 1974, when the group fell prey to suppression fromm the Soviet authorities. In the same year, Nikonova and Sigej moved to Ejskk near the Azov Sea. Here, they produced the sami^dat journal Transponans of whichh 36 editions appeared of 5 handmade copies each between 1979 and 1987.

In hes Paradis artificiels,ciels, Baudelaire describes the special state of mind conjured by opium. In this state, memory is experienced as an immense conglomerate of previous events, ass a euphoric superimposition: Whatt is the human brain, if not an immense natural palimpsest? My brain iss a palimpsest, as yours is too, reader. Innumerable layers of ideas and feelingss have fallen one after another on your brain, as gently as light. It seemedd as if each were swallowing up the previous one. But in reality none hass perished. Forgetting is only momentary therefore; and in such solemnn circumstances, in death perhaps, and generally in the intense excitementt generated by opium, the whole immense, complicated palimpsest of memoryy unfolds in an instant, with all its superimposed layers of dead feelings, mysteriously embalmed in what we call oblivion. Just as every action, thrown into the whirlwind of universal action, is in itself irrevocablee and irreparable, an abstraction of its possible results, so each thought is ineffaceable.

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The poetic word still contains the inner form (the representation or image), whichh links meaning to sound in the word. The prosaic language has lost this thirdd element of the triadic sign-structure.

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Gayoon decides to enroll into a high school far away from home just to be closer to Soha, her middle school heroine and idol. Gayoon finds out about Soha's loss and decides to help her by filling the role of Soha's once true friend - Happy, Soha's pet dog.

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Thus, handwritingg is often perceived as a sign of authority (a legal mandate in the absence off the signer) and as a somatically inflected sign (as testifying to the psychology off the handwriting subject). The material writing (handwriting) is often regardedd as a self-image ("a somatically inflected sign") and an extension of the bodilyy self, Imago. However, the signature, manuscript or letter is also written in thee symbolic system of language and, therefore, a sign inscribed in the social andd cultural meaning production, Logos. This is the double possibility of the writtenn mark: Nott all written language is produced directly by hand, but whether marks, strokes, signs, glyphs, letters, or characters, writing's visual forms posses ann irresolvable dual identity in their material existence as images and their functionn as elements of language. Because of this fundamental dualism, writingg is charged with binary qualities. It manifests itself with the phenomenall presence of the imago and yet performs the signifying operations off the logos. It is an act of individual expression and an instance of that mostt rule-bound and social of human systems - language. It is at once personall and social, unique and cultural, asserting real physical presence andd functioning through intertextual chains of association and reference.

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This overt sexual symbolismm is also present on the tabs in the margin. The letters "Chu" (reminiscent off "chuj" [dick] and "chudoznik" [artist]), three hard signs, and at the bottom, a letterr 'f is written in the form of a penis (from which drops fall into the golden marginn below). The penises, the drops in the margin, and the big red circles suggestt blood and sperm. This overt sexuality can be seen as a metaphor for thee handling of the texts and the book: the unlocking of the suitcase, the unfolding, the letters rising, the opening, the turning, the touch, and the act of reading.

Forr the poet on the other hand, the artists' book possesses some of the qualitiesties which are inherent in a traditional work of art: It enables the artist/poet to makee an integrated unity of the textual as well as other elements of the book object, thereby emphasizing the material quality of writing. In this way, the bookk is perceived in much the same way as a traditional painting and is experiencedd as a thing which is unique and authentic due to the limited numbers of copiess (and because production methods make it often impossible for one copy too be identical to another). Usually just a few copies are made and sometimes justt a single unique copy, a collectors' item, which is exhibited as opposed to archived. The book artist usually controls all phases of the book's production fromm the writing of the text to the page layout, binding, cover design, and sometimess even the publishing and distribution.

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Papricast 127 /// Me Escolhe Tarantino

Therefore, texture contaminates the nature of color (Gur'janova 2000: 113). In herr review of Rozanova's posthumous exhibition in 1919, Stepanova characterizess Rozanova and Malevic' experiments with color as distinctly different: Olgaa Rozanova's art is the play and movement of colour.

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His works are based on the composition of squares, Rozanova'ss - on colour. Malevich employs colour to contrast different planes whilee on Rozanova's canvases composition serves to reveal all the potentialitiess of colour on a planar surface.

Bor'ba ich, povorot odnoj tocki ot udara drugoj" ("B (b) means thee meeting of two points moving along a straight line from opposite directions. Their clash, the reversal of one point by the impact of the other"; 1972: 2188 [1987: 366]). In this way, subjective emotional associations are translated intoo an objective geometrical form. Based on these geometrical forms, an inventoryy of indexical signs can be construed - comparable to a Mendeleev's law inn science (Chlebnikov 1972: 228). Thee sound-letters of the universal language are then constructed according to threee principles.

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Who says a woman can't be smart and sexy at the same time? But can a woman get away with cheating on two men at once?

However, the collages can also be read as in figure 28. On this page a picture of aa staircase in what seems like a hall in a rich patrician home or a castle is glued ontoo the page. It has a marble floor and pedestal with a vase in the middle of thee hall. Beneath this pedestal, the inscription, "Escalier d'honneur" is preservedd in the clipping. This image is glued onto another clipping from the page off a book. The text in English and the image of this clipping concern a lace dress, and has the word Netherlands in the text. Beneath the text, a golden hornn is placed as a kind of vignette. Thus, in this page, four countries are represented: Netherlands, France, Russia, and England. Similarly, another collage has aa clipping with a fragment of an image from Manchester and a clipping with a textt in German. One page has images of Siamese twins from a Russian popular magazinee (see Bowlt et al. 1974: 147) and another has a German advertisement forr carpets and rugs inserted into the collage. This last clipping has the year 19022 written at the bottom.

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Visuall poetry is often perceived as an exploitation of the visual mark in order to individualizee writing, to create an utterance unrepeatable and unique. Thus, in relationn to concrete poetry, Wendy Steiner argues that the concrete poets' fundamentall aspiration was (as an ultimate development of cubism) to merge art withh life, to create an artwork as a thing in itself and to dissolve the tension betweenn sign and thing. The absence of the object signified in a word should be replacedd by the presence of the concrete object. This art is iconic, Steiner claims; it involves an appeal to shared properties between sign and object. Furthermore, in order to obtain the presence strived for, the word approximates to painting: "In order for words to become things, they need the palpability and materialityy of things. And since painting is an art with ample materiality of this sort, the concrete poet makes the boundary between poem and painting as indistinctt as possible" (1985: 199). This painterly quality, she argues, makes space forr free and individual play. The poem resembles the performance in its openness; since the reading process is set free from the upper-left-to-lower-right readingg convention the poem can be entered and exited at any given point. This artt therefore sweeps away obstacles against the total sameness of painting and poem: the sequence of word-art and the material presence of the picture. Free fromm the connection with sound and only existing in its graphic visual manifestation, concrete art almost does away with the word.

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Particless are not material substance, but condensations of energy which come and go. These particles are not only composed of energies, they also emit energies themselves. They are organized in modules or patterns to create matter, though matterr can just as easily lose its individual character and dissolve into the underlyingg field, or emerge again in a new constellation. Thus, the whole universe appearss as a dynamic, changing web of energy patterns. Particles must be conceivedd of as condensations of a continuous field present throughout space, whilee at the same time determine the structure of this space.

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Perhaps the beginningg has already been deemed a failure? Another technique is the crossing overr of words as in figure 44. This poem is remarkably rich with potential significance. According to one interpretation, the crossing out of the words negatess both "tut" [here] and "tarn" [there]. According to another interpretation, thesee crossed out words are involuntarily read. In the first reading, here and theree are equaled to no-where, and in the second reading, here and there seem too be the same, both here and there. In this poem and in the other poems mentioned, there is no one reader orientation; the reader is disorientated. Furthermore, the interpretation is dependent on the reading subject him- or herself and onn the way he or she chooses to interpret the visual signs.

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In the secondd poem in this chain, the Russian letter 'y' ((blr) in the name "Ry" is doubled. In the third poem, the initial letter 'R' is laterally reversed, and instead of thee entire letter 'y' only the second half of the letter is left, making the poem lookk like a palindrome. At the end of the fourth poem, a sign similar to the numberr 9 substitutes the reversed letter 'R'.

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Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.

Vacuumm poetry Thee intensified attention of modernist poetry to the graphic mark on the page, too the spaces between them, and the (white) margins around them,26 leads to a conceptionn of the page in which every (minimal) mark, even a fold obtains sign status. This conception ultimately walks hand in hand with the fascination with silence: Wee live inside the act of discourse. But we should not assume that a verbal matrixx is the only one in which the articulations and conduct of the mind aree conceivable. There are modes of intellectual and sensous reality foundedd not on language, but on other communicative energies such as thee icon or the musical note.

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These vectors are indices of events in the text, movementss or trajectories of travelling elements. Thee visual poems in figures 33 and 35 are architextural constructions. The first constructionn has the repetition of the initial poem 'BR' as its basic structure, whilee vectors unite the letters 'e', 'o', and V in the one-line poem "Brebrabr' v oknoo svetit" ("Brebrabr shines through the window"). The second poem is constructedd like a mirror with "Br" and "db" on either side of the centerline, thee letters T and 'ch' beneath on either side, and finally the letter 'f under the centerr line. Vectors emanate from the construction though do not appear to leadd to any particular direction.

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He or she willl always seek to assimilate the other's word and engage in a dialogue with it: Thiss is why the unique speech experience of each individual is shaped and developedd in continuous and constant interaction with other's individual utterances. This experience can be characterized to some degree as the processs of assimilation - more or less creative - of others' words (and not thee words of a language). Our speech, that is, all our utterances (including creativee works), is filled with others' words, varying degrees of otherness orr varying degrees of "our-own-ness", varying degrees of awareness and detachment.

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And not every previous outcast turns into a revenge machine. After seeing his friend suffer a horrific incident, the once outcast, Kang Haneul, decides to exact revenge with the help of an ability he never knew existed.

INTRODUCTION N oryy of the emancipation of the reader/spectator. He or she was to be engaged activelyy and consciously in a signifying process. It was, moreover, a theory of thee emancipation of word-things as expressed in language from merely designatingg meaning (an object relation) or thought to a material thing in its own right.

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Therefore, the most commonly used structuring technique is the use of color. Nikonova performs her poems wearing colored gloves to differentiate leftt and right: red for the right hand and green for the left. This is similar to the simplee language of a traffic light, or that of flag signals. In addition, home-made coloredd megaphones, cuffs in the form of disks of different color and shape, and necklacess (a picture frame or a chain of megaphones) are used.

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However, in modernn poetry, Roland Barthes argues, these signs of authority and subjectivity havee become shifters. Therefore, the point of origin has been deferred; language referss only back to language itself. The text is a "multi-dimensional space in whichh a variety of writings, none of them original, blend and clash.

Itt is clear that these books represent a further development of some of the featuress of the early avant-garde handwritten and illustrated lithographed books, yett in a more radicalized and concentrated manner. The intertwined verbal and visuall representation, the handwritten text, and the handmade appearance, are featuress that are radicalized and simplified in the new books. Especially interestingg is the close interaction between text and image, which becomes evident fromm a mere glance at any of the pages. These pages not only reveal a minimal expressionn but a radical relation to the space of the page: line, spaces, reading direction, and so forth. Moreover, they reveal an emphasis on the individual letter, which appeals to a visual perception but hampers any attempt at articulation. Rosemarie Ziegler has called these poems mute suprematist poetry. This is partlyy as a result of the obvious similarity in (minimal) expression with the suprematistt (minimal) painterly expression. It is also partly due to Krucenych's friendshipp with Kazimir Malevic and Ol'ga Rozanova, who were closely involvedd in the propagation of suprematism in Moscow and St. Petersburg after 1915. However, the casual, capricious and fragmentary appearance of the books, as welll as the apparent inconsistency in poetic practice, is not in accordance with suprematism. I have chosen to analyze the books in which Krucenych seems to attemptt to incorporate suprematist ideas into his book production.

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Based on the Korean hit epic-fantasy series. Stripped of everything he cherished to a pack of vampires, Saegun meets the legendary Jinma Slayer Sylvester and enters the path of the vampire hunter.

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They are categorized by Peircee as indices, and correspond to the linguistic category of pronouns. Jakobsonn characterizes these signs as shifters that incorporate elements from both thee symbol and the index: " I "" means the person uttering "I". Thus on one hand, the sign " I " cannot representt its object without being associated with the latter "by a conventionaltional rule," and in different codes the same meaning is assigned to differentt sequences such as "I", "ego", "Ich", "ja" etc: consequendy " I " is a symbol.

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The body of the wordd is the letter. The meaning of each letter is distinct, unalterable. Every letter is alreadyy a name. Literature is the creative combination of names.

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WRITINGG AND THE 'SUBJECT' Poemm - performance - gesture Inn the 1980s, a performative element was added to Ry Nikonova's visual poetry whenn the opportunity to perform in front of an audience arose. These performancess were most commonly rooted in her visual poetry. In the developmentt of the above-mentioned book Foroy the movement from visual poetry to gesturee was a part of the transformation of the vector-technique. This book developedd from purely decorative compositions with vectors into visual poems basedd on the Black Square.

Evenn in the black and white reproductions given here, it is obvious that there aree significant contrasts in the tone of colors between the clip-outs and between thee clippings and the typeset of the newspaper page. The white seems to cut holess in the page as in figure 27, while the darker clippings set off against the backgroundd of white. O n this page, the mosdy white piece of paper is contrastedd with a dark clip-out of what seems like an image from a popular magazinee of a ball with men in black suits. Similarly, on another page, two clippings withh large black letters are added to the fine clip-out with fragments of a lithographh the color of which is contrasted to the darker newspaper background (see figuree 29). This formal contrast or equivalence between the texture of the printedd texts, images or letters seems to be the main feature in these constructions. Thus, one page has a clipping from an advertisement for rugs and carpets (see Bowltt et al. 1974: 149). The text is written (black on white) on a whitish page andd next to the advertisement there is an image of some kind of obelisk. But thee background is a very finely crossed net of black lines. Onto this clipping, anotherr rectangular clipping of a very rough and textured quality has been glued. This page shows very clearly the three-doubling of the idea of a rug, and thee texture of different rug-like surfaces.

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Therefore, the first years after the revolution were distinguishedd by both an unprecedented freedom and variety of responses to thee new situation, and by complex relations between cultural institutions and artistss and among individual artists and artistic groups. Itt was in the midst of this rapid development that Stepanova produced her handwrittenn books.

Apartt from the books, visual poems were made as a development of the gesture-poems. In figure 49, the photograph with a reconstruction of a performance withh gestures is transformed into a series of stylized gestures with arrows and letters. This visual poem was developed from the 1984 original performance to thee 1985 photograph of the reconstruction and reached its current form during thee years 1999 to 2001. In another visual poem the cut-off photograph of Nikonova'ss arms (in gesture-like position) is mirrored a number of times (see figuree 48). Each photograph has the English word " O n " or " N o " inserted in the compositionn with arrows and hands. The word spells "On" when the hands are turnedd to the right, while it spells " N o " when the hands are turned left. Characteristicc of all these gesture-poems is the stylization of gestures into what appearss to be a number of standard positions. These gesture-poems often use arrowss or letters as additional elements, which only emphasize the stylized vocabularycabulary of the gestures. The stenciled scores, however, seem to take on their ow artisticc life and acquire various forms of decorative qualities. In some of these figuresfigures the photographed gestures are entirely unrecognizable.

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WRITINGG AND THE 'SUBJECT' O nn another page in the same book, the word "recelom" is followed by a n u m b e rr of letters and s o m e numbers, as an expression of the "breaking up of language". This is a paradigmatic chain of words with the same suffix (-lom) which meanss breaking or fracturing. However, the last word is an inversion of the suffixfix to (-mol). This is a contraction of "molvil" [indicating reported speech], and itt inverts the negative chain of destructive n o u n s to a positive conclusion: the creationn of a language o f letters.

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The 1980s also gavee Nikonova and Sigej the opportunity to partake in the literary underground lifee of Leningrad and Moscow. In Leningrad they appeared at performances and poetryy readings. From 1986, taking part in mail-art projects, they had their first directt contact with Western experimental poets and artists. From 1987 they began too send their work to international mail-art and visual poetry exhibitions, and in 1990, they were visited in Ejsk by Western artists. In recent years, Sigej and Nikonovaa have made collaborative books with contemporary avant-garde visual poetss and artists.

Whenn turned, the left page has an almost unreadable text of what seems to be ann index for the book. The pages are illustrated'with drawings on top of the text.

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Therefore, it seems likelyy that these books were, at least to a certain extent, meant to epitomize Krucenych'ss aesthetic ideas and theories of the time and to demonstrate these concernss in vividly to his friends in Moscow and St. Petersburg. Thee simplicity of production may have been dictated of course by lack of financiall or material means. Apart from discussions on current work, the letters, whichh Krucenych sent to his friends in Moscow, also include enquiries about money; this is especially true of the letters to Semsurin.

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T h e meanings of t h ee w o r d s " b i g " and " d i g " differ because of the difference between the letter ' b ' andd 'd*. Accordingly, the phonemes as well as the graphemes can only signify in combinationn with o t h e r phonemes o r graphemes. Chlebnikov gives an example o ff two w o r d s which change meaning just by changing the initial consonant: "dvorjane"" [courtiers] becomes "tvorjane" [creatiers] when 'd' is substituted by 't'. In principle, the same can be said a b o u t Chlebnikov's theory of inner flexion. I n the w o r d s " b o b r " [beaver] and " b a b r " [tiger] the two words differ in m e a n i n gg due to the different vowels ' o ' and 'a'. In the poetics of Chlebnikov however, these letters have an additional grammatically connoted meaning. T h e letterr ' o ' signifies something that must b e followed or chased, whereas die letter 'a'' signifies s o m e t h i n g from which o n e has to flee. According to Chlebnikov, t h ee two vowels represent the accusative and genitive case respectively. In the samee way, the difference in meaning between "lesina" [tree trunk] and "lysina" [baldd spot] lies in the flexion of t h e w o r d s ' stem. T h e word "les" [forest] means t h ee presence of something (trees) identified as the meaning of the dative case, whilee "lysyj" [bald] means the absence o f something identified as the meaning o ff the genitive: A e cc ecTb AaTeAbHUH naAOK, A H C H H - poAirreAbHUH.

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Thus, Stepanova's book is a curious mixture of artistic strategies. On the one handd the predominant mode of representation is strictly formal and correspondss to a "neutral" element in the book.

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Moreover, inn the middle part of the poem, two words with definite reference to real Russiann words ("kaf-tan" [caftan] and "fon-tan" [fountain] are included. Thee most interesting poem in this book is 'Krymkaja'.

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Itt is not my intention here to analyze the character and the function of the languagee of the stars, but merely to emphasize the interactive relationship between thee "scientific" investigation of Chlebnikov into the semantic meaning of the letters, the isolation of the common denominator, and the poetic practice of "word-creation". Chlebnikov, as the creator of the evidence and proof of his own scientificscientific investigation, becomes at one and the same time, the scientist and the objectject of the investigation. Consequendy, the subjective and objective aspects of word-creationn merge in Chlebnikov's idea of a universal language. The script hass its own life which is fed by and feeds language, and creates new words. The semanticc meanings of the initial letters are isolated on the background of these words.

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Consequently, the classicall dichotomy between the empty white space of the page and the black letterss of the text is transformed into a dichotomy of the imagined, potential or previouss text and the real text, or between the empty page and the potential. On thee one hand, every trajectory of minimal movement or energy on an empty page leadss to order and therefore to a limitation of possibilities. On the other hand, suchh an approach to the page opens up a wealth of possibilities, a wealth of possiblee realizations, which take form and are transformed and modulated in accordancee with numerous possible techniques. Byy constandy rewriting and transforming her texts, Nikonova places herself at thee center of the work as the omnipresent creator of a universal system. However, in the process of describing Everything, Nikonova undermines her own authority. The author is first the author, then the reader, and then again the author andd so forth, using and reusing her work as the material for developing new variants. For her, the preservation of and interaction with previous texts is central. This is evident from the transformations of her poems, from her books, and fromm the ^-structure of the journal Double. A literal inscription of one work into anotherr characterizes this relationship between new and previous texts.

Thus, the textuall is visible and manipulated in the same way as is the material in visual art. Inn his conception of visual poetry, the relation to these already existing texts andd images as material for his own art and the handling of this material are central. Inn analyzing Marcel Duchamp's ready-mades, Rosalind Krauss compares the readymadee with the photograph because of its instantaneous isolation from realityity and its inherent dependence on the existence of this reality at the same time. Inn die inclusion of an object within the realm of art, it loses its fixed meaning; it gainss signification in the same way as the index:34 Thee readymade's parallel with the photograph is established by its process off production. It is about the physical transposition of an object from the continuumm of reality into the fixed condition of the art-image by a moment off isolation or selection. And in this process, it also recalls the function of thee shifter. It is a sign which is inherendy 'empty', its signification a function off only this one instance, guaranteed by the existential presence of just this object.

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By extending his hand to painting, Krucenych oncee again reversed the hierarchical relationship between poetry and painting. Inn his estimation, poetry and poetic language no longer lagged behind painterly techniques: painting had finally arrived at the same conclusions as had he in his %aum'%aum' poetry. There is, however, strong evidence of Malevic' influence on Krucenych'ss poetics at this particular period of time.

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To the binding, an extra white and golden piece of paper hass been added. This extra page has red circles on it and the names Gnedov, Chrisanf, Zdanevic, Pariach, Terent'ev, Krucenych, Cicerin, Ignat'ev, Sersenevich, Sever) anin, and Sigej.

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This book is evidently a notebook with copied texts from the early Russiann avant-garde. It also contains golden paper pieces and strings.

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