THE RUSSIAN FUTURIST VISION (1991) a Research Project by Z. Laskewicz [part of the ZIZBILIT Collection of ZAUM Language Material]

ZIZBILIT presents . . .

THE RUSSIAN FUTURIST VISION

by Zachàr Laskewicz (1991)



A Research Project into Russian Cubo-Futurism



[Part of the ZIZBILIT Collection of ZAUM Language

Books, Articles & Films]



THE RUSSIAN FUTURIST VISION

by Zachàr Laskewicz (1991)

A Research Project into Russian Cubo-Futurism

This unpublished research article provides the reader with an insight into some of the radical developments which took place at the turn of the century in Russia, how that came to be expressed in ‘ZAUM’ (trans-sense) language, and what sets Russian Cubo-Futurism apart from other artistic movements.

The Futurist movement in art has been described as a period of "artistic rupture," the rupture of established genres and verse forms as well as of the integrity of the medium; categories such as "prose" and "verse", and most important "art" and "life" were questioned. It is the time when collage first makes its appearance and media such as painting, poetry, theatre and music are used in conjunction: Futurism is the time of performance art, of sound poetry. It was a brief Utopian phase when artists felt themselves to be on the verge of a new age that would be more exciting, more promising, more inspiring, than any preceding one. Although it became a phenomenon that was to spread throughout Europe, most of the creative activity was spawned in Italy and Russia, economically backward countries that were experiencing rapid industrialization. In the prewar years, political and aesthetic decisions seemed to be viewed on a parallel plane, hence the extraordinarily rich artistic production. Although art historians have been quick to stress the similarities between Italian and Russian futurism, closer examination soon reveals that it is only possible to compare them in the broader context of politics and large scale movements in art. Probably because of the more accessible and much more widely translated work of Marinetti and his clan, Italian futurism is largely viewed as the dominant figure in the art world at this time. This is unfortunate, because although the work of Marinetti was undoubtedly influential in Europe and has left an indelible impression on art, many of the fascinating treasures that Russian futurism has had to offer has been largely ignored. As more research is done into an area that was for so many years inaccessible, we at last have the opportunity to discover the true scope of these artists who have left us with a collection of truly unique experimental art works and theory.

This research project forms part of the ZIZBILIT Collection of ZAUM Language Books, Articles & Films.







The contents of the folder which this torrent refers to is as follows :

[1] ZIZBILIT presents : The Russian Futurist Vision (1991), a research project by Zachar Laskewicz

[2] “The Russian Futurist Vision” (1991), Z. Laskewicz – a research project into Russian Cubo-Futurism (.pdf)



[3] The Russian Futurist Vision – metadata (.txt)







uploader: Dr Zachar Alexander Laskewicz

website: http://www.nachtschimmen.eu

profile: https://kat.cr/user/ZIZBILIT/In addition to the KAT Torrent Resource account ZIZBILIT, other torrents of ebooks, sheet music, films and recordings primarily of my own compositions and films but also of multimedia material, scores and ebooks can be found through my website's Trading Post:

http://www.nachtschimmen.eu

http://www.nachtschimmen.eu/places/tradingpost.htm



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ZIZBILIT is taken from a Disfodish intransitive reflexive verb: ZIBLIZET. Without the reflexive prefix, ‘BLIZET(OT)’ is a transitive verb and can be used to refer to instruments or toys, i.e. Zätit nidiš blizetìs Dišflôtit ([it is so that] + [he] + [plays] + [flute]). With the addition of the ZI- prefix, the word becomes reflexive. As a result the nouns that are formed from this verb can be translated as follows :

[1] the act of playing oneself (i.e. one’s music);

[2] the act of playing the fool, making jokes at one’s expense;

[3] the act of self-pleasure (i.e. masturbation).

So what is Disfodish and why have I used one of its words as my profile title? It is an entirely fictive language spoken in an entirely fictive country. The relatively new study domain referred to as “Fictive Protolinguistics” is about studying the creation of artificial languages in an effort to better understand how language develops. What better place to teach this subject than at the fictional State University in Votstat; capital of the small unaligned province generally referred to as as ‘Dišfodat’ which also means simply ‘this place’ positioned somewhere between Germany and Belorussia.

I use this fictive language as part of my work as an experimental film-maker to question the efficacy of communication and the limitations it can put on human experience. As a composer I also explore the relationship between music, language and communication. The language and its deliberate artificiality also allows me to step back and ‘play the fool’.

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