Sphere (Google Translate)

Andrei Khanov
13:11, 18 октября 2019
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Briefly:

Word and picture. I am often called a philosopher, but I have nothing in common with university philosophy. Because philosophy gives clear definitions, and I express my feelings. I see some object — as an obsession, I draw it and when it is drawn, I express my understanding of the picture of my sensation in words. Words are the same part of my art form as painting and music. I am interested in the structure of these words of mine, as an idea. I believe that all words are a lie, but without words, a lie does not become less. Speech, like sleep, are parts of thinking; they consist of stages. Differences between people only in the sequence of these stages. This difference is determined by our nature. I doubt that this can be changed. But, there is always a point of view at which everything is in place. I see her. Figuratively. These are not the words of a philosopher, not a curator, but a conceptual artist, overwhelmed by the desire to overcome any discourse, including his own. The subject that I see and draw invisibly is the way out of this maze. I don’t see that people clearly understand the structure of their thinking, that’s why I show you how I see it myself.

Aesthetics. I understand academic art by creating an illusion. Vanguard — a game with the creation of such an illusion. In aesthetics, I am a supporter of the Greenberg flatness concept, which considers two different coordinate axes of the space of the picture, that it is academicism (modern kitsch) and avant-garde (the discourse of the modernist artist, modernism versus modern), and there is another, conceptual space between them as coordinate axes. That is, within the framework of such a concept, much more possibilities are expected: I can paint a picture, but I can also draw how I paint a picture. It gives me more opportunities to express my idea. For almost half a century, I have been consistently developing this concept of the 1960s, including the third, fourth, fifth, sixth and further elements: I can draw not only forms-illusions, not only games endowing the meanings of these illusions, not only conceptual meanings of the authenticity of my own work , not only all this together, that is — semiotic signs, not only chains of semiotic signs — discourses, not only the unity of all discourses, but the multiplicity (expansion) of such spaces. I call a lot of discourses — “sphere”, my understanding of this term differs little from the postmodern “unattainable consensus of all discourses”, which is the same as the Pythagorean-Confucian “unattainable harmony of all elements of his thinking” or pragmatic “chain of signs” , which is the same “Tao”, it is the fifth element, I understand it and for the last 35 years I have been interested in the further complication of this concept of thinking, up to infinity. This is my answer to the questions, what is the idea of ​​man, what is the idea of ​​nature? How did it all start? How will it end? Why? What does the space of human thinking — which is erroneously called the universe — look like timeless? I see all these ideas — an increasingly complex chain of concepts — the blockchain. Perhaps this can be called “spiritual knowledge”, if we mean the presence, premonition or understanding of such a large multidimensional space of true life, and the past, present, future are simply the coordinate axes of the location space of this object. Unfortunately, a person is attached to the surface of the soap bubble (past, present, future) of his knowledge. I draw this larger space that I feel. I just don’t lie to myself — and that’s it

There is nothing wonderful in the picture; it is a flat metaphor for the space of everyday life. The miracle of the picture is just words, the divorce of the sucker-spectator — by a curator-swindler. But, at the same time — in the picture — there may be a hint of something. Defect, distortion of the drawn space of everyday life. And, if this hint is emphasized, it will become obvious that this is a rhythm. Which is dissolved in the picture, as in a stream of metaphors of everyday life. If you show it, then it organizes the space of the picture, compositionally. Composition, concept, third element, sign is the picture itself. The fourth dimension is social meaning. But, there are more than four elements of the space of the picture.

How to see the rhythm of this more than ordinary? Video, when individual pictures are mounted as frames of animation and they flicker, due to this there is a feeling of invisible movement, when the rhythms and space defects of each picture merge into one image and you can see it. An ordinary video ignores such a transition between frames, focusing on the illusions of movement, but I’m talking about another video of this transition, when the frames themselves are not important.

When did it start? Children’s memory — endless fences planted with shrubs. I can’t say how old I was… Looking at these barberry-planted fences, all of a sudden, I realized that this is a decoration and it exists only because I feel it. I can touch, I can taste this berry. To prick a finger, there were thorns… This feeling makes objects exist. Until 22 years old, it was hard for me to talk, I stuttered and could not say anything, because I did not understand why, I need words, if I already feel everything perfectly? Over the years, I realized that these two methods, experience and knowledge — do not oppose each other, but simply are in different worlds. The inner sensation proved to be a word. By drawing a space of thinking, I find the concept of experience and cognition: figurative and logical thinking. Both right-handed and left-handed at the same time. But, such metaphorical hands, I, like any person, have much more. It is important to see them. Gradually, I gained experience, both logical and artistic. There was a time when they collided with each other, giving a strange effect, this led to stuttering, they just went into antiphase, but at a certain moment I realized that these are different directions of thought and the space that they show is between them. This is a completely different space, it is unimaginable, that is, it can neither be felt nor cognized. It is some other. It manifests itself at the intersection of these methods, as from a seed, from a point of clarity a tree grows, branches, defining the structure of our true being.

I consider my work successful, but the very criteria for success are ephemeral. Success can only be judged by its reflections; the main thing is not to pass off these illusions as success itself. Half of my exhibitions were destroyed, and the second half went to museums. Fifty fifty. All people are different. I consider the destroyed exhibitions to be more important. Museums, galleries are just social discourses. They determine only some of the meanings of the picture, far from all. Do not be limited only to them. There are conceptual meanings.

The first exhibition, the first performance, the first conflict, with the KGB in the 1980s. What do you feel, the KGB is not interested, only one thing interests you, do you follow the rules or not. The rules were that at first the artist gains a viewer, the viewer feeds him, the artist saves money and for the seventieth anniversary brings this money to the Russian Museum. It is in in Leningrad (in the USSR, in the 1980s). If you don’t know who to contact, call the KGB curator, he will help. All artists do this. And in the end, you will have this kind of poster: “Vanguard in the Russian Museum” — I went to this poster, tore it off, nailed it to another fence, wrote “on the Fence” instead of “in the Russian Museum”. It turned out — “Vanguard on the fence.” The exhibition was destroyed by the KGB, this is logical. The conversation in those years was tough, for protesting against the rules — they just broke their hands. But then, an inconceivable incident occurred: the KGB curator, the major, explained to me the rules, the history of the avant-garde, that the KGB itself “roofs” it, and that the avant-garde artists need the KGB only to show Europe if the Soviet Union changes power. I do not know what was leading me, I told him: say it all not to me, but to this stone. He says to which stone? I say — to this. We went to the stone, it was an upturned curbstone, on one side it was chipped, now the curbs are cast from concrete, and then, on Nevsky Prospekt they were made of granite, from the other end it was a black gravestone, and my name is written on it. The KGB curator remained standing near this stone, but I left and didn’t see him again, the KGB didn’t bother me anymore. Five years later, it turned out that this performance was watched by employees of the Leningrad State Museum of Religion, the stone was under the windows of this museum and they wanted to repeat the destroyed exhibition, outside their windows — inside the museum.

The first exhibition in the museum. Later there was another performance, I then had a workshop on Vosstaniya Square, while I was away, it was plundered by unknowns, as it turned out later by artists of a commercial orientation, it was revenge for the performance that I performed in their squat. I painted them the house in which they lived with colored dots. Windows, paints and small paintings were stolen from me, and windows were stained with large paintings, painting out. I then painted one picture on top of another, on the same canvas and in the rays of sunlight, all these layers of paint appeared simultaneously. According to the feeling of the space of the picture, it was reminiscent of modern virtual reality. Representations of which are changing all the time. The layering of the picture, as a metaphor for the invisible object of sensations. Museum staff saw this and considered it a sacred space familiar to them from the works of ancient sacred painting stored in their museum.

Refusal of the traditional painting technique. In the early 1990s, the curator of the exhibition at the Novosibirsk Art Museum demanded that my gigantic works, three by five meters, be closed with glass. At the same time, he did not provide workers for the installation of glasses. When I lifted the glass, it cracked, flew down and cut my hands. Tendons protruded in different directions from dissected hands, like strings, so for many years I could not hold my hand.

The sacred space of the picture. The Leningrad Museum of Religion and Atheism held my joint exhibition with paintings stored in the museum (Rembrandt, Rublev, Hokusai). He showed the sacred space of painting in different faiths, at different times, including modernity. The connection of times. And, art museums focused on the traditional meanings of the picture have long ignored me. Some curators invited, others interfered. In the end, all this confrontation with the museums ended with the fact that I took the paintings from all the museums, sewed a plague out of them and settled in it in the taiga. All! I am self-sufficient. I created my own world, my own civilization, here are its artifacts. Artists, musicians came from cities, we conducted psychedelic sessions, I told my stories. In 1996, I froze. I woke up at the Tulun station, for 500 kilometers, apparently some kind person, found it, put it in a car and drove it, there just a road goes from Ust-Kut. It was an unforgettable experience, of course it just hurt, then the pain dulled, and here, with consciousness, an amazing thing happened: the day came at night, it was in December, the snow had melted, spring weather, the sun was shining. And you realize that the unreal world and the real world simply coexist together, at the same time. Three suns in the sky at night. Constellations, like deer galloping over the tops of mountains. I directly felt that a person was given a certain sector of vision, and what is behind us, we usually don’t see, but it exists. The process of dying is due to the fact that vision gradually covers the whole space. And highlights the amazing things that are next to us. I was visited by psychedelic visions, fantastic, unimaginable… Everything was filled with some other meanings. It must be said that five years before, I was engaged in the art project “From Myth to Contemporary Art” — maybe I programmed myself. Then, slowly, slowly, this point of view narrows. At first — it returns to human consciousness, and then it becomes smaller and smaller, you stop feeling like a human being, a completely different view of the world (reptiles, stones). And in the end, this point fades and goes out. And you see the endless dead space, as if looking at New York, as if the lights were turned off in it, endless empty windows, endless empty rooms of types of consciousness in which there is nobody. As you move away and this space more and more, empty windows — further and further, you move away from the surface of the sphere to the center. And at that moment, when you come to this center — at this moment — the movement started back and I woke up. I realized that I was creating my own world, because going backwards, this was normal for an artist, they often called his imitation simply artistic thinking. Here, I had a question of that inner truth, which gives a feeling…

The structure of the composition. The first stage, I call it — the lost zero block — with what it all began, is the first feeling of being alive, I don’t know when it appeared in a person, from whom people took it, maybe from Neanderthals? Life itself sensed itself. Not as instinct, but as a sensation. Here is the first point of abstraction, in fact, human consciousness, separated from organs in the field of abstractions.

The event in Kiev was called the “art blockchain hackathon”, a hacker marathon, it all turned into kitsch for a long time. It was an intensive training course for virtual reality and people, and the first thing I noticed was that people getting into this space do not understand that this matrix is ​​the only picture of the virtual universe, and everything inside is actors it’s important that they do to shut themselves off from all of them, I created a room in this virtual matrix, laid out my floor, ceiling, walls from my paintings and while everyone was crazy, playing these virtual reality opportunities, I put on this helmet, went into this room and sat there. I called it the “room of meaning.” The event organizers noticed this, considered it a violation of the rules and erased the picture files.

When a computer file loses what it refers to, instead of pictures, if the path to them is lost, the program draws question marks. And, once, having returned to this room of mine, I found question marks instead of pictures. There is a huge question mark on the ceiling, on the wall, and at that moment I realized that this is the lost zero block. Compositionally, blockchain is a chain of generalizations when one element and its reflections are summarized in the next block. This is a block of postmodernism, then this generalization itself is included in the next block and the number of elements is growing exponentially. In general, the structure of the composition is very similar to the history of the creation of the universe, physical. In the beginning there were gluons, they formed quarks, an electron, a neutrino, then a table of Mendeleev’s elements is read. A sphere is a structure consisting of all variants of a substance. And so, in Kiev I found a lost zero block, I didn’t draw it, there was no game, there was no deception, I didn’t touch it, it arose itself, a miracle. This is the center of the sphere from which it all began. This is the entrance to space, the very first impression from which it all began, it is formed by questions that we ask ourselves and our answers to them, there is our logical cognition and artistic experience, all this combines, forming molecules of the spirit, then more complex connections are social roles and even more complex, ad infinitum.

The first sensation was a very complex object, both from a mathematical and physical point of view, from a sensual one, from whatever it was and had many hidden properties that did not appear at the first moment. I call it symmetries, when in some set there are two elements, reflection from left to right and from right to left or reflection by human nature and reflection by man of nature. This formula of pictorial composition appeared among the Taoists. Nietzsche only repeated it: “I look at the mountain, the mountain looks at me.” The reflection of the experience of sensing an idea with its feeling is the second element. One can introduce the third element into this set, as a generalization of all possible combinations of the first two. The whole variety of combinations of one and two — can be called three. When we have three elements, then combinations, possible concepts, are already twenty-seven. This is a semiotic sign.

But, as before, everything consists of primary abstractions, of reflections of nature by man and nature of man. Like molecules from atoms, they line up in some kind of complex structure, form the complex natural psychedelic substances of our consciousness. Human thinking is part of nature, therefore it is organized according to the same principles. Some force touches the inner string of human thinking. Who is this if not ourselves? And this force makes this string vibrate. The vibrations of this string have octaves: imaginary, real, symbolic. And the desire to combine the three spheres into a consistent unity is a concept, sign, generalization. Lacan said that the human psyche is formed by three independent rings that are intertwined but do not intersect, the Baromiev knot, we can say these are three coordinate axes. One axis is reality, common sense. When we understand the names of our feelings, the name of the feeling of an idea is equal to the idea itself. It only seems, but we believe. The second axis, it is symbolic, something as abstract as poetry, also leads to understanding, but to another, not to the ordinary. The third axis of thinking is imaginary. The symbolic always traumatizes the real. Presses on the real "I" and displaces most of it into the unconscious. This is a reference to Jung. It causes conflict, like a combination of colors. The symbolic is blue, red is intuitive. Red, intersecting with blue, forms purple. Tragedy, defect, violence. When a person is confronted with a symbolic, allegory of the will of the gods, he is forced to submit to him as a myth. But, if his own experience, understanding (a zone of mental comfort) is contrary to the symbolic, the real is simply distorted, falling into the dark basement of the Jungian unconscious and avenges neuroses from there.

Let“s say on TV they say: each of you, on your forehead is a horn and all the citizens of this country are unicorns. Common sense dictates that there are no horns. But, this symbol is convincing. Yes, here he is a horn, we are all unicorns, and a critical understanding of the fact that unicorns do not exist falls into the unconscious. And everyone with wild eyes running around, playing in these unicorns. This is the first type of combination of the real and the symbolic — collaboration. The second reaction is a protest, a revolution, when I stay with my own, I prove to others the feeling of the real, it is a hard way, but there is one too. The third option is to create a parallel reality, imaginary. Green color, water representations. The consistent unity of the symbolic and the imaginary is love, the wind of feelings, the color blue. The real, hidden in the unconscious, in the imaginary — is manifested as knowledge, which came unclear where, from outer space, the information sphere, the noosphere of Vernadsky, the astral. The combination of the most real and imagined, yellow, ignorance. It is important that in human thinking there is a fourth area that is different, both from the imaginary and from the symbolic and from the real, when all three spheres intersect all together. Plato called it “soul,” symbolic is wisdom. The real is rage, and the imaginary is passion. The teachings of Lacan, and in general French post-war postmodernism — all this is a repeat of Plato in modern language. There is the so-called seventh letter of Plato, very important for philosophers. For philosophers, it sets out the theory of the stages of speech, I speak of it on the example of the dial of a watch. The object of feelings, the transcendental idea, we do not know anything about it, it is three hours. Six o”clock in the afternoon, on this dial is the name of feeling. Nine hours, when this is the name of the sense of idea, we define the word as a formula. But, we can understand the formula from its drawing, it is twelve hours. For example, the Pythagorean theorem: the square of the hypotenuse is equal to the sum of the squares of the legs. It turns out a fork and you can continue this concept by adding new ones to each square, the mathematical tree of Pythagoras gradually grows from the theory of fractals. What is the visual metaphor of the Pythagorean theorem? Life itself, everything in our life forks, as a classification. But, I’m not sure that the Pythagorean triangle theorem, this generalization of the qualities of the soul, the concept, the square of wisdom is equal to the sum of the squares of the fury of passion. And we can use the Pythagorean theorem as the fourth object. (CUT, talking head enlarged). We can call it the formula of the soul. The fifth stage or fifth element, the very object of feelings, when we directly contemplate it, when we are freed from all mental structures, as from scaffolding. And, this object Plato called the truth.

From a postmodern point of view, all truths are false, therefore, instead of searching for unity, on the basis of false truths, people should seek unity with each other on another basis, that we are all human beings and can think as we please, without ceasing to be people. My feelings of this whole space of thought, if we draw them, and describe the drawings with words that it is inside all of us or we are in this space, because it is immeasurably greater. Life and art are its projections, shadows. And, this object is felt, it has being, this object is expressed. Artists express some inner objects of life. A craftsman differs from an artist in that he does not feel the object as truth, but feels it as something vague. In logical cognition, this object of feelings is the goal, and in artistic thinking it is the beginning of thought. It is impossible to say about him in words, you can only draw his own feeling. This is not the object itself, but only its drawing. a drawing of an object can be described with a word, but these are other words, not the concept of names of a sense of idea of ​​a vague.

The difference between the words of experience and knowledge is a Confucian gulf between people, when one person tries to say about his spiritual discovery, and another person tries to say about his feeling of this discovery. Now, when they meet, they are the opposite. There is a meeting of streams of thought. In the exact definition of the word, this is philosophy. The sphere of art is the same meeting, but in the drawing. That is, a drawing can simultaneously express this object of sensation — an idea, and at the same time can express ideas about this object. And such and such exists. There is a certain idea, a zero block, there is its reflection — a form, there is also a sense — interpretation of this form, there is a meaning, their generalization. This is the answer to the initial question — how reliably is an idea signified by its semantic form? Such a frozen space of a picture is a semiotic sign. For example, the flatness of post-painting abstraction is a sign. Postmodernism used this element (sign — picture) as a generalization. Therefore, the first way to determine the scope: there are different points of view, among them there are opposite, and all points of view are equivalent, that is, are equidistant from their center.

An example from mathematics is the Rimon infinite universe, which seems to be such an observer from the three-dimensional world. From the point of view of a mathematician operating in four dimensions — it is a closed sphere. What is the new, postmodern, fourth dimension? The scope of all social discourses. This space, in a straight line, cannot be seen, but you can feel how it is dissolved in everyday life and you can feel how our ideas about it are changing. And rhythms and changeability — if you see or feel them — change your own destiny. The ability to combine incongruous is manifested in matters like color balance, balance of forms and the fate of the artist. All this is the theory of Gu Kaiji, an ancient Chinese artist and painting theorist. If you understand the transience, the variability of everything, then it is very easy to build a form, because you do not become attached to one of its variants, you see the whole structure. We may not initially believe that we are capable of indicating something with this semantic form; this is self-irony or hypothesis. But, it can be a reinforced concrete argument that it is proved. And all this variety of possible combinations of the form of the idea, its meaning and reliability of the meaning is a semiotic sign, an abstraction. Abstraction immediately began to be perceived by sacred space, such as the Mark Rothko chapel. But, this chapel cannot be a temple of post-painting abstraction, there is a certain defect in it, as a hint that there is something more than this plane of the picture. And Pollock has it, and Rothko, and very many who have it. I don’t see the post-abstraction abstraction of the 1960s — the finale of art, this is only a new step, so I began to explore what it will lead to? This defect is manifested by the spontaneity of the movements of the brush, even the uniform movements cannot be exactly the same, there are differences, some kind of deformation — this is a new element of the space of the picture. A certain rhythm arises, the curvature of this space. The rhythm itself does not express anything, but its meaning is that it bends the space of the picture. For example, the performance tore the space of the picture from the plane of the canvas and transferred it to the space of interpretations of the picture by the viewer, into the space of social meanings. The flat space of the picture is distorted. Is it an illusion? If this is a perspective, it’s rhythmic, which creates the feeling that this is a space, but not by academic methods.

Then, I began to make pictures in tables and from fragment to fragment — this distortion accumulated. Like Aristotle, the total is greater than the sum of its parts.

There is always the opportunity to say in words and colors something more than they individually mean. And such my first step, in the 1980s, was splashing paint, in the dark, blindfolded, on the roof, from buckets, onto canvases. Complete unpredictability, it was completely unclear what would happen. And the following happened, this method was perceived by the curators as a protest against the melted art community. That was my way of manifesting a defect in abstraction. If this is a hint, then a hint of what? This distortion — the shadow of something more, if you do not lie, do not fake the picture with the expectations of your viewer, then this post-modern distortion will certainly appear.

Then, in the 1990s, I began to examine the time interval between paintings, I believed that the true picture is the empty space between the paintings, the gap on the wall. And I tried to minimize this gap. Literally. In the end, I was able to continue the flows of my sensations, manifesting the rhythms dissolved in them, almost up to a thousand works… A computer can all this speed up significantly. An example is the Novgorod Museum. When all my friends and fellow artists exhibited modern curses about ancient Russian icons, kitsch about abstract icons, I put up a table of 64 white sheets in this museum. At that time I had only two spray cans with yellow and red paint, and on each sheet (one and a half meter), with my eyes closed, I set two points, one with a spray of one paint and the other with another. I did not know where they would go, I did not know what they would show… I gave it to the museum, at the exhibition the sheets were put together and then, the rhythm of distortion of abstraction became obvious. The newspaper Novgorodsky Vestnik wrote — absolutely incomprehensible work. Although it was obvious to me that this was a post-modern generalization of post-abstraction abstraction, the first sphere drawn was a metaphor for the post-modern consensus of all discourses.

The computer gives much more opportunities to manifest this defect, and over time, I managed to put together my entire creative path, everything drawn in 30 years. In one work, this distortion of the space of the picture is difficult to catch, but if you put them all together… If the picture becomes a pixel, then the pixel of this rhythm, folding with other pictures, just draws something more… This is a development in time, performance a piece of life turned into a pixel and using this method, I — finally — managed to draw a rhythmic pattern of my life. I then decided, in general, not to erase anything, not to edit how this spontaneous flow is going, so let it go, anyway, in the real space of life — it is modeled. At a certain point, I realized that I was painting the astral body, or the sheath of thinking of a contemporary consumer society, the imaginary heavens, if not all of humanity, then at least those people whom I met in my life. The social game of a professor, a huckster, a marketer, a rebel, a (KGB) counterrevolutionary, an artist, a spectator, a curator, a gallery owner — these are all points in this sphere. It can be said that this is a sphere of consensus. When its points, or estates, which are behind various discourses, compete with each other — there is no consensus, there is no sphere. A sphere is a brief moment of unity, of a concept. When everything is built into a crystal. Everything is clear, everything is in place. When the sensation of this particular idea can be painted with paints, and having drawn — say about such a picture. But, human imaginative thinking is so arranged that this moment of clarity of thought about the structure of thinking does not last long, and as soon as we find a new toy — a sphere, such a social sphere is already a new element of the space of life, picture.

Mankind has not reached this point yet; this is an innovation. I created it without participating in society, by itself, it was my way. And I just faced the problem of artificial intelligence face to face. It came in dreams, in visions. In the skies over London, in the zero I saw horrifying pictures. In principle, this was a sphere, I saw how it falls into itself, will collapse, right in broad daylight at Piccadilly Circus, many times I walked around the center of London in circles, came to the same place (Piccadilly Circus), and again saw it. He made another circle, and again. As a sign from above that this did not have to be done… But, so I did it and immediately destroyed it. Now, there is no border between the accomplished performance, imaginary, that is, between reality, symbol and imagination and the composition of all of them, thanks to modern (visual) technologies, the borders are erased.

Virtual reality allows you to create a super-illusion of anything. And the other part of the new technologies, the blockchain, as an alternative super-notary, certifies everything, turning it into an object. And, it doesn’t matter, this subject of sale or further generalizations. All civilizations first arise, killing their Freudian Father, falsifying his glory, then they die, their tower cities collapse. This is the same sphere as some generalization, like Ancient Egypt (in Arabic al-Hemi, alchemy). And, now, when these heavens collapse, these elements, as parts of the sphere of the fixed stars of Aristotle, fall and are perceived by artifacts of a deceased civilization, Maya or my own. Not in the past, but in a parallel world of the concept of imagination, symbol and reality. In order for the ordinary world to accept this idea, first it must burst, explode. This explosion, the singularity — a failure in oneself, the destruction of the space of the former sphere of ideas, this is what I call the effect of a collapsed heaven. Namely, such a catastrophe opens the eyes to the fact that there is something more than everyday routine in this world. And, it is the process of collapse of this sphere that draws, with a dotted line, a hint, the path to the next space (expansion, expansion) of the picture. It already exists. Dissolved in the previous one, like a rhythm.

The sphere collapsed, what“s next? Exit to space… abstracts. This space does not have a simple geometric shape. The last few years, I have been mining (like mining bitcoin), this space in my works… I see it, I am accumulating it as an experience. I, here it can already be said bluntly — I believe that from the moment of awareness of the superficiality of human existence — the shell of everyday life is destroyed, the sphere is destroyed, a way out into something else opens… The modern geometry of the picture space is the space of all social games, but the awareness of their sphere, exempt from them. If you know something, it no longer bothers. I just don”t lie to myself, that’s all.

Artificial Intelligence: The End of Humanity ?! Can a person with weak brains be able to create artificial intelligence that will enslave him? We can say that it can’t… I felt it very clearly, there was only one step left and that’s all. Part of humanity has already been digitized. Communication takes place through a computer. On Facebook, we like, write comments, send messages and all these emotional reactions are decomposed into abstracts, emotions. It is like a mood. Like, dislike… If you remove and integrate these emotional reactions across all locations, you will see. that it is an impulse spreading from location to location. Everything remains in place, these changes in the digital environment, just waves.

And this sphere is electronic, it does not exist in heaven, it is nowhere, but you can draw it in heaven and convince a person to believe it, using blockchain technology, turn virtual reality into an object. Solaris. I will not say that these are waves of rationality, the sphere is the surface of thinking, thinking itself is somewhere inside. Ordinary — the projection of thinking on the social sphere. And it is impossible to distinguish the activity of artificial intelligence from this superficiality of attitude towards man. This is a postmodern or consumer society. But, if a person himself voluntarily says that we are ants, we are idiots, that we crawl in this sphere of discourse, play social games and there is no sense, there is no truth, so you don’t need to look for it, you just need to make money here and now, to solve current problems here and now, and not think about anything else, this position inevitably leads to the death of mankind.

I saw a way out in the fact that each person follows the path of all humanity, that is, not humanity is developing, but each person is developing individually, when the sensation is equal to understanding. Sensation is one axis, understanding is another. These are the coordinates. And the space itself — not to see, when we feel, we see it flat. When we understand, we also see it flat, but in a different way. A person actually exists in this large world, but has a limitation of his perception. And social games are various combinations of oppositions of these axes, that is, in this invisible space of combinations of axis reflections, everything happens, and a person leaves this space of his thinking — radically solves the problem of artificial intelligence. Because artificial intelligence is a terrible shadow that looms on the wall. When we ourselves are a shadow, this problem is dangerous for us, when we stop feeling like a shadow, and — we restore the object itself from projections, then this shadow simply cannot scare us, but it’s our own shadow, that is, artificial intelligence is a shadow, this large object, that is, ourselves. Starting from time immemorial, with the myths of ancient cultures, there are ideas about art, about everyday life and about a large space, in various images, in various terms. Not that this connection needs to be created, it already exists, not to lose it.

Afterword. And now, more than a year ago, you and I left this place. And then they came to him, and look what happened here this year…

I don’t even know which side to hang…

This is nature, this is what nature itself does with our ideas about it…

And, if academic painting is an apparent reflection of nature by man, then here nature itself reflected human thinking…

An attempt to look into the eyes of nature, with which she looks at us. And this her view is our thinking.

We are locked between two mirrors reflecting ourselves… "

And life itself… It washes away, washes away (paint), some details remain, textures, spots appear, and all this turns into a painting… By nature itself.

The thinking of a person is simple, it is the same… And with our thinking we erase all unnecessary, wash away… "

On a computer, it’s easier to do… That is, unfortunately, there are difficulties with the installation of the exhibition. And an exhibition is a metaphor, that is, it is a form… Form is an exhibition. The form of the picture, which in general, in the public consciousness has no form, it is equal to zero. She can be anything. And it makes no sense, he is subordinate to the social roles that these or other participants in the artistic party play. And as a result, thinking is isolated from awareness. Awareness of what? The awareness that this is not a perfect world, but there is some other…

Sergey, let’s work… "

Oh, come on, yes.

Captions: Andrey Khanov, art blockchain artist and postmodern philosopher, Moscow, Russian Federation.

Sergey Kukharuk worked on the film. 2019. The end of the film.


Documentary film essay by Sergey Kukhuruk


https://youtu.be/s3AsIi3ShyM

Sphere

0:00 Scene 1. Creation.

Computer rhythmic music sounds like a soundtrack of a simple computer game from the 1980s. From the darkness of the night of the screen, a sphere composed of abstract paintings appears. It turns into a pentagram, then again into a sphere, the sphere enlarges to the full screen and explodes with sparks, like fireworks, from the sphere there are only barely noticeable concentric circles — clouds on a blue background, which also explode with sparks, remains a phantom of the sphere — the gallo, against which it rotates lots of chess boards. A session of simultaneous human play with heaven begins.

In the beginning there was nothing, a space of emptiness. Then nothing comes out of it — a sphere appears, it swells up until it explodes, and its ephemeral remains also explode and are scattered throughout the universe by the intellectual games of nature into the game of man in reflection of this nature of his.

First, a triple, then a double spectral cross appears, as the border — the symmetry of the right and left, upper and lower parts of the phantom of the sphere, from which it again reborn and increasing in size — occupies the entire screen. Obviously, this is planet Earth, long before the appearance of life and man on it. Like a fantasy of a man himself.

0:32. Scene 2. From fragments of a sphere numbers are born.

one,

2 is reflection 1,

1 and 2 as right and left, as top and bottom, as front and back, as past and future.

Combinations 12, 21, 11, 22 — merge into 3.

3 is a lot of variations of combination 1 and 2.

Combinations 1, 2 and 3 (27 options) — merge into 4.

Combinations 1, 2, 3 and 4 (256 options) — merge into 5.

5 — this is the sphere.

The combination of 1, 2, 3, 4, 5 — merge into 6.

6 is an expanding space that does not have a simple geometric image.

Further complication of ideas is directed to infinity. It is difficult for a person to navigate in such a space.

A point of view arises, a present that exists only as a simplification of the true picture of the world. I am here in this point of view and point. Many of these points I — is the sphere.

Complexity and simplification, like a combination of 1 and 2, many combinations of 1 and 2 — there are 3 and so on.

Man’s thinking is space, the shadows or projections of which are the complication and simplification of his view of life, something third.

When a person’s thinking operates on one element (reality), it is a feeling of everyday ordinaryness.

When thinking operates on two elements — everyday routine and many of its variants — this is an intuitive name for the feeling of everyday routine in general.

When three is like a combination of all kinds of triangles into a geometric figure, a semiotic triangulation of reality. Folding from the fragments of a broken cup.

When there are four elements, this is a point on the social sphere of all mankind, which is invisible to man himself. A point on the sphere of his social games, such a game itself. His role.

When five, the sphere collapses, releasing a hint (dotted line) of much larger space.

A person believes that he can intuitively understand anything, but when he tries to demonstrate this understanding to others, a fiasco inevitably awaits him, mental constructions scatter into elements and this chaos — and this is also the same everyday life.

Confucius called such a problem — a man’s abyss of misunderstanding himself, one edge of this abyss is a person’s desire to tell others about his spiritual discovery, the other is his own unwillingness to listen to such revelations of other people. In American postmodernism, neopragmatism, the edges of this eternal abyss are called creative irony and universal human solidarity, custom.

There is no other way out than to build a bridge over this abyss between art and everyday routine over and over again. This bridge is creativity, in the terminology of Confucius — harmony according to the rule of the golden section. In postmodern terminology, there is consensus.

An ordinary person clearly sees that someone else is stacking these fragments more successfully than he is and just buying such a pattern as a product, as the name of his sense of a better life. In which he is not an ordinary person, but a reasonable person. Boasts another of its acquisition. But, who agrees to listen to him?

This someone else uses his ability to create illusions of the simplicity of the complex and sells to everyone else his explanations of his ability to allegedly put together pieces of thought — to the way he himself thinks who is not capable of it. It is not so important to be able to stack the fragments, how to convince everyone else that you know how to do it. Superficial signs of definitions — replace definitions. This trick is taught at universities.

There is a pyramid of social roles of the game in Homo sapiens. The success of this game depends on the credibility of the illusion of understanding created and the temptation to limit the number of options arises. To conclude the sensuality of the person who is the consumer of the names of his feelings in the matrix of surface features of these names. This is an intuitive life. But, not genuine. Genuine life is its complexity inaccessible to man.

The problem is that an attempt to explain the inexplicable phenomenon of creativity turns the viewer of an artwork into its author and the same game of reflections arises, the possible complexity of which is endless. Each person has a chance to understand this complexity as the complexity of himself, but he does it by simplifying the south from, and from you. Or, skiing is difficult to a simple point of view.

The idea that the director tried to simplify with his film is that human life is chaos, but any attempts to cope with it are doomed, but only these initially doomed attempts to understand life are life itself.

It is pointless to show this idea with thought, it is already the basis of any thought.

Of course, from a film by Sergey Kukhuruk it is necessary to cut out random pictures-illustrations taken by him from the Internet, which is a violation of someone’s copyright. Each image on the Internet has its own author. The director does not give any credits for these rights, which is unacceptable. Including the works of the artist himself. The mystery is revealed only in the last frame of the film. But the fact of the pirate use of other people’s works by the director only emphasizes the idea of ​​his film hidden from the director himself.

The film — in fact — is not about what the artist wanted to say, but about the director’s attempt to understand something from the words and works of the artist, mechanically gluing the frames. By mixing in them pictures from the Internet and their experiences with computer graphics. Pulling individual words out of context and compiling them in a completely different order, which seems correct to the director. But, it is this feeling of the idea of ​​stupidity of all mankind that is the subject (phenomenon) of the artist’s creativity, about which the director is trying to tell.

Frame change.

The structure of four numbers appears on the screen, 1234, these numbers arranged in a checkerboard pattern form combinations, the combinations of all four numbers at once are connected by lines, the mysterious structure of these combinations — rectangles — appears. Black on white, white on black. Different such rectangles are different colors of the spectrum.

0:38. Scene 3. The screen shifts from bottom to top and a person appears, sitting in an armchair, near the computer screen, on which is the frozen previous frame of the sphere.

(A man responds to the director’s suggestion, “let’s practice first”: “(So it’s). Don’t take the young fighter’s course, we should (so to speak) immediately drop (the viewer) from the cliff and see what happens…”

The man smiles as if he said some kind of joke.

Theses “Theses” appear.

The frame changes, this person says: “Time does not exist.”

A man rolls his eyes, making it clear that he is mocking at something that the viewer does not see. Or above your own words. It remains unclear.

The frame changes again, the person says (the beginning of the phrase is clearly cut off, who is “He” — not defined, some He): “He said so. There is death, as a certain axis (coordinates of thought), because it is all the same — movement. Dying is movement, life is movement. ”

The frame changes, a person folds his hands at the back of his head (as Sergey Mavrodi, a swindler who organized the MMM financial pyramid in Russia in the 1980s, liked to do) and says: “Now they often call me a philosopher, but (snorts, showing his disgust for this opinion) — there is nothing in common (with me) with philosophy. Because philosophy. — (she) — gives clear definitions (in words), and I (same) (in words) — express feelings. (That is) I see a certain object, I draw it and… (here) when it is drawn, (when) it (becomes) understandable, (here it is) my understanding (of the picture) — I express it in words. ”

The frame is changing. The man says, this is also clearly only the end of the phrase: “So it is. Academic art, like creating an illusion. And the second is a conscious (frame change) game of creating such an illusion. ” The frame is changing. “And, creating such an illusion of the picture… That’s why the concept of Greenberg’s flatness, (here’s just that) is like two different coordinate axes, (she, Greenberg’s concept), that there is academicism (like kitsch) and there is avant-garde and space between (just) and is determined by these axes. (That is, within the framework of such a concept is assumed) — much more opportunities. (That is, let’s say) — I can draw a picture, but I can draw how I draw a picture. (It gives me) much more opportunities to express an idea. ”

The frame is changing. “There is a certain object, whatever, in the world (of) ideas it is… And where is this (this) world of ideas, inside or outside of a person… It doesn’t matter (a person waves his hands, gesturing a denial)… (Is) (some) object, object of sensation. (Here) I feel it (s). "

The frame changes (a person shows thoughtfulness). “Probably, this can be called spiritual knowledge, if we mean (uh…) (as it were) (his) presence. (Or) — a hunch (like his) understanding of (such a) large space. "

The frame is changing. “But this object — (this) is the real life, and the past, present, future, (here) (well) are just the axes (the coordinates of the space of this object). Unfortunately, a person is attached (here) to this surface of this soap bubble (past, present, future) of his knowledge. ”

The frame is changing. “And I draw (this) this spiritual space”… He waves his hands, denying what has been said… “Spiritual, sacred… Gestures by gestures his disbelief in such definitions and disregard for the opinion of his interlocutor. “The large space that I feel. I just… (Well) I just do not lie (to myself — shrugs) and that’s all…”

The frame is changing. “Over time, (to me) (as it were) it became obvious that the picture can be compared with the stream of everyday life… (I mean professionalism, the artist’s experience). Because there is nothing such (here), there is no miraculous in the picture… (The miracle of the picture is just a divorce of a sucker-spectator. A curator-swindler). And at the same time (here) there is a hint of something. And if this hint is emphasized, then (then) it will become (completely) obvious that this is a rhythm. Which is dissolved (in the picture, as in a stream of everyday routine). If it is manifested, it “dissolves” (here the pun, “dissolve” — “desolvate” — is consonant, in the American postmodern philosophy of the 1980s — with “understand”, paralogism arises in Russian — a semantic paradox, “dissolve” — it is both concealing and revealing the hidden, here it “dissolves” equal to “manifests itself”) and organizes (here) this space of the picture, compositionally ”.

The frame is changing. “The video also told (to you already) when individual pictures are mounted as animation frames and they flicker, and due to this (here) some movement (arises) that we see (that is, the very same) rhythms and defects — (they) — merge into (just one) image, and you can see it. ”

The frame is changing. A fragment of video art for computer music (abstract structures). Not fussing. Obviously a director’s mistake. Not that example. The hack of the director.

Captions: “part one, fragments of a biography on the fence.”

Installation footage of the exhibition “avant-garde on the fence.” In the middle of the field, 2018.

Text behind the scenes: "I remember… Some kind of childhood memory, some endless fences (in Novosibirsk Akademgorodok), endless fences, (aah… these are fences, fences… And to hide this horror, all these fences (were) I can’t say how old I was… Looking at these barberry-planted fences, I suddenly realized that (this fence, here) this decoration — it exists only because (uh…) I feel it. I I can touch, I can taste this berry (to taste) As soon as I pricked my finger… There, some spikes… There are different Withered plants grew.

This sensation, I call it (precisely) sensation, not feeling, but sensation, this (how) touch, (here) it makes (these) objects exist "…

Personnel of the poster of the exhibition “The concession of 1988 is alive, post-pragmatism is alive.”

“Up to 22 years, it was hard for me (uh…) to talk (I stuttered and could not say anything), because I did not understand why, I needed words, why a word, if I already feel everything perfectly…”

Change of frame, a talking head appears again on the background of a computer screen with a frozen frame of a sphere.

"(Why), with the help of these approximate constructions — words — with a purpose — come to understand what I already understand."

Change of frame, installation of the exhibition and the exhibition itself in the gallery.

Text behind the scenes: “Even more, over the years, I realized that these two methods (experience and cognition) — do not oppose each other, but (they) are simply on different planes and in different worlds. This is (this) inner feeling , (it then) proved itself to be a word. (My words -) it (and manifested) a space that is formed (here) by these two different types of (thinking :) (experience) and cognition: figurative and logical. Like right-handed and left-handed at the same time .

And gradually I accumulated, as a logical experience, (and) (here) (artistic) experience (here). And, at one time, they (as it were) collided with each other, gave some kind of (strange effect), entered the antiphase, but at a certain moment I realized that these are just different directions of thought and the space that they manifest — (it) is between (them). (This) is a completely different space, it is not imaginable, that is, it can neither be felt nor cognized. It is some other. Well (and now) at the intersection of (these) methods, it (manifests itself) as (some) tree, (here, from) the seed, from this point of clarity (here), it is simple, branching, defines some kind of structure… (true being).

Frame change. Talking head again.

“Half of my exhibitions were destroyed, and the second half (that means) went to museums. And now… (Well) fifty to fifty… All people are different.

Change of frame, exhibition on the fence.

Voice-over: "… What do you feel there, nobody (or rather the KGB) is interested in it, only one thing is of interest, do you follow the rules or not.

(These are the KGB rules). First, the artist gains a viewer, the viewer feeds him, the artist saves money and for the seventieth anniversary brings this money to the Russian Museum. It was in St. Petersburg, in Leningrad (in the USSR) (1980s). (If) you know who to contact there, call us, we will help you. All artists do this. And in the end, you’ll have such a poster "…

“And he shows me — the poster is hanging on the fence, and it says on it — Vanguard in the Russian Museum — this is your poster”…

“But I felt it so (now) lying all this… and I went to this poster, tore it off, nailed it on that (on the other) fence, painted over the words — in the Russian Museum and wrote (instead) — on the Fence. And it turned out — Vanguard on the fence. "

Laughter.

“After that, the exhibition was destroyed (KGB), that’s logical.”

“The conversation in those years was tough, they just broke their hands (and that’s all). If (you are a protester against the system) the artist — they just break their hands, I don’t know what they did to the musicians. Well, this (now) is just part of that time, (I don’t know) it’s neither bad nor good, it was just like that…

BUT…

And then, some completely (also) inconceivable event occurs, he (I mean the KGB curator), major, he explains to me, and more and more, and more and more (times), (meaning) — trying to find a mistake in my (sort of) actions, explain it to me…

CUT TO, talking head again.

Brushes off a hand.

“Explains to me the history of the avant-garde, that (as it were) the KGB itself (all) covers it, and that this (avant-garde) is needed only for… You are needed only for… God forbid, the (Soviet) power will change, so that there was something to show Europe… "

“Here, I listened to him, listened, but anyway… I’m here… From the words… Even. I did not feel (all) of this, although I understood that he was referring to some interesting theories, to philosophy… "

Mark 9:00. Change of frame, random urban shooting in St. Petersburg, which has nothing to do with the story.

"I don’t know what was guiding me, I told him: say it all to me, I just expressed my feelings with these words, but say it all — to this stone, just meant a stone, don’t speak to me, speak with a stone , the metaphor is such, (after all) the result is the same, (that is) I don’t listen to you anyway. He says — to which stone? I say — well, to this.

We went up to this stone with it, it (was) a curved curb, and approached it, it turned out that it was chipped on one side, (well, this) is a normal (here) curb, now they are cast from concrete, and on Nevsky the prospectus they were made of granite, chipped from one edge, and what they dug up was (was) a black plate, polished, gravestone, and my name is written on it… "

The frame is missing.

(The curator of the KGB remained standing near this stone, but I left and didn’t see him anymore, the KGB didn’t bother me anymore. Five years later it turned out that this spontaneous performance was watched by employees of the Leningrad State Museum of Religion, the stone was under the windows of this museum and then they appreciated what was happening — the destruction of the KGB exhibition and this conversation with the stone — as a manifestation of some modern religion, and they kept religious artifacts in their collection and then they wanted to repeat the exhibition and performance that took place and their windows, outside, inside the museum) "

"(Later there was another spontaneous performance, I then had a workshop on Vosstaniya Square, while I was away, it was looted by unknown people, as it turned out later, avant-garde artists of a commercial or socially oriented direction, it was revenge for the time I spent in their squat performance. I painted the house in which they lived in rhythmic color dots. They stole the windows, paints and small paintings, and blocked the windows with large paintings, painting out. Hard times came, the USSR collapsed, and with it the whole established society For a living, the Western museum workers who supported us disappeared. There was a pause outside the time of the 1990s. Kitsch won. There was no money. I then painted one painting on top of another, on the same canvas and in the sunlight, all these layers colors appeared simultaneously. Something reminiscent of modern virtual reality, according to the feeling of the space of the picture. The very invisible object of the artist’s sensations. The ideas about which are changing all the time. These changes of one’s own view are like the versatility of the picture. Museum staff saw this and considered it a sacred space familiar to them from the works of ancient sacred painting stored in their museum. ")

9:44 a.m. Frame change. Talking head.

"That gallery (the Novosibirsk Art Museum, formerly called the art gallery) where you worked (an appeal to the director of the film, who worked in this museum in the early 1990s in preparation for my exhibition)… Nazansky (another museum curator), then returned from vacation and made me all the gigantic (my) work, it’s easy there… Three by five meters, put in glass. (At the same time, he didn’t provide workers for installing glasses).

I lifted it, the glass bursts, flies down, three by five meters, and cuts my hands (fucking). From the hands, you know, like strings, how (now) if you break a guitar, they stick out in different ways, and these tendons, they look like strings…

Therefore, the brush (for me) for many years was simply inaccessible, after this (here) exhibition — I could not paint, (I could) just scrub the canvas, nothing more…

Well (actually, laughs), I’ve mastered this method as well… "

10:32. Change of frame, picture and photo of an artist of different years, turning over as years: 1986, 1987, 1989, 1991, 1993, 1994, 1995, 1997, 1998,

"The Museum of Religion and Atheism finds me and offers to make an exhibition, a joint exhibition with their works (works of ancient sacred painting, stored in the museum). They showed that they (had) such a concept — sacred space in the language of painting in different faiths.

Sacred art, into which they immediately wrote me down… I was just sent to the ghetto there… "

10:54. Frame change. Talking head.

“And, museums, for a very long time did not want (here at all) to reconsider this issue.”

11 a.m. Frame change. Horses in the mountains, shot of Siberian nature.

Voice-over: “In the end, it all (confrontation with museums) ended up taking pictures from museums, stitching them and settling (in it) in the taiga. That’s it! I’m self-sufficient. I created my own world, my own own civilization, here are its artifacts…

There is my house (a plague of paintings) and that’s all… Artists, musicians came from cities, we did some (psychedelic) sessions, I told (there) some stories… "

11:24. “In 1996, I froze. I woke up at the Tulun station, 500 kilometers from the place where I was frozen (in the mountains), apparently some kind person, I found, put him in a car and drove it, it’s just the road from Ust-Kut. I woke up, of course it just hurt, then when the frostbite goes away, everything falls off…

But, at a certain moment (when you freeze, at the time of dying) the pain, not that it would go away, it dulls, and here an amazing thing happens (with consciousness): it was night, the day came, the snow melted, that is, it was in December, the snow has melted, you know. such is spring (weather), the sun is shining, at night. And you realize that (here it is), that this unreal world and the real world, they simply (coexist) together. At the same time. Three suns in the sky. (At night).

In short, the essence of what, here we have a field of vision. Here I am trying to show now. I don’t see my hands already. "

12:26. Frame change. A man shows the boundary of his field of vision.

"Now I don’t see them. But I see them. Here is mine after the sight, that is, I can only see this quarter. The person has been given a certain sector like this, and what’s next (shows it there — with hands behind him) — (that which we do not see) — it exists, but we simply do not see it.

And this process (of dying) — it is connected with the fact that this is (my) spherical vision, it covered the whole space. And highlighted the absolutely amazing things that are next to us, but we do not see them.

In a metaphorical sense.

And so it (the field of vision) expanded, (came) completely psychedelic visions, absolutely fantastic, that is, unimaginable… Everything was filled with some other meanings…

Well, it’s still necessary to say that for the last five years (before this) I have been engaged in an exhibition (art) project — From myth to contemporary art — maybe I have programmed myself.

Then, slowly, slowly, slowly, this point of view narrows. First, it returns to human consciousness, and then it becomes less, less, less…

Also, you cease to feel like a person, a completely different view of the world (reptiles, stone). And in the end, this point — it’s less, less, less, less and fades out, fades out, fades out, dies out and it goes out. "

13:45. Frame change. Talking head.

“And you see some endless (some endless)… You know, if you look at New York, as if you turned off the light in it. Now, endless empty windows…

13:54. Frame change. A crumbling empty building amid the lights of a big city.

Voice-over: “endless empty rooms (consciousnesses in which there is nobody). How would you move away and that’s all — more, more, further, further… Further, further, further, further, this is empty space and it is huge, huge, huge and more-more-more-more-more… You move away from the surface of the sphere to the center, and at that moment, when you come to this center — at this moment — the movement started back…

14:17. Frame change. Talking head.

"… And I will wake up…

14:19. Captions. Part two, the art of sensation: do not lie.

14:23. Frame change. Talking head.

"I understand. I realized that I was creating my own world, because I go backwards, they simply call it imitation with artistic thinking.

Well, I have a question here of that inner truth that the sensation gives…

14:38. Frame change. Footage nature, sunny day in the taiga.

Voice-over: “The first stage, this… I call it — the lost zero block — how it all began, and in a large civilization and (in mine) parallel — a sensation. Sensation, that’s the first feeling of being alive, I don’t know when it (in a man) arose, from whom it was? From whom did people take it? Maybe from Neanderthals?…

15:04. Frame change. Talking head.

"History in Kiev… The metro was called…

15:10. Change of frame, photo from Kiev, from the event.

Voice-over: “… art blockchain hackathon, it turned out to be a hacker marathon, well, it all turned into kitsch for a long time. It was such an intensive training course in virtual reality and people getting into this space do not understand that the only picture of this imaginary virtual universe is matrix — is…

15:26. CUT, talking head.

"… this matrix itself, and everything inside is actors, no matter what they do…"

15:31. Change of frame, the director inserted an example of a video shot in a virtual reality program, but does he have the right to insert this frame in his film?

Voice-over: “in order to isolate themselves from them all, I laid out the floor, ceiling, walls from this (my) picture into the virtual matrix, and when everyone went crazy, playing these possibilities of virtual reality, I put on this helmet, and… into this room…

15:49. Frame change. Talking head.

"… and sat (there). A room of meaning…

The organizers (events) noticed this and…

15:57. Frame change. Image of a computer basket.

"… and erased the files (pictures). When a computer file loses what it refers to, instead of pictures, if the path to them is lost, the program…"

16:06. Frame change. An image of a man surrounded by question marks, does the director have the right to use such a picture from the Internet? In general, there is clearly a contradiction between the individual frames of the film and their composition. The director falls into illustrativeness, makes a “journalistic jeans” from absolutely non-commercial material.

Voice-over: “… draws (instead of lost pictures) — question marks. And, once, returning to this room of my meaning, I found question marks instead of pictures. There is a huge question mark on the ceiling, on the wall…

16:18. CUT, talking head.

"And at that moment I realized that this is the lost zero block.

Well, blockchain, this is some kind of chain, in fact, not just a chain, but a chain of generalizations, when here is one element and its reflections — are summarized in the following. Well, this is such a block of postmodernism, then this generalization itself is included in the next block and is already being generalized, and the number of elements is growing exponentially…

16:46. Frame change. Illustration of the big bang theory as the origin of the universe.

Voice-over: “In general, it is very similar to the history of the creation of the universe, well, such a physical one. That is, in the beginning there were an electron, a positron, then an electron and a positron formed… The table of Mendeleev’s elements is read, very clearly and this one is the lost zero block…

17:05. A frame change, some kind of cross or cutting of a box of paper, obviously a random picture downloaded from the Internet.

Voice-over: “So I introduced it, so, presented it, I didn’t draw it, there’s no game, there’s no deception, I didn’t touch it, it arose, a miracle. Besides…

17:15. Frame change. Talking head.

“In addition to this sphere itself, it has a center from which (it all started). Which (here it is) is the entrance to this space, some first sense of how it all started, these are these questions, these are questions that we ask ourselves and answer them, (here) our (logical) cognition, (artistic) experience and everything (it’s somehow) combined, forming (here are some) molecules of the spirit, then, then, some complex compounds… ”

“This is the chain of generalizations that I’m talking about. It started with such a first feeling of life. Life itself, it felt itself.

5:51 p.m. Frame change. Picture from the Internet: a person looks at a model of his brain.

Voice-over: “Not as instinct, but as sensation. That is, sensation, which, in my opinion, is such a first point of abstraction, well, actually, human consciousness (separated from organs in the field of abstractions).

18:02. Frame change. Talking head.

"Sensation — it was a very complex object, well, from a mathematical point of view and (from) a physical point of view, from a sensual one, from any point it had a lot of hidden properties, which (means), at the first moment, they did not appear, but (they) were present.

18:26. A change of frame, a mirror on the background of nature, a random picture from the Internet, somewhat reminiscent of the work of the Russian artist Francisco Infante.

Voice-over: “I call it symmetries when there are two elements, in some set, well, let’s say, reflection from left to right and from right to left…”

18:36. Frame change. Talking head.

“Reflection by nature of man and reflection by man of nature…”

18:41. Frame change. Random picture from the Internet. Golden statue of a Taoist sage on a background of foggy mountains.

Voice-over: “Well, this (this formula) appears among the Taoists. Nietzsche simply repeated (this) — I’m looking at the mountain, the mountain is looking at me. ”

18:49. Frame change. A random picture from the Internet, a Buddhist monk prays to the mountains.

Voice-over: “two elements can…”

18:52. Frame change. Talking head.

"… Combine. One — two, two — one, well, or two or two. You can introduce the third element into this set, as a generalization (of all possible combinations) of the first two. That is, (here) this is the whole variety of options for combinations of one and two — Three can be called. When we have three elements, then the possible ones…

The previous generalization, when we generalized, (how) surrounded by some sphere, and into this sphere, without looking at what is inside, we call a new element. There are three elements, now, and there are twenty-seven reciprocal combinations of the three elements.

But, as before, everything consists of some primary abstracts. That is — (from) reflections by human nature, reflections of nature by man. But, they line up, like molecules from atoms, they line up into some kind of complex… "

19:41. Frame change. Clip art from the Internet, a microcircuit under a microscope.

Voice-over: “… structures. That is, they form some complex molecules, well, some (natural psychedelic) substances (of our consciousness).

In the beginning there was a string of thinking, now, thinking is a certain string,

19:49. Frame change. Internet clip art on string theory.

Voice-over: “Well, as in physics — a string from string theory, now, some kind of primary element, of which everything consists, primary element…”

19:54. Frame change. Talking head.

"… of space. Someone is touching this string."

19:57. Frame change. Clip art from the internet, human brain.

Voice-over: “Thinking of man is also a part of nature, therefore it is arranged according to the same principles.

29:03. Frame change. Talking head.

“Some force also touches the inner string (of thinking) of a person.”

20:06. Change of frame, computer picture from the Internet — the brain inside a person.

Voice-over: “And this force makes this string vibrate. This string (its vibrations) has octaves… "

20:11. Frame change. Talking head.

“These are the abstracts (of which I spoke)…”

20:15. Frame change. Photo by Jacques Lacan.

Voice-over: “That’s the same as Lacan’s: imaginary, real, symbolic. And his desire… "

20:19. Frame change. Talking head.

"… this is a combination of their three (all three spheres of the human psyche into a consistent unity), that is, their generalization.

20:23. Change of frame, talking head larger and in different clothes.

“Lacan said that (rolls his eyes) the human psyche (she) is formed by three independent…"

29:32. Change of frame, three colored rings, clipart from the Internet.

Voice-over: "… rings. Well, which are woven like rings, but do not intersect, the Baromiev knot."

20:39. Frame change. Talking head.

“Well, basically, the same thing. we can say that three… "

20:41. Frame change. Jacques Lacan at the blackboard sets out his theory of human thinking.

Voice-over: "… three coordinate axes. And now, one coordinate axis, this is reality. Sound…"

20:46. Frame change. Talking head.

"… meaning. So we understand (the names of our feelings).

20:47. Frame change. Internet clip art: twice two four.

Voice-over: “At that moment (of an intuitive understanding, a real, name of a feeling of an idea that seems to be equal to the idea itself). We believe. The second axis is…

20:52. Frame change. Talking head.

"… Symbolic. Something as abstract as poetry. But, nevertheless, it also leads to some kind of understanding, but to another, not ordinary (not real).

Here.

And there is a third axis of the space of thinking, it is imaginary.

21:08. Change of frame, clip-art from the Internet, a person’s hands behind a cloudy glass wall, press on this wall.

Voice-over: “The symbolic always traumatizes the real. Presses on the (real, ordinary) "I" and supplants most of it… "

20:14. CUT, talking head.

"That is, that which does not correspond to the symbolic displaces (behold) this real, which does not correspond to the (symbolic) into the unconscious.

Well, this is a reference to Jung… "

21:24. Frame change. Photo by Carl Jung.

Voice-over: “And, here is this conflict, a combination…”

21:28. Frame change. Talking head.

“Even probably, it’s better to bring color (as a visual metaphor)…”

21:29. Frame change. Blue screen.

Voice-over: “The symbolic is blue. For example.

21:33. Frame change. Red screen.

Voice-over: “Reality is common sense. This is red, understanding. Red, intersecting… "

21:37. Frame change. Blue screen.

Voice-over: "… with blue…

21:38. Frame change. Purple screen.

Voice-over: "… forms purple. Tragedy,"

21:39. Frame change. Talking head.

"… a defect, violence that symbolic exerts on the real. That is, when a person with ordinary ideas…

You’ve started talking about this, you’re suddenly confronted with the symbolic, that is, it exists… "

21:53. Frame change. Ancient picture — allegory of the will of the gods.

Voice-over: “It’s like such a will of the heavens or the will of the gods, now, and when a person encounters it, he is forced to obey. How…"

10 p.m. CUT, talking head.

"… Myth.

But, if his own experience, here’s his own understanding (a zone of mental comfort) — contradicts this, it simply turns off, falls into the basement (of Jung’s unconscious), and that means… "

22:11. Change of frame, a man grabbed his head, an allegory of suffering, clip-art from the Internet.

Voice-over: "… it (from there) takes revenge on all these neuroses…"

22:15. Frame change. Talking head.

“Well, let’s say on TV…”

22:16. Change of frame, blue TV screen and remote control in the hand of the viewer, clip-art from the Internet.

Voice-over: "… they say: each of you, on your forehead a horn and all the citizens of this country are unicorns. Well, there isn’t him…"

22:25. Frame change. The talking head gropes its head, in search of the horn of a unicorn.

"There is none of him, common sense says that he (the unicorn horns on your head) does not exist. But, this is this symbol, he is more convincing. Yes… (The talking head represents with her hands the presence of a unicorn horn). Here he is (sparkles eyes, showing the craziness of the viewer). We are all unicorns. So, and so on.

But, this is a kind of (critical) understanding (of the fact) that unicorns do not exist — it has failed somewhere, into the unconscious. And everyone with wild eyes running around, playing in these unicorns. "

10:48 p.m. Frame change. Picture of the first Russian revolution of 1905.

Voice-over: “The first (first type) reaction is collaboration (submission of the real to the symbolic), the second reaction is protest, revolution…”

10:54 p.m. Frame change. Talking head.

“When I stay with my own, I prove my own (intuitive understanding of my own sense of the real). Well (smiles), this is a hard way, that is, when the real… (When) you (your) common sense try to resist the symbol… But there is one too. ”

23:04. Change of frame, photo of swans, like a picture on the wall, allegory of love. Clip from the Internet.

Voice-over: “The third option is the creation of parallel (both real and symbolic) reality, imaginary, parallel. There is its own symbolic (its imaginary analogue), the feeling of love, symbolic (in the imagination) turns into love, that is — (the traumatic real "I" turns into…) that does not traumatize. I am an imaginary self,… "

23:22. Frame change. Allegory of fantasy, clip from the Internet.

Voice-over: “that is (such an imaginary) I am the one who really is, but this (conflicting symbolic and real self) is (just) my shell, which surrounds myself (in everyday life).

23:29. Frame change. Talking head.

“That is, from the unconscious, this… (This), common sense hidden there, (he), in an imaginary parallel universe…”

23:39. Frame change. Clip from the Internet, a portrait of Vernadsky on the background of the planet Earth.

Voice-over: “… it is embodied in such knowledge that came from somewhere, well, we just“ know ”(this), as the information sphere, which (for example) is the noosphere of Vernadsky. This is Knowledge. That is, some kind of Astral: Here we are (as it were) from space.

23:52. CUT, talking head.

"… that is, from the unconscious. What was symbolic was expelled there into this concentration camp, somehow, it was transformed (there) and using this method, imagination, it (here) materialized into a parallel universe.

24:04. Frame change. Three colored rings on a gray screen. Clipart from the Internet.

Voice-over: “It’s important that (in a person’s thinking) there is a region that is different (both from the imaginary and from the symbolic and from the real), when all three spheres: imaginary, symbolic and real — all intersect together.

Plato…"

24:14. Frame change. Talking head.

"… He called it" soul "when (means) uh…

The symbolic is wisdom. So the imaginary is rage. Oh, no, the real, it’s probably rage, and the imaginary is passion. "

24:30. Frame change. Photo of the head of the sculpture of Plato from the Internet.

Voice-over: "… (Lacan’s Teaching, and generally French post-war postmodernism) is all a repeat of Plato, in some modern language. There is such a thing…"

24:36. Frame change. Photos from the Internet, ancient Greek text.

Voice-over: "… the so-called, seventh letter of Plato, very important for a philosopher. For philosophers."

24:41. CUT, talking head.

“And he (Plato) has a so-called theory of the four stages of speech.”

24:45. Frame change. The painting “The argument of Plato with Aristotle.”

Voice-over: “a few paragraphs (Plato’s seventh letter), and the theory of the five stages of speech, (which is) some contradiction between the one and the other…”

24:50. Frame change. Talking head.

“The theory of the four stages of speech — I’m talking about it with the example of a clock (clock face). That is, there is a certain object (transcendental idea), we don’t know anything about it.

This object makes us feel. Well, for example… "

25:04. Frame change. Photos from the Internet, the clock on the wall shows four hours.

Voice-over: “three in the afternoon…”

25:05. Frame change. Talking head.

“Six o’clock in the afternoon, on this dial… Moving on…”

25:07. Change of frame, the clock on the wall shows six hours.

Voice-over: "clockwise, six o’clock in the afternoon, on this dial — this is…

25:11. Frame change. Talking head.

“We give this intuitively to this sensation (it’s more correct to say the feeling), (this) reflection (of an invisible object)…”

25:16. Frame change. The clock shows nine o’clock.

Voice-over: “… a name. At nine o’clock, we name it (feelings of an object — an idea) — we define it in words as a formula.”

25:22. Frame change. Talking head.

"From words, aah… uh… To understand this definition, that is, some kind of formula from words, you need to draw (it), reproduce something (by drawing), in accordance with this formula. To understand what it is? Is this abraction?

25:36. Frame change. Drawing and formula of the Pythagorean theorem, photo from the Internet.

Voice-over: “Well, the Pythagorean theorem. (Laughs). The square of the hypotenuse is equal to the sum of the squares of the legs. It turns out such a fork, like a fork in the branches, and we can continue this concept… "

25:47. Frame change. Talking head.

“And to each of these small squares, add new ones according to this rule and they gradually grow…”

25:54. Frame change. Clipart from the Internet. The mathematical tree of Pythagoras from the theory of fractals.

Voice-over: “… into such mathematical trees, that is, what is the visual metaphor of the Pythagorean theorem? Yes, life itself, everything in our life is so branched, the classification is branched, and this is where it goes (from Plato’s theory of speech stages).

I’m not quite sure what the Pythagorean Triangles Theorem is. But this is a separate conversation…

I think that…"

26:14. Frame change. Talking head.

“The Pythagorean theorem is just such a generalization, in general…”

28:18. Change of frame, photo from the Internet, engraving with a portrait of Pythagoras or Euclid, no tigers.

Voice-over: “This is the theorem of Euclid, not Pythagoras, it’s just called that.

This definition was given… "

26:23. Frame change. Talking head.

"… some kind of sensation, and such a sensation — in my opinion, this is just the sensation of this soul, as Plato then formulated it, here…"

26:35. Frame change, again clip-art of Pythagoras theorem.

Voice-over: “This, in principle, is the Pythagorean theorem about the soul, the square of wisdom is equal to the sum of the squares of the rage of passion. Some such regularity (of these) qualities. How is their generalization.

Now, there are three elements — we have connected the formula, (now) have already received some new object. "

26:55. CUT, talking head.

"And we can use this Pythagorean theorem as a fourth object. (Change of frame, talking head increases). We can call it the formula of the soul. Rage, passion, wisdom — and the formula (all of this).

27:05. Frame change. Talking head in the middle.

"That is, we understood what? We understood the visual metaphor of the verbal formula of the name of the feeling that the object (idea) caused in us. Here. That’s what it is…

And the fifth stage (fifth element), when we directly contemplate, this very object, that is, when we understood it, we (thereby) freed ourselves from all these (mental) constructions… "

27:30. Frame change. Photos from the Internet — scaffolding.

Voice-over: "… Cognition. So, we came to the object itself. We had to run this way, and scaffolding, when the building itself was built, that is, understanding arose and we directly contemplate this object itself…"

27:42. Frame change. The drawing of the conversation of philosophers, taken by the director from the Internet.

Voice-over: “And, this object Plato called the truth.”

27:47. Frame change. Talking head.

(From the postmodern point of view, all such truths — the identity of understanding the conceptual picture of the name of the feeling of the idea and the idea soma — are false, therefore, instead of searching for unity on the basis of false truths, people should seek unity with each other on the other basis that we are all people and we can think of something as you like, without ceasing, at the same time, to be people).

“That’s because this space (thoughts) is what you are talking about, you can call him a person, in your terminology, you can call him Jesus Christ.”

27:57. Frame change. Talking head in another sweater.

“My feelings (of all this), (they), if expressed in words — then they (words) — that it is inside all of us or we are in this space, because it is immeasurably greater. And both life and art are its projections, shadows. ”

28:17. Frame change. Talking head, another shot, having fun.

"And, this object, it is felt, (that is) it exists, it has a being, well, so to speak, it corresponds to your being. (And) this object is expressed.

That is, the artists (they) express some internal objects (lives) that…

It is not visible, and when this object begins to express itself, this (is) the sensation of the object.

28:48. Frame change. Talking head close up.

"You can say (call this sensation) — a feeling, but closer to me — a sensation, (how) (this) sensation of barberry slices in Akademgorodok that you can touch, prick… (And forget), taste, these unripe berries (laughs)… Well, it’s (all) decorative.

Exactly, here…

Not because you want to eat, but because it gives…

This experience gives a feeling. "

29:08. Frame change. Painting by the artist giving this interview.

Voice-over: “there is this object, it is directly felt. I.e…"

29:11. Frame change. The table of discourses, it is also a color map from the theory of the interviewed artist.

Voice-over: “in logical cognition, this is the goal”

29:12. Frame change. Slide show of the artist’s paintings.

Voice-over: “And in the artistic (thinking), this (vice versa) is the beginning (of thought). Here it is felt. It is impossible to say about him in words… "

29:19. Frame change. Photos from the Internet. The inscription on the wall: “In space is better than on the street.”

Voice-over: “By the fact that there are no words and I can’t say…”

29:23. Change of frame, picture of the artist, the hero of the film: pixel graphics. Dots and dashes form a picture.

Voice-over: “Words about him, because…”

29:27. Frame change. Photo in the studio of the artist. Black picture.

Voice-over: “I can only draw (this is my feeling). This drawing of a (transcendental) object. Not the object itself, but (only) its drawing. ”

29:28. Frame change. Photo of a floor in an artist’s workshop, abstract flowed paint. These are the footprints of the television channel Channel Country, starring a story about how they stomped through puddles of paint and filmed an interview with the artist.

The voice behind each: "This is a drawing of an object, it can be expressed in a word, but these are other words (not the concept of names of feelings of a vague idea).

29:32. CUT, talking head.

"Here, just, this (different words are) the Confucian abyss…

That is, when a person tries to tell (to others) about his spiritual discovery and when a person tries to tell a story… To tell about his feeling, expressed in a word, of this discovery. Now, when they meet, they are the opposite. But, here it is… This point…

Well, how do you say this? This is not the point, now, this place…

30:00. Change of frames, the artist against the background of his picture with bizarre traces of a very wide brush.

Voice-over: "The meeting point of the flows.

In the exact definition of the word, this is philosophy.

30:05. CUT, talking head.

“The sphere of art or artistic activity, art practice, (that) is the same meeting of (two) streams, but in a drawing. That is, a drawing can simultaneously express this object (sensations — an idea), and at the same time it can express… "

30:22. Frame change. Photo. The artist paints with a wide brush.

Voice-over: "… Verbal representations about this object. And such and such exists.

30:27. CUT TO A talking head.

“Here is one coordinate (the space of thought or its concept of extremes), this is reflection by human nature, the other coordinate is reflection by man of nature. Then, then…

30:39. Change of frame, picture from the Internet — probably an old engraving depicting Dr. Faust, releasing the evil spirit of knowledge from an alchemical flask.

Voice-over: "… these coordinates are generalized, a third subject appears, this is a semiotic sign.

30:43. CUT, talking head.

"There is a certain idea, a zero block, there is its reflection — a form, in sensation, there is a sense — an interpretation of this form, and there is a meaning, that is — their generalization — (this is the answer to the initial question) — how reliable is this idea by its semantic form. That is, semiotically, here is such a frozen space of the picture, this is (such a sign).

For example, the flatness of post-painting abstraction (and there is a sign). Postmodernism used this element (sign — picture) already as a generalization…

Postmodernism has summarized it all, in a certain… such…

The principle of consensus of everything with everything, everyone with everyone…

Well, here is the first way of forming this sphere from the court: there are different points of view, among them there are opposite points of view, and all points of view, there are a lot of them, all points of view are equivalent, that is, they are equidistant from their center.

31:39. Frame change, drawing from the Internet, drawing a sphere.

Voice-over: “a lot of points equidistant from their center, having diametrical opposites, well this is obviously a sphere.”

31:48. Change of frame, illustration of the new geometry of Riemann-Lobachevsky.

Voice-over: "… from mathematics, take this, this is the Riemonian Infinite Universe, which seems to be such an observer from the three-dimensional world."

31:59. Change of frame, some pictures, illustrations of Lobachevsky’s geometry.

Voice-over: "… From the point of view of a mathematician operating in four dimensions — it is a closed sphere…"

32:04. Frame change. Talking head.

"There is such a sphere, and now… What is such a new (post-modern) dimension, the fourth?

That is, postmodernism — this is what determined. This is (as it were) a new generalization of all three previous ones into the fourth. That leads to this area. "

32:16. Frame change. A fragment of the video art of the interviewed artist.

Voice-over: “That is, a conscious immersion in everyday life, without attachment to it. Awareness. Well, awareness is (something), the opposite of intuition, without attachment to it. It can be a whole huge space (freedom of thought). Here.

It is as if our whole world is as if being its (this space of freedom) — reflections or shadows.

My experience, my feelings about the fact that this space is inside all of us, or we are in this space, because it is immeasurably greater. (This phrase already was, the director reinserted it). And life and art are only its projections, shadows.

A picture serves as such a magical object or a remote control for access to this space.

Like here, for example, in Taoism, there is a sense of changeability… Or rather, there is an understanding of the variability of one’s own ideas about this being, they change all the time. And, therefore, you do not stop at any one point, but fix that they are constantly changing and somehow, like some Point running in a circle, thereby highlighting this circle for you.

That is — this space (in a straight line) cannot be seen, but you can feel it… it, how it is… dissolved in the ordinary and you can feel how we are about it… That is, how our ideas about it are changing.

And rhythms and fickleness — (if you see or feel them) — change your own destiny.

The ability to combine incongruous, (it) materializes or somehow manifests itself in deeds, here…

That is, it says that somewhere, inside (you) have exactly this sense of rhythm of this genuine life… "

33:51. Frame change. Painting by Chinese artist Gu Kaiji “Fairy of the Luo River”, a photo from the Internet.

Voice-over: "All this is Gu Kaiji’s theory, it is an ancient Chinese artist and theorist (of painting).

Changeability is balance. "

33:57. Gray screen.

“The balance of forms. That is, if you understand the transience, the variability of everything, it is very easy to build a form, because you don’t get attached to it and see their structure.

34:10. Frame change. Talking head.

“We may initially not believe that we are capable of defining, reflecting this semantic form, this is (itself) irony or hypothesis. And this may be a reinforced concrete argument that this is all and it’s proved.

34:27. Captions part two, collapsed heaven.

Talking head: "Abstraction — it immediately began to be perceived by the sacred space, here again the chapel of Mark Rothko.

34:36. Photo by Mark Rothko. Photo of the chapel.

Voice-over: “But, the Mark Rothko’s chapel cannot be a temple, in this post-painting abstraction…

34:42. Portrait of Jackson Pollock in the workshop.

Voice-over: “Pollock…”

34:44. Change of frame, portrait of Sai Twombly.

Voice-over: “Twombly. Here is something missing from her, there is a certain defect… "

34:46. Frame change. Talking head.

Voice-over: “And Pollock has, and Rothko, there are a lot of people there, some defect, as a hint that, yes, this space (paintings) is flat, understandable, obvious, but…

It is obvious, because the abstraction was recognized at that time, anyway there is a hint of some kind of…

The fact that there is something more than a plane.

Here, and I began to (here) explore this…

That is, spontaneity… Movement of the brush, movement-movement-movement-movement-movement… It seems to be all the same, but anyway, there is some kind of deformation, and even if you make uniform movements with the brush, then when there are a lot of them, when they are generalized, in this flat space, that is, this, in principle, is a post-painting abstraction…

But, there is a new element, they had it, but I was engaged in its manifestation. There is a certain rhythm that bends this space. That is, by itself, it does not express anything, that is, its meaning is that it bends space (paintings).

That is, the flat space of the picture is distorted. Is it an illusion? But, one might say so… But this is not a perspective, here is some such… Some kind of rhythmic perspective that creates the feeling that this is space, but not by academic methods.

36:31. Change of frames, captions of the copyright film Observer. 02/02/2019

Voice-over: “Then, I began to make pictures…”

36:38. Change of frame — the author’s film of the artist began.

Voice-over: "… composed, composed, composed, and this distortion accumulated. That is, these rhythms…

Here, as you said, uh… Referring to Aristotle, the total is greater than the sum of its parts.

There is an opportunity (in words) to say something more than (here) they, individually, mean…

And such a first (my) step (in the 1980s) was splashing paint, in the dark, blindfolded, on the roof, from buckets, onto canvases. Well, such complete unpredictability, it is completely unclear what will happen… Such was the way of manifestation.

That is, it’s exactly (the task was) — to understand (here) this curvature, then (it’s clear that) it is a hint of something. A hint of what?

This distortion, this is the shadow of something larger, that is, something has an effect, and if you do not lie, do not fake (the picture) according to the expectations of your viewer, then this is a distortion, (it) it will…

(Then), I began to explore the period of time (between the pictures, the picture is that between the pictures, the gap on the wall).

Here is one picture, here is the second picture, between them is a certain period of time. And I tried to minimize this gap. Literally. So, composition, spontaneous, second, another leaf, another spontaneous composition, another leaf, another, more…

In the end, I was able to continue these flows (sensations, rhythms dissolved in them) to almost a thousand works… A computer can all this accelerate significantly.

38:06. Captions of the end copyright film.

36:07. CUT, talking head.

“Now, I have already started talking about the Novgorod Museum”

36:10. Change of frame, clip-art from the Internet, the inscription God, made on a stencil, in the story that has nothing to do.

Voice-over: “When everyone (my friends and fellow artists there) exhibited such modern ernish about (ancient Russian) icons, I just put out white sheets…”

38:17. Frame change. Talking head.

“Such a table of white sheets, in my opinion 64 sheets…”

38:21. Change of frame, photo from the Internet spray cans of paint.

Voice-over: “On each… I had (then only) two spray cans with yellow and red paint.”

38:25. CUT, talking head.

"And, on each sheet (one and a half meter), with my eyes closed, I (means) put two dots, one — a spray can of one paint, the other — the other. I did not know where they would go, I did not know that they will show…

And at the exhibition… These sheets were given away and… They compiled them all together for this museum and exhibitions and then, as it were, this rhythm, distortion, became apparent. "

38:46. Frame change. Photos from the Internet — a pack of newspapers.

Voice-over: “The newspaper Novgorodsky Vestnik wrote — absolutely incomprehensible work. (Laughs).

38:52. Frame change. Talking head.

"Although, for me it was obvious, that is… It… Somehow, here… Generalization… It was a generalization, the first sphere drawn. This is the ninetieth (1990th) year.

39:02. Change of frame, the author’s film of the artist began — Sphere.

Voice-over: “The computer gives (opportunities) much more and (over time, I) managed (as it were) my whole uh… Creative path, just put the same way, that is — a picture, uh… Tenth year (2010) , ninetieth (1990), two thousandth (2000), two thousand and ten, a modern picture…

Something has been painted (over 30 years), but it cannot be caught, since it is a (too) small defect (for one picture, but) if you compose them (all together)…

If a picture becomes a pixel, then this pixel of (this) rhythm, folding, with pixels — other pictures, it (now, it already draws) is something more…

This (as it were) development over time, in fact — performance. Well, that is — (this) is a piece of life, it just turned into a pixel and managed to draw such a rhythmic picture of his life. "

39:47. Frame change. Talking head.

"And he decided, in general, not to erase anything, not to edit, that’s how this spontaneous flow goes…

That is, all the same, somehow, in that genuine space (life), it is modeled.

At a certain point, I realized that I was drawing (this) this (such) astral body, or this shell, the imaginary heavens — actually — of all humanity, (at least) — all the people whom I (in my life) have met.

Something… The game is social, a professor, a huckster, there, I don’t know, a marketer, there… A rebel, a (KGB) counter-revolutionary, (an artist, a spectator, a curator, a gallery owner) — all these are points of this sphere.

We can say that this sphere should be a sphere of consensus, that is, when these points, or (there) the estates that stand behind it, (they…) compete with each other — there is no consensus. The scope is such a brief moment of consensus. When everything is built into a crystal. Everything is clear, everything is in place.

But, human thinking is so arranged, and the feeling that aah… oooh… Figurative thinking that this moment (the clarity of thought about the structure of general human thinking) does not last long, and as soon as we found a new toy — a sphere, already a new element of space (life, paintings), is such a (social) sphere.

41:00. Frame change. A sphere of paintings.

Voice-over: “Humanity has not reached this point, this is an innovation. But, if I do it now, when… "

41:04. CUT, talking head.

"… When humanity is not ready for this, because it is my own (world), my (parallel to universal) civilization. It was I who created it.

I created it without participating in this society, only on my own, this is (as if only) my way.

And I just faced this, face to face, with me… So to speak… It all came in dreams, in some visions…

Here, in the sky above London, I (saw) some terrifying pictures…

In principle, the same sphere, it appeared, (I saw) how it falls (in itself), will collapse… "

41:34. Change of frame, credits, the beginning of the artist’s original film — Dice with haven — a dice game with heaven.

Voice-over: “A promo in broad daylight in Piccadilly, (many times) I walked (in the center of London) in circles, came to the same place (Piccadilly sekis), and again…

I also made a circle, oh again… After (there) forty minutes came (there) and again…

That is, some sign was given to me, a sign, a sign, a sign (from above) that this was not necessary (it was) to do…

But, here I haven’t done it, I’ve… once… Destroyed it.

(But that doesn’t mean anything)

Now, uh… There is no border between aaa… Implemented performance, imaginary performance, that is, between reality, symbol and imagination — aaa… and… (sort of) a composition (of them all)…

That is, thanks to modern (visual) technologies, uh… The boundaries are erased.

Virtual reality allows (as it were) to create a super-illusion of anything. And the other part of these new technologies, the blockchain, that is — this is such an e… An alternative (super) notary, he can notarially assure him of anything, turning it into an object. And this subject will become (there…) the subject of purchase and sale or (there) further generalizations, (there was no sense in fixing the creation of a sphere, translating it into familiar objects or into paintings) and then I just began to ruin this heaven…

Well, all civilizations (first) arise, (then) — (perish, their tower cities) — collapse. This is the same sphere, this is also some generalization, (like) Ancient Egypt (in Arabic al-Hemi, alchemy), and now, when these heavens collapse, these (so to speak) elements, like the spheres of the fixed stars of Aristotle, fall , (meaning) they are perceived as artifacts of a deceased civilization, (as) artifacts (civilizations) of Maya, well, and these are (artifacts) of a parallel civilization (of my own). Not in the past, but in a parallel world (the concept of imagination, symbol and reality). In an individual (concert).

Here, of course, these are (here) some such artifacts that can be collected…

In order for (now), as you say, the ordinary world to perceive this idea, this ordinary world (before) must burst, it must explode…

This one here… explosion, this singularity — a failure in oneself, (destruction of the space of all these) representations, the sphere of representations, this is what I call the effect of a collapsed heaven.

Namely, this collapse of heaven, this collapse, opens eyes to the fact that there is something else in it, the process of collapse of this sphere, it contains this defect, but, when the sphere collapses, it releases it now… Next space (expansion, expansion), it’s like some kind of dot-points, some hints, it’s…

But it already exists, as if it…

No, it originally existed, but I kind of…

I, my feelings (of this new post-discursive space can already draw, now, but to explain them (to others) is still difficult…

44:04. CUT, talking head.

"Well, it (the sphere) collapsed, what’s next?

Access to space… Abstracts.

This is a space of abstracts, it no longer has (a simple geometric shape). It arises, I’ve been, in the last few years, engaged in (just the same) mining of it (like Bitcoin mining), mining of this space in works…

I have it (so to speak), I see it, I am (as it were) accumulating it (as an experience), I cannot yet generalize (this) experience.

44:28. Frame change continuation of the author’s film: a game of dice with heaven.

Voice-over: “When the two axes intersect, life and death, such an absolute death and absolute life, this moment is a painful dying, and (after all), it’s just the coordinate axis (of real life), death is just part of life , one of the projections (of genuine being), and life (its) part is no better than death, just like death is no better than spiritual progress…

I — that is, already (here it is) you can (directly) say — I believe, from the moment of (awareness) of this superficial human existence — this shell of everyday life just curses, again this sphere is collapsing, and (in it) would open up to something else…

The modern new geometry of the space of the picture is the space of all social games, and awareness of their scope, frees them.

That is, if you know something, it no longer bothers.

Spiritual space as a subject of a picture, well, you can say a modern icon… But let’s say (better) — not a modern icon, here the word (icon), it has a negative connotation in post-pragmatism, (better to say) — a symbol, a symbol of this space…

(Purpose of creativity) — Building (a new concept) from one’s own experience equal to cognition.

That is, I generalize myself, create my own world, I am aware of the whole social life (of this my world), of this sphere or matrix, and thereby, I distance myself from it, and I draw…

45:59. CUT, talking head.

"And I draw (now) that, uh… Spiritual space, spiritual, sacred (this text was already at the beginning of the film), a large space that I feel.

I just… Well… I“m not lying, that”s all.

46:16. Captions — part three. Artificial Intelligence: The End of Humanity ?!

46.18. CUT, talking head.

"Can a person with weak brains be able to create artificial intelligence that will enslave him (himself)?

46:22. Frame change. Clip art from the Internet. The human brain is like a computer board.

Voice-over: “Well, you can say that it can’t… I felt it very clearly…”

46:27. CUT, talking head.

"What can… There, just, now, one step and that“s it. That is, it”s all (already) solved…

Part of humanity is (already) digitized. Communication takes place through a computer…

On Facebook — communicating — we like,…

46:42. Change of frames, clip-art from the Internet. Like, consisting of many likes.

Voice-over: "… (write) comments, (send) messages, but, of course, these are all reactions, they are laid out on…

46:48. Frame change, animation from the Internet, a metaphor for the space inside the computer.

Voice-over: “to emotional reactions — abstracts, emotons. That is (this) as a mood. Like, dislike… If these emotional reactions are removed and integrated across all locations, it will be seen that these are waves, like some kind of the impulse spreads from location to location, that is, as the wave goes.

Everything remains in place, but these changes in the (digital) environment, this… These are waves.

And this sphere — it is electronic, it does not exist in heaven, but it can be drawn in heaven, and convince a person to believe in it, with the help of blockchain technology, turn (virtual reality) into an object.

47:26. CUT, talking head.

"And, most importantly, a person believes these all virtual realities, that is — they are already an object.

Solaris.

Here, and some waves, now, this is not that of rationality… Because This sphere is the surface (of thinking), thinking itself is somewhere inside (of the sphere).

47:37. Change of frame, drawing of a sphere, clip-art from the Internet.

Voice-over: “And this, as it were, is such a routine, a projection of thinking (on the social sphere). And it’s impossible to distinguish… "

47:43. CUT, talking head.

“The activity of artificial intelligence from this superficiality of attitude towards man…” (This is postmodern or a consumer society).

47:47. Change of frame, clip-art from the Internet a person’s shadow as flat objects.

Voice-over: “but if (himself) a person voluntarily says that we are ants, we are idiots…

47:52. CUT, talking head.

“What we crawl about in this sphere of discourse, games in social games, there is no sense, there is no truth, so you don’t need to look for it, you just need to make money here and now, solve current problems here and now, and don’t think (more) about anything, such a position — it inevitably leads to the death of mankind. ”

48:11. Frame change. Clip art from the Internet, allegory of artificial intelligence.

Voice-over: “The way out I saw that…

48:14. CUT, talking head.

“That every person, he goes the way of all mankind, that is, not humanity is developing…”

48:20. Change of frame, clip-art from the Internet figures of people on a background of a map of the Earth.

Voice-over: "Ah, each person develops individually.

And so, I did not talk about this point… "

48:27. CUT, talking head.

"So, sensation is equal to understanding. Sensation is one axis, understanding is another. It’s just like the coordinates. And (space) space is it… It cannot be seen…

That is, when we feel, we see it flat. When we understand, we (also) see it flat, but in a different way. "

48:46. Change of frame — photo from the Internet — blurry photo of the evening city.

Voice-over: “But a man, here he exists in this big world, but has a limitation (in his perception). And social games are different e… combinations of oppositions of these axes, that is… "

48:58. CUT, talking head.

“That is, in this (invisible space of combinations of axis reflections) — everything happens, and the person goes into this space (of his thinking) — he radically solves the problem of artificial intelligence.

49:06. Frame change. Shadows of people.

Voice-over: “because artificial intelligence, this is a terrible Shadow that looms on the wall.

When we ourselves are Shadow… "

49:12. CUT, talking head.

“That this problem is dangerous for us when…”

49:14. Change of frame; clip-art from the Internet. The metaphor of the relativity of truth and truth.

Voice-over: "how do we stop feeling like a shadow, but — we restore the object itself from projections…

49:22. CUT, talking head.

"Well, then this shadow simply cannot scare us, but it is our own shadow, that is — artificial intelligence is the shadow of this large object, that is, of ourselves.

Starting from some time immemorial, these myths, uh… Ancient cultures, anyway (here) there are ideas about art, there are ideas about everyday life and there are ideas about some big space, well, in certain images… Or, in one way or another…

Now, but modern… Our contemporary, he… Just now… Uh… Not that this connection needs to be created, it already exists, not to lose it.

59:06. Frame change. Afterword.

50.10. Change of frame at the exhibition in the open field. Almost a year and a half after the opening of the exhibition.

“And now, more than a year ago, you and I left this place. And then they came to him, and look what happened this year (here)… "

50:19. Frame change. Pictures after a year of testing by nature (rains, snow, wind, insects and plants).

"I don’t even know which side to hang…

This is nature, this is what nature itself does with our ideas about it…

And, if academic painting is an apparent reflection of nature by man, then here nature itself reflected human thinking…

An attempt to look into the eyes of nature, with which she looks at us. And this her view is our thinking.

We are locked between two mirrors reflecting ourselves… "

51:01. Change of frame, the artist is thinking aloud.

"Ah, life itself… It washes away, washes off (paint), some details remain, textures, spots appear, and all this turns into a painting… By nature itself.

The thinking of a person is simple, it is the same… And with our thinking we erase all unnecessary, wash away… "

51:22. Change of frame, installation of the exhibition.

“On a computer, it’s easier to do… That is, here, unfortunately, there are (are) difficulties installing (exhibitions) in this place.”

51:31. Frame change.

“And an exhibition is a metaphor, that is, it is a form… Form is an exhibition. The form of a picture, which in general, in the public consciousness does not have uh…

That is, there is no (such) form… That is, it is equal to zero.

She can be anything, here…

And it makes no sense, he is subordinate to social… Social roles that these or other participants in the artistic party play. And as a result, this is isolated… From…

Awareness that…

Awareness of what? The awareness that this is not a perfect world, but there is some other… "

52:13. Frame change. “Sergey, let’s work…”

“Ah, come on, yes.”

52:17. Change of frame, a naked man running across the field, the exhibition is being assembled. Suspence is the music of the artist. Personnel mounted exhibition. Fragments of paintings.

53:45. Captions: Andrey Khanov, art blockchain artist and postmodern philosopher, Moscow, Russian Federation.

Vocals. Ahhhhhhhhhh…

54:24. Sergey Kukharuk worked on the film. 2019. The end of the film.

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