DE I / DESILLUSIONIST #04 : Pier Paolo Koss. Daimon from Eden DE I / DESILLUSIONIST #04 : Sasha Valtz. “Dido and Aeneas” in Berlin DE I / DESILLUSIONIST #04 : Government Property. Interview with Director of Kremlin museums Ålena Gagarina DE I / DESILLUSIONIST #04 : Boris Grebenschikov. Between God and demons DE I / DESILLUSIONIST #04 : Table of Content DE I / DESILLUSIONIST #04 : David Poston. Reincarnation of tins DE I / DESILLUSIONIST #04 : Tall stories by Dutch jewellers DE I / DESILLUSIONIST #04 : Counter-Tenor Philippe Jaroussky DE I / DESILLUSIONIST #04 : Òheîdor Tezhik. What is the world is standing upon DE I / DESILLUSIONIST #04 : Christian Shaude. I felt like an orchestra conductor DE I / DESILLUSIONIST #04 : Editorial. Roksolana Chernoba

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DE I #04: Òheîdor Tezhik. What is the world is standing upon

ÒHEÎDOR TEZHIK  What is the world is standing upon

Photo: Roksolana Chernoba

Theodor Tezhik’s status symbol car is a mini-van with seats ripped out. Why? Otherwise he would not be able to fit in a box of pencils, a welding apparatus and a hectare of parachute silk. For what? For putting a cover on Hermitage Garden in order to protect it from meteorite rain. The rain he will produce himself. When? When he finds a powerful intelligent partner for 90% of his yet unrealised projects. For example? For example, once Theodor discovered planet «Kin-dza-dza». During the time when it was close to the Earth, Georgy Danelia dedicated his movie to it. It’s a pity that there will be no other encounter with this planet, but somehow some recent diary entries of its discoverer found their way to DE I.


Chapter 1. Diary without dates

Black... White... Grey... Dirty... Big, small, necessary, unnecessary, bulky, preposterous... Thus uncountable lots of opportunities are swinging in one’s consciousness... Here it is – a monstrous - «Visual Equilibre»... till the moment when something simple and distinct, something which was done by somebody else before you, surprises with the simple fact of its existence.
Fight against the real, tug-of-war against the actual, shovelling and destroying that which exists, transforming it, an attempt, at first, to adapt «this, made by somebody» to one’s own needs... Gradually the fear is disappearing, and one’s own graphic world is pouring from under the arm almost like a stream of blood... … Out of the vast number of possible and impossible conditions, there is built one’s view, at first fragile, and then gradually becoming habitual and one’s own… in which one begins to have faith… naïve faith… holy faith. But with the passing of time the first illusions are melting, and what’s left – at best - is the graphic skeleton – the context of a new preposterous image, which is, however, mature and delivered in suffering, and, the most important thing, which is not discredited by some kind of necessity… except for that which is inside…
The result... Becoming aware that all history of culture is a giant rubbish bin for wasted things, both dispensable and indispensable... Wastes of civilization…Here one can feel a bit more cosy, a kind of a personage, a Rembrandt’s «Rat killer»... having dug into the world culture and having realized oneself as a derivative from it anyway, one just starts retelling everything, which one remembers… Moral examples disappear, leaving only bonds in between… i.e. one gets free from the necessity to join something or somebody… What is this logicality? What is all this jumping around? Making order of this chaos. ...
That’s enough… Paying for the petrol... materials for work... telephone bills... the need to be in time, to come, to pay before they switch you off... here again – logical garbage place... Aha, I see! To serve the situation is the most dumb thing to do... Now everything is falling into their places... Now it’s getting easier... what’s left (at best)
Bringing order to this chaos. Bringing order to this chaos… chaos, which was created by you – this is the beginning point...

Chapter 2. What is the world standing on?

With all this “love” of people with authority towards democracy, one needs to understand that democracy is actually a kind of jelly: there are separate impregnations in it, a net which is shaping the destiny of history and the structure of civilization. When I felt it, then I realized that this is a frightening revelation: seems like, civilization is kept together by…power of books. Everything I speak about can be understood by a person with imagination, and all the rest might call me mad.
In connection with all this I recollect a remarkable movie by Francois Truffo « Farenheit 451». People there memorized books of Leo Tolstoy by chapters: they were standing in a swamp and reading Tolstoy by heart; when one of them would finish a chapter, another one would start the next… The system Bradbury is describing is one of the most brilliant ways to preserve civilization. A text, a meaning should not be passed impersonally. Any ancient texts, hieroglyphic signs, should be taken care of and preserved safe, like those books. In fact a hieroglyph, being a semantic symbol, is much higher than a letter. Its meaning includes both emotional and logical aspects, and it is very informative. It is much more informative than a word consisting of letters. A person who is writing hieroglyphs has a completely different level of self-esteem.
It is not just an accident that the country of the Rising Sun – Japan – surpasses the West in many ways. In the West Guttenberg invented the printing machine – a creation not less stupid than the internal combustion engine. It is all this westernized routine that keeps modern civilization stuck in one place. However, the Arabic tradition of Suls and Kufi writing is very orthodox too... Like statuary…But the art of hieroglyphic writing is a perfect art similar to fighting with rapiers, where it is necessary to focus precisely to hit the spot ( ... )

© DE I / DESILLUSIONIST #04.  “Òheîdor Tezhik. What is the world is standing upon”

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