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• Sergey Kuryokhin and Pop Mekhanika – all documents
• Сергей Курёхин и Поп-механика – все документы


Hannelore Fobo

Sergey Kuryokhin: Improvisations and Performances

Part Three

Empire and Magic. Sergey Kuryokhin's “Pop-Mekhanika No. 418” (1995)

Second, revised version 11 March 2020 (First version 13 August 2018)

page 10 • Revolution: a question of style?

Table of Contents >>
to page 11 • It’s magic! >>



page 10 • Revolution: a question of style?

Kuryokhin’s and Dugin’s positions were by no means congruent in all areas. We have already seen that Kuryokhin did not adhere to Dugin’s “pre-Western” stance when it came to his own artistic work. As discussed in the previous chapter, Dugin believed that Christ’s mission had been one of imparting “national grace” to Russia, and although this was of fundamental importance to him at the time of his friendship with Kuryokhin, it seems that Kuryokhin gave no particular weight to this religious concept: at least, no reference to this concept was evident in any of the interviews or texts available for this research. This is perhaps not surprising, bearing in mind that Kuryokhin’s propaganda that referred to “Religion with a capital R”[1] originated from the NBP and Crowley.[2] Whatever the case may be, it demonstrates that not all of Dugin’s positions were essential to Kuryokhin.

But just how credible was Kuryokhin’s attempt at amalgamating the NBP with his art? The review published in Rock Fuzz, which was actually favourable with regard to the performance as such, asks this question:

    There was also—well, how shall we put it? – not exactly a “fly in the ointment,” but still… There were, so to speak, political overtones.  First, the whole event (judging by the poster) was addressed to Kuryokhin’s current comrade-in-arms, the deputy for the 210th Northwestern constituency, Alexander Dugin. Second, the leader of the National Bolshevik movement Eduard Limonov also took part in the Pop-Mekhanika. As a consequence, the notorious newspaper Limonka and other "red" trash were distributed in the foyer: "Come all ye discontented, radical, bold, and unbroken, and we shall give you a job to do."

    What is this “job”? And what does it have to do with music? Does it stand for bringing paranoid ideas to life, for flirting with the “bright new world," or for a performance of Moscow comedians on the St. Petersburg election stage???[3]

Kuryokhin’s own statements notwithstanding – Alexander Kan stated that “He said that he found National Bolshevism deeply and seriously convincing”[4] – not everybody found the idea that Kuryokhin’s political engagement was serious convincing. His legendary 1991 “Lenin is a Mushroom” TV interview, where he improvised concerning Lenin’s alleged psychedelic transformation into a mushroom, earned him a reputation as an ingenious satirist, and his appearance at the NBP press conference in May 1995 could be interpreted in precisely the same way.

On 22 September 1995, one day before “Pop-Mekhanika 418” took place, Saint Petersburg writer and journalist Mikhail Trofimenkov published an article entitled: “Red Magic, or ‘Hi, Girls…’” subtitled: “Russian postmodernism: lost innocence”. In his article, Trofimenkov scathingly criticises the “conservative revolutionists’” intellectual prowess and discusses Sergey Kuryokhin’s and artist Timur Novikov’s[5] support for the National-Bolshevik Party. This is his comment about Kuryokhin:

    The National-Bolshevik Sergey Kuryokhin, who has lately been suffering from unlimited personal opportunities, in combination with his limited imagination, is obviously feeling bored. Why should one consider Pop-Mekhanika’s swallowing of the National Bolshevik ideology into its unfathomable womb as something more significant than Eduard Khil’s or Vanessa Redgrave’s participation in his show?[6]

He comes to the conclusion that:

    With regard to our heroes, we can exclude any ideological reasons for their entering politics. Only aesthetic reasons remain. After all, what has our political life constituted over the last two to three years other than a huge happening, a festival of vanities?[7]

Trofimenkov’s doubts about the sincerity of Kuryokhin’s motives stimulated NBP member Dmitry Zhvaniia to interview Kuryokhin shortly afterwards, so as to allow Kuryokhin to explain his point of view. The following extract from this interview (also referred to previously) quotes Kuryokhin:

    The NBP is a totally new ideology, religion, and culture; it represents those on the right striving to move to the left, and those on the left striving to move to the right. Putting it roughly, the concepts of “left” and “right”, “up” and “down” have no meaning whatsoever when it comes to the National Bolsheviks. Any semblance of dualism has been completely eradicated. This is of fundamental importance. This is what Dugin calls a “conservative revolution”.[8] 

For Kuryokhin, the key term is “revolution”. Trofimenkov was right in saying that for Kuryokhin, adhering to the NBP was a matter of aesthetics, because in Kuryokhin’s understanding, “revolution” is a question of style:

    We need to apply different criteria to the NBP than the criteria that are generally applied to parties. National-Bolshevism has a fresh feel to it […] It is able to utilise any aspect of culture – what matters is that there’s always a sensation of something fresh, a sensation that a new style is in use. Achieving a new style is far from straightforward. […] You see, style actually is the essence. And having a style that is ever new requires that our ideas undergo unending revision. The principles of “conservative revolution” hit the nail on the head.[9] [10]

However, whereas for Kuryokhin, the style and the essence are one and the same, for Trofimenkov, Kuryokhin’s style amounts to a festival of vanities. But does Kuryokhin’s style really just amount to a show, as Trofimenkov claims?

When it comes to the consequences of the “conservative revolution,” these consequences will be seen not only on the stage, but beyond it – because if style equates to essence, then the essence in question equals total destruction prior to the construction of a “strict totalitarian dictatorship”, as Kushnir writes:

    According to Kuryokhin, art must be subjected to strict totalitarian dictatorship. Art will then be projected into the realm of politics so as to build a new totalitarian state. It only requires the targeted action of a certain number of people for everything to be destroyed to a point where things can never be put back together. At the moment, politics merely has an influence on culture, but if a strict totalitarian regime were established within culture itself, this would gradually come to determine the direction of politics.[11] 

In other words, the destruction in view amounts to more than a second October Revolution; it is actually a second Deluge. According to Dugin’s interpretation of Crowley, “the era of true postmodernism will arise… without any groaning or compromising.”[12]

This how Alexander Kan sees his friend’s political ideas:

    I think that Sergey’s aim was to transfer his crazy method of assembling and organising material from the realms of art experiments to politics – all the more since he himself and some others (myself in particular) thought that his artistic methods, at that point, had led him to a dead end. I am talking of Pop-Mekhanika’s gigantomania, which included trucks, military vehicles, huge orchestras, and everything short of helicopters. It had reached a point of absurdity.[13]

Kuryokhin might well have wanted to “transfer his crazy method of assembling and organising material from the realms of art experiments to politics”. Yet, if this be so, there would hardly have been anything left for politics to assemble or organise – considering Kuryokhin’s desire for “everything to be destroyed to a point where things can never be put back together”.

Did Kuryokhin imagine the world as a huge Pop-Mekhanika performance whereby he himself was the conductor, and imagine that this would provide him with some kind of malicious pleasure – releasing the forces of antagonism, and leaving him to watch everything fall apart? Was he aware that beyond the stage, destruction implies self-destruction, if not physically, then morally?

For better or worse, a revolution did not take place, but if we are to believe Kuryokhin’s words, he was willing to accept self-destruction, should it so happen:

    After all, what is romanticism? It is defined by revolting against the existing order and proposing values that today seem unacceptable. Ideally, romantics end up perishing. […] But someone has to come out with the wild ideas in the first place. Otherwise culture just comes to a standstill. Nothing more will come to pass in life and humankind will simply die out. [14]

What are the values referred to “that today seem unacceptable” and that he set out to defend in a romantical fashion?

If what Kuryokhin had in mind was his “antithetical thinking”, he clearly did not apply it to himself: he would not have changed sides. He was willing to be the leader, but not the slave. In this respect, it would appear that Crowley’s magic “abrahadabra” or “418”, which Kuryokhin presented on stage with such fervour, were really just part of a show.

In his New Year Op-Ed column for the magazine OM, Kuryokhin softened his remarks on revolution; the way he discussed revolutionaries from the past made it appear that the revolutionaries were to him merely a favourite topic of conversation when discussing lofty themes – no more. Starting with an attack on Moscow bohemian nightlife, he then goes on to explain why things are different in Saint Petersburg:

    [Man] must create his own destiny and create genuine moral values; he must be implacable towards his enemies, and engage in self-improvement. […] Yet this is not something to be achieved through discotheques, but via true knowledge, and via belief in progress and science. […]

    In Petersburg, discotheques and magazines are nothing more than an occasion for people to get together and discuss lofty themes. This follows a tradition: to sit at the “Saigon”[15], talking over a glass of wine about Dante, Tyutchev, or Ogarev. Ogarev and Hertzen also drank a great deal, but this was not what it was all about. Just take into account the “Kolokol” newspaper[16] and “My Past and Thoughts”.[17] [18]

What Kurykhin goes on to offer his readers is not a revolution, but a new educational programme. Referring to Timur Novikov’s “New Academy of Fine Arts”, Novikov´s ideological Pop-Art project from 1989, he actually pretends that this was a genuine academic institution, and states:

    Here in Petersburg, we are about to complete the refurbishment of the old premises of the University of National-Bolshevism, and, starting from the new semester, students will be attending classes in bright, spacious halls. A few ordinary members of staff have been replaced, and, due to [state] repression, the body of professors and lecturers has been completely replaced. The academic, Novikov,[19] has been given an honourable discharge (with his post being taken by the legendary academic, Medvedev). The programme of physical training has been improved. New disciplines have been introduced: the metaphysics of blood, the History of Holy Inquisition, the Facultative [sic] of the Lives of Outstanding People (Guénon, Renan, Crowley, Browley, Mahomet, Lafayette, and Bachofen).[20]

The effect of this article was that Kuryokhin was enthusiastically sabotaging his own attempt to present himself as an intellectual seriously engaged in changing the world for the better, as set forth in his PM No. 418 press conference some months earlier:

    We have reached a point in time when the crisis in art is so evident (indeed, not only in art, but also in religion, ethics, and morality), bringing an end to a lengthy epoch in the life of mankind. Becoming aware of this is one thing, but declaring it is quite another. And everything I am going to be doing in the near future and, hopefully, beyond that as well, will be all about declaring how I see this and about the possible exits from the situation that has arisen. I want to stress once more that it is not about promoting specific religious ideas but of promoting every type of religion extant in nature (while not specifying any particular nuance), while also being about forming a particular worldview based on these religions and about the search for ways to set in motion movements promoting the future development of art.… I am deeply convinced that art is no longer equipped to get by with the same ideas it has been proclaiming over so many years. This has to do with the crisis in Christianity and in Islam, and, indeed, in all other existing religions…[21]

Comparing both statements, we may conclude that, just as with Kuryokhin’s earlier Pop-Mekhanika performances, a good “styob”, or parody, was of greater value to Kuryokhin than than the pursuit of his ambitions in a scrupulous, consistent manner. Kuryokhin’s predilection for verbal “styobs” is analysed in part two of this paper, entitled “Pop-Mekhanika in the West”.[22] Yu. Vorotnikov defined the “styob” (or “stiob”) as a counterweight to or defence against the pathetic official political “newspeak” of the Soviet period:

    “Styob” became the home of both a new, dissection-based way of thinking and of a new ‘oppositional-destructive’ way of being. Herein lies its important role in the annihilation of “newspeak” – the GULAG of existence and thought[23]

In his rhetoric, Kuryokhin remained attached to his habits dating back to Soviet times, both in terms of the way he developed bizarre “oppositional” projects and the way he employed parody in order to oppose seriousness. These habits had become part of his personality and “a question of style”. He had successfully applied this approach when it came to creating his “antithetical” Pop-Mekhanika performances, which, in conceptual terms, did not tolerate any seriousness. What were the chances he would now be able to convince the public of the contrary?

It is no wonder that during Pop-Mekhanika No. 418, Kuryokhin did not himself read out Crowley’s and Dugin’s texts, neither is it surprising that he entrusted what he intended in terms of the application of his fantastical revolutionary plans to those he found more competent in such matters: Limonov and Dugin. Still, this would not have been enough to resolve the problem of his own credibility – at least not in view of the way he later described the “University of National-Bolshevism” as a kind of “Hogwarts School of Witchcraft and Wizardry” – with “Crowley and Browley” as its inspirators.



[1] see Chapter 2, footnote 19

[2] Whether his Jewish background played a role I cannot say. I have not found any personal statements by Sergey Kuryokhin concerning his Jewish background.

[3] Не обошлось и без..., ну, как бы сказать, не то чтобы "ложки дегтя", но... Звучали, так сказать, политические нотки. Во-первых, действие было обращено (судя по афише) к нынешнему соратнику Курёхина, депутату по 210-му Северо-Западному избирательному округу Александру Дугину, а во-вторых, в ПОП-МЕХАНИКЕ принял участие лидер национал-большевистского движения Эдуард Лимонов. В связи с этим в фойе распространялась небезызвестная газета "Лимонка" и прочая "красная" макулатура: "Приходите все недовольные, радикальные, неистовые, несломленные, и мы дадим вам дело". Что это за дело такое? И какое отношение оно имеет к музыке? Воплощение в жизнь параноидальных идей, или заигрывание участников со "светлым будущим", или явление московских комедиантов на питерской предвыборной арене???

Polishchuk, Alexander [Aleksandr] “Pop-mekhanika v DK Lensoveta.” (“Pop-Mekhanika at the Lensoviet Palace of Culture.”) [“Поп-механика в ДК Ленсовета.”] Rock Fuzz no. 26, October 1995. Web. 31 July 2018.

http://www.e-e.eu/Pop-Mekhanika-418/index.html

[4] “Курехин стоял насмерть, говорил, что национал-большевизм – его по-настоящему искреннее и очень серьезное убеждение; что гуманизм и прочие либеральные идеи потерпели

полный крах, точно так же, как полный крах для России потерпела и мысль о родстве, сближении с Западом.”

Kan, Alexander [Aleksandr]. Kurekhin. Shkiper o kapitane (Kuryokhin. What the Skipper says about the Captain) [Курехин. Шкипер о Капитане]

Saint Petersburg, Amfora, 2012, p. 120. PDF for Digital Editions version. Web. 31 July 2018.

http://lifeinbooks.net/chto-pochitat/kurehin-shkiper-o-kapitane-aleksandr-kan/

[5] Novikov quickly reacted to Trofimenkov’s article with a letter to the editor entitled “Mikhail, you are wrong or ‘Alisa has a slanting fringe’ – 2”. “Alisa has a slanting fringe” is a reference to the Hitler fringe; the phrase was used as the headline of an article published in the 22 November 1987 edition of Smena about a concert given by Leningrad rock group Alisa. Whether correctly or incorrectly, the article accused singer Kinchev of having shouted “Heil Hitler” on stage, thus creating a huge scandal. Novikov argued that he himself was by no means a National Bolshevik and that he had never placed himself “under the banner of the NBP”: “I have never personally been engaged in politics. It’s art I serve – and will continue serving, no matter the government. I’m not interested in politics and I don’t like politicians, and I actually talked about this at the conference Mr. Trofimenkov refers to and which he didn’t even attend.”

Я ни в коем случае не национал-большевик и "под знамена НБП" никогда не вставал. […] Лично я в политику не лезу. Искусству, которому я служу, буду служить при любом правительстве. О том, что я не интересуюсь политикой и политиков не люблю, как раз и говорилось на той конференции, на которую ссылается г-н Трофименков и на которой он лично не был.

Novikov, Timur. “Mikhail, ty ne prav, ili ‘Alisa s kosoi chelkoi’ – 2” (“Mikhail, you are wrong, or ‘Alisa has a slanting fringe’– 2”) [“Михаил, ты не прав, или ‘Алиса с косой челкой’ – 2”]

Smena, Saint Petersburg, 6 October 1995. Web. 31 July 2018.

http://www.timurnovikov.ru/index.php?option=com_content&view=article&id=30&Itemid=18&lang=ru

On the other hand, Alexander Polishchev lists Novikov among those who participated in PM No 418, and Novikov must have been aware of Kuryokhin’s intentions.

[6] Национал-большевик Сергей Курехин, последние годы страдающий от безграничности собственных возможностей в сочетании с ограниченностью фантазии, откровенно скучающий. Почему поглощение бездонным чревом “Поп-механики” национал-большевистской идеологии надо считать более знаменательным фактом, чем участие в его шоу Эдуарда Хиля или Ванессы Редгрейв?

Trofimenkov, Mikhail. “Krasnaia Magia, ili Zdravstvuite, devochki…” (“Red Magic, or ‘Hi, Girls…’”) [“Красная магия, или Здравствуйте, девочки…”]

Smena, Saint Petersburg, 22.9.1995.

Web. 31 July 2018 http://www.e-e.eu/Mikhail-Trofimenkov/index.html

[7] Идеологические причины прихода в политику наших героев исключены. Остаются чисто эстетические. Да и что такое наша политика последних двух-трех лет, как не колоссальный хэппенинг, праздник неподлинности?

Ibid.

[8] НБП – это абсолютно новая идеология, религия, культура; это стремление правых быть левыми, а левых – правыми. Грубо говоря, в рамках национал-большевизма лишаются всякого смысла такие понятия, как «правые-левые», «верх-низ». Уничтожается всякий дуализм. Это архиважно! Это то, что Дугин называет «консервативной революцией».

Zhvaniia, Dmitrii. “Sergei Kurekhin: Natsional-bol’shevizm – eto svezhii veter i podvizhnichestvo”

(“Sergey Kuryokhin: ‘National Bolshevism: a fresh breeze – and asceticism too’”) [“Сергей Курёхин: «Национал-большевизм — это свежий ветер и подвижничество»”.] (1995) Novyi smysl, 9 July 2012. Web. 28 July 2018. http://www.sensusnovus.ru/interview/2012/07/09/13959.html

[9] НБП надо оценивать по другим критериям, чем те, по которым обычно оценивают политические партии. […] Национал-большевизм это свежий ветер. […] Он может пользоваться любыми культурами, главное – чтобы оставалось это ощущение свежести, ощущение нового стиля. А новый стиль складывается очень непросто. […] Ибо стиль – это и есть сущность. И чтобы он всегда оставался новым, надо свои идеи подвергать постоянной ревизии. Принципы консервативной революции как раз и отвечают этому требованию.

Ibid.

[10] Kuryokhin is again consistent in his inconsistency, and he immediately contradicts himself: “Remember Fidel Castro. He is one of the people I used to really love. I thought he was a heroic person. But now he is nothing but a comic figure, as his ideas do not fit the times, and he has become an anachronism. But that is only one way of looking at it. Everything is interconnected and – please forgive me if this sounds trite – there are two sides to everything. Because on the other hand, Fidel Castro remains a hero: he has not relinquished his convictions, having stuck to them throughout his entire life.”

“Вспомните Фиделя Кастро. Это один из тех людей, кого я очень любил и считал героическим человеком. Но сейчас это просто комическая фигура. Потому что его идеи несообразны времени, он стал анахронизмом. Но это только одна сторона. Ибо всё взаимосвязано и, простите за пошлый оборот, имеет две стороны. А с другой стороны, Фидель Кастро и сегодня остаётся героем потому, что он не отказался от своих убеждений, пронеся их через всю свою жизнь.”

Ibid.

[11] В искусстве должен быть жесткий тоталитарный диктат, – излагал свои взгляды Курёхин. – Затем — проекция искусства на политику — и строится новое тоталитарное государство. Достаточно целенаправленной деятельности несколько людей, и всё можно будет так расшатать, что уже ничего потом не собрать будет. Сейчас политика влияет на культуру, но если установить в культуре жесткий тоталитарный режим, то постепенно она сумеет направлять политику.

Kushnir, Alexander [Aleksandr]. Sergei Kurekhin. Bezumnaia mekhanika russkogo roka, (Sergey Kuryokhin. The Crazy Mechanics of Russian Rock) [Сергей Курехин. Безумная механика русского рока], p. 210. Moscow: Bertelsmann Media Moscow, 2013

[12] See Chapter 9, footnote 4

[13] Цель Сергея, как мне кажется, состояла в том, чтобы перенести метод безумного построения материала и его организации из области художественных поисков в политику. Тем более, что в его искусстве методы эти, как ему, да и некоторым другим (мне, в частности) казалось, к тому времени зашли в тупик – я имею в виду дошедшую до полного абсурда гигантоманию «Поп-механик», с грузовиками, военной техникой, огромными оркестрами, не с вертолетами.

Kan, Alexander [Aleksandr]. Kurekhin. Shkiper o kapitane (Kuryokhin. What the Skipper says about the Captain) [Курехин. Шкипер о Капитане]

Saint Petersburg, Amfora, 2012, p. 121. PDF for Digital Editions version. Web. 31 July 2018.

http://lifeinbooks.net/chto-pochitat/kurehin-shkiper-o-kapitane-aleksandr-kan/

[14] Ведь что такое романтизм? Это бунт против существующего порядка и предположение тех ценностей, которые на сегодняшний день кажутся неприемлемыми. В идеале романтики должны гибнуть […] Но первоначально дикую идею кто-то должен обязательно высказать. Иначе просто остановится поток культуры. В жизни ничего не будет происходить, и человечество просто вымрет.

Zhvaniia, Dmitrii. “Sergei Kurekhin: Natsional-bol’shevizm – eto svezhii veter i podvizhnichestvo”

(“Sergey Kuryokhin: ‘National Bolshevism: a fresh breeze – and asceticism too’”) [“Сергей Курёхин: «Национал-большевизм — это свежий ветер и подвижничество»”.] (1995) Novyi smysl, 9 July 2012. Web. 28 July 2018. http://www.sensusnovus.ru/interview/2012/07/09/13959.html

[15] The “Saigon” was a café and bar frequented by the Leningrad underground and avant-garde.

[16] The “Kolokol” newspaper [Колоколь, “The Bell”] was edited by Alexander Hertzen and Nikolai Ogarev in London (1857-1865) and Geneva (1867-1867). 

[17] Byloie i dumy (My Past and My Thoughts) [Былое и думы] is Alexander Hertzen’s extensive autobiography, published in 1870.

[18] Он своими руками должен строить свою судьбу, созидать подлинные моральные ценности, быть непримиримым к своим врагам, самосовершенствоваться. […] Но все это надо осуществлять не через дискотеки, а через истинное знание, веру в прогресс и в науку. […]  В Питере же дискотеки и журналы – только повод для того, чтобы люди могли собраться и поговорить о чем-то возвышенном. Это идет от традиции: за стаканом вина в «Сайгоне»  говорить о Данте, Тютчеве, Огареве. Огарев с Герценом тоже много пили, но не это же было самым главным. Ведь был «Колоколъ», «Былое и думы», в конце концов…

Kuryokhin, Sergey. “S Novzm godom Zverya!” (“Happy Year of the Beast!”) [“С Новым годом Зверя!”] OM magazine, Moscow, March 1996, p. 69. Web. 31 July 2018.

http://www.e-e.eu/OM/index.html

[19] Novikov would never have resigned from his leading role at the New Academy and it is fair to assume he would not have agreed to Kuryokhin turning the New Academy into a University of National Bolshevism. Kuryokhin was obviously mocking Novikov because Novikov had sharply distanced himself from National Bolshevism after showing up at the 1995 press conference with Kuryokhin, Dugin, and Limonov.

In his open letter to Smena published on 6 October 1995, Novikov wrote, with regard to the New Academy: “Our ideals are Praxiteles and Leonardo, Ivanov and Briullov”. He attacked Mikhail Trofimenkov for aligning the New Academy with the NBP, and for thereby “aligning it with the punk musician Egor Letov, the heavy metal musician Pauk from ‘Metal Corrosion’, the extremist writer Limonov, and the Necrorealists – calling all of them fascists.”

Вот и записывает Михаил Трофименков "Новую академию" в НБП, в одну компанию с панком Егором Летовым, металлистом из группы "Коррозия металла" Пауком, писателем-экстремистом Лимоновым, некрореалистами и всех вместе объявляет фашистами.

See footnote 5

Novikov, Timur. “Mikhail, ty ne prav, ili ‘Alisa s kosoi chelkoi’ – 2” (“Mikhail, you are wrong, or ‘Alisa has a slanting fringe’– 2”) [“Михаил, ты не прав, или ‘Алиса с косой челкой’ – 2”]

Smena, Saint Petersburg, 6 October 1995. Web. 31 July 2018.

http://www.timurnovikov.ru/index.php?option=com_content&view=article&id=30&Itemid=18&lang=ru

[20] У нас в Питере заканчивается ремонт старого помещения здания Университета национал-большевизма, и студенты с нового семестра войдут в просторные, светлые аудитории. Слегка обновлены кадры, в связи с репрессиями полностью сменился профессорско-преподавательский состав. С почетом проводили академика Новикова (на его место пришел легендарный академик Медведев). Усовершенствована программа физкультподготовки. Введены новые дисциплины: метафизика крови, история Святой Инквизиции, факультатив Жизнь Замечательных Людей (Генон, Ренан, Кроули, Броули, Магомет, Лафайет и Бахофен).

Kuryokhin, Sergey. “S Novzm godom Zverya!” (“Happy Year of the Beast!”) [“С Новым годом Зверя!”] OM magazine, Moscow, March 1996, p. 69. Web. 31 July 2018.

http://www.e-e.eu/OM/index.html

[21] Сейчас наступило такое время, когда кризис искусства настолько очевиден (да и не только искусства - кризис религии, этики, морали!) – это завершается огромная длительная эпоха в жизни людей. Понять это – одно, а декларировать – совершенно другое. И все, что буду делать я в ближайшее время и, надеюсь, в дальнейшем, это как раз и будет связано с декларацией моего представления о том, что это такое и какие могут быть намечены пути выхода из создавшегося положения. Еще раз подчеркиваю, это не пропаганда религиозных идей, а пропаганда всех видов религии, которые существуют в природе (не конкретизируя никаких нюансов) и на основе их формирование определенного мировоззрения, поиск путей движении развитии искусства в дальнейшем... По моему глубокому убеждению, сейчас искусство уже не в состоянии самостоятельно справляться с теми идеями, которые оно декларировало на протяжении огромного количества лет. Это связано с кризисом христианства, мусульманства и вообще всех существующих религий..."

Polishchuk, Alexander [Aleksandr] “Pop-mekhanika v DK Lensoveta.” (“Pop-Mekhanika at the Lensoviet Palace of Culture.”) [“Поп-механика в ДК Ленсовета.”] Rock Fuzz no. 26, October 1995. Web. 31 July 2018.

http://www.e-e.eu/Pop-Mekhanika-418/index.html

[22] Fobo, Hannelore. Pop-Mekhanika in the West. 2018, page 6 “Why shouldn’t one play with a funny nose on? The ‘styob’” http://www.e-e.eu/Pop-Mekhanika-in-the-West/index6.html

[23] Стеб стал домом новой, препарирующей мысли и нового, опозиционно-деструктивного бытия. И в этом его важная роль в разрушении "новояза" как ГУЛАГа бытия и мысли.

Vorotnikov, Yu. L. O nekotorykh osobennostiakh yazyka sredstv massovoi informatsii. (Concerning certain linguistic features of the mass media.) [О некоторых особенностях языка средств массовой информации.] 18.12.2007. Web. 17 Dec. 2017.

http://gramota.ru/biblio/magazines/gramota/ruspress/28_606


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