Psa Korolenko. It was a song

Augustine says that we can help ourselves think about time, if we proceed from the fullness of the whole, for example, a song that I take to sing from beginning to end. She, in itself, is a whole, then it unfolds in time. What is this song? Early Christian anthem? Or human life? Or the praise to God, what is the "whole century", Totum Saeculum, the history of the world? Like Aristotle, in Augustine we know the time by changing the soul: time is a change in a change in, outside which there is no measurement of time. This is not psychologism. The song that Augustine is talking about is essentially the same as the melody (tone) of the presence, as Heidegger determines the mood in its fundamental ontology.

Vladimir Bibikhin, "Mir"

The fact that in 1997 - 1998 we sang on the network is a song, but not the way you thought. Music is a secret, not manifested before the prescribed time, such as the one in which Alexander Blok ordered to listen. The words are generally in an incomprehensible language, in the days of doubt or the painful thoughts that passed into the moo. We -I -I -I -Iy -Patrikey Lisidze (he -now, probably, can be said about this -saint of thin ), Psa Korolenko , Eugene Kulikov , Iza Katsman , Rav Semen Drozdov and other people absorb . The song was called Ru.Stetle .

Our virtual place was born as a feed-ech, dedicated to how the modern "carrier" of Russian culture , this notorious "writer", could or could not overcome the full crisis of cultural, national, and even any other fig, identification. Subsequently, this conference was merciful on the Internet on the website of Lisidze www.boga.net and received a spectacular subtitle: a virtual bazaar for Russian Judaizers .

The initial leitmotif of the conference was a call to the Jews to leave Israel and carry out an anti -model into a virtual spiritual plug, a place . Around this paradoxical idea, a special language was created, a kind of secret -painting. " Israel - womb of the whale ." "Erzats -Israel", " Let's speak in the Yiddish " - this is just a small Tolik proposed by the esoteric circle of the authors, including your humble servant.

Skiye groin - the pseudonym for the moderator of the Patrikey Lisidze forum. The stylized Archai-Derevens-Russian name in combination with Pseudo-Jewish entourage makes us recall real subbotniks and Judaizers. Under this nickname, passionate lyrical meditations come, stylized as social appeals, apparently on the basis of the arbitrariness of any language, and sometimes, along the way, interesting information about alternative music and non -conformist political projects of the 20th century.

Amos Azova: Musician from the "Real Afro-Russian Reghei-Commander Melange ", playing Reggei and SKA. The African from the shores of the ivory, the burned intellectual, the poet, the author of the charming reggee-texts about himself as the reincarnation of Pushkin, who created with the help of Lisidze a biographical myth of himself as a non-Jew. The fictional story of his life and revolutionary activity in his homeland for a long time was in www.boga.net. In the neighborhood with Ru.Stetl and the site about the actually existing Voronezh nonsense federals, spiritual poems, chants and tales of which were promoted by Patrikey Lisidze in Moscow.

Iza Katzman, AKA Esther23, is a Moscow journalist, author of articles about music, radical culture and the Internet in the magazines Adrenaline , XL and others. The sphere of interests of Izia includes biographical myths and quasi -sectant activity of Alistair Crowley and more modern bison of the musical counter -culture of the Nashensky generation - such as Anthony Lave or Genesis Pi -Orige , whose sectarianism, unlike too serious and tragic Crowley, is on the verge of playing, self -Parody and mystification. It was Iza Katzman who was the first to introduce to R.stetl the so -called cutting, KAT -AP, - the post -Surrealist technique of writing, opened in the era of the beat by Brian Gaisin and canonized by William S. Burrose .

Briefly about others: under the nickname 'Rav Semen Drozdov, a completely secular writer, psychologist and publicist Vitaly L., author of a brilliantly stylized essay about Shabbatai Zvi , never thought to hide. Evgeny Kulikov - the real name of the author. Biochemist, a descendant of the Old Believers, ethnically purely Russian, perfectly owed Yiddish. This makes him the most mysterious of all authors. When asked how he knows the language, he answered the story of two Jewish non -native aunts, like Aunt Nesa and Aunt Sarah from the ingenious, no matter what we say , books - Konduit and Schvambrain . Well, and the wretched Akyn Korolenko is me, your humble servant. As a feasible contribution, he introduced several artistic, journalistic and lyrical quasi-sectant texts into the general song, including 20 thesis , electricdy and biography of the river. Yoyna is the last essence of the joint of a certain averaged -Pelevin letter with the intonations of the author of the Hasidic stories and Agnon .

The Jewish theme in Ru.Stetle is a metaphor. The closest Maynstream parallel explaining the essence of Lisidze's Patrikey, the pseudonym of Sinyavsky - Abram Terz . Jewry for Terz was a symbol of marginal Russian folk culture. No specific Jewish values ​​were implied there. The departure of Jews from real Israel to a virtual skeleton is a cultural metaphor, representing the waste with a canonized mainstream avant -garde (AKA postmodernism ) in favor of returning to cultural roots, linguistic virginity, naivety and touching purity. The same spectrum of mindset is expressed by mythologist Mameloshn - 'mother's', and in our case, rather, the grandmother's language, the propaganda of Yiddish, in which none of the participants, except for one hundred percent Russian Evgeny Kulikov, spoke. This language ( jargon is in the terminology of the block and symbolists) is the subject of the galut language for many thoughts in Israeli and at the same time a kind of virtual cryptoneman . Yiddish became so attractive to us as a crypto language, thanks to his toy, a hundred -string of neophytes reinforced under a pen, he resembles Esperanto in Ru. Paraskectant connotations that the project of the great dreamer of replacementhin had. The most important aspect of Yiddish is that it is proposed to perceive it only through the prism of the Russian popular culture of the early XX century. The grounds for this approach were lit by Selishchev in the first edition of his brilliant book The language of the revolutionary era . Ru.Stetle complements the scientist’s finds, restoring and identifying Yiddish subtexts in Soviet song poetry, simultaneously claiming the canonization of Yiddish-Topic in the Russian popular culture: "We will teach you our small-town bazaar!"

Thus, Ru.Stetl as a social and political project did not deal with real Jews and not with Israel, but exclusively with Jewish topics as an integral part of Russian modenity . In this spectrum, a convincing pair with a Jewish theme is the theme of sects and alternative images of faith. It is no coincidence that there are a raking person on the same site, and Amos Azov represents himself as a Negro Jew. I will make a reservation that Russian modenite is understood in the chronological range, expanded before the revolutionary era in Selishchev. A deconstructivist reservation is also needed that it is not so much about a sect as a real phenomenon, but about a sect as an actual metaphor of Russian non -conformism (marginality, anti -mainsthemism, pathos of viability and biographical myth -making, generally the intense work of the mythologizing consciousness at all levels. All these are undoubted values How they are understood by Russian late Postomodernal criticism like the Etkind whip .

Three phases can be traced in the work of the plug . The first is an allegorical discussion by participants in the current situation of blessing, comprehended in the modernist spirit as a personal existential situation of each of the participants. Two ideological-stylistic lines are separated in this phase: radical-utopian, striving to approve pre-Modernist values ​​(philosophical maximalism and search, personal and collective involvement, metaphysism) and a kind of “apophatic”, insisting that there will be no language, but should remain serious. This mood is metaphorized, for example, in one of the biographies of the river. Yoins. The conversation between Tsadik with the psychoanalyst Frumkin about Oedipus ends with the fact that Frumkin receives a revelation to cut his eyes to “become an edip” and understand his name, and to all patients Frumkin r. Yoine commands to walk with his eyes closed, which is why they, according to the mercy of the Almighty, is blessed, he become Edipas and the immortal gods who are now among us. The same apophatic pathos is expressed in an Elekherdyka: “We will call this truth an electricdy, in Dolganian amen ... We will call the energy opposite to an electricdy. This word from the archaic children's language conveys disgust. Kydrakele is what we hate ...”

The second phase is the screening of “ external ”, a categorical refusal to include yourself in the framework of traditional political and other discourses, especially implicated on various “national issues”. A striking example is the invasion of Alexander Dugin , who is striving to include Hasidism, Kabbalism and the tragic poetic pravials of Shabbata Zvi in ​​his spiritual context , Extracondum identifying them with a certain Jewish non -conformism and with the revolutionary Par -Exelles. Naturally, Dugin should have impressed sectarian intonations in the plug, not to mention the references to Crowley and the TV in the postings of Esther23. He also liked our general irony in relation to the traditional routine descriptions of the "Jewish question." It was in the skeletle that he met Drozdov’s essay about Shabbatai and with the Drozdovsky interpretations of Kabbalah, as well as with my spirit, Misha Gonas about Shabbatai, which is invariably captivating from me: “... my name is Saturday I carry you something at the end of the tongue and I will say Saturday, I carry something on the end of the tongue and I will say Saturday I bring you something on the tip of the tongue and now say: ... ".

Dugin with sympathy asks the question: "Who are you - sophisticated refined anti -Semites or Telemits, who did not forget their Jewish, Yiddishov roots?" Without recognizing a hoax in Drozdov, he is looking for a non-convertible rabbi on the forums of Arctogea and in a skeleton. Drozdov, who has never formed a rabbi, answers Dugin to an invitation to cooperation: "I would love to accept your proposal if I had at least the slightest hope of turning you into Judaism." And Iza Katzman, aka - Esther23, speaks even more briefly: "Softly creep, REB Maldorore!" After which Dugin (if it was him!) No more in the plug does not appear.

The third phase is the last desperate attempt to construct your adequate language, leading to curious results. Here, again, two paths, two paths. One is a radical depersonalization of the text by means of KAT -APs and the so -called disosschied press - programs, beyond recognition of the transforming texts. As the attentive and impartial reader of the town writes, "the population of Ru.Stetl recognized the ominous nature of the discourse and announced this publicly, but in insufficiently clear terms: it was not clear whether they were tired of discursed or just living. The outside world did not forgive the town of his archaic directness. Epstein and Makhotkin from www.here.ru came from the outside world. The unsuspecting skeleton of the vis -shaped press ( Dima Kaledin ) was let into nothing. In fairness, I could object to Dima 'from the inside.' The plug knew about KAT-Apas and without outside help. Esther 23-Esoteric Kat-Apov, the author of the brilliant KAT-round of the parody of Emelyan Yaroslavsky, sees in the cutting a genus of secret-painting and secret diet, such as hematria. In the same sense, KAT-AP Brian Gaisin and Genesis Pi-Origa understood KAT-AP.

In addition to Kat-Aps, in the last months of the skeleton we have had another type of crypto, resembling surreal lyrics. These postings, like many texts of Russian modenity, look fundamentally uninterpretable or interpreted only symbolically, but at the same time allow you to suspect, and sometimes directly detecting the references to individual biographical myths. One of the through motives of this lyrics - the expectation of change - sounds either aggressively , now depressively , then psychedelically , but sometimes unexpectedly optimistically to naivety: “Now we are eating a real woman’s summer, and when it ends, the bear will be laughed and the big BPedlam will begin for those who have not entered, and for those who have involved, Islamic paradise, the fulfillment of desires. And there was a; But we said to the great htonic perinction and all entities, we will even obey us: to be in October in the spring, and so before the MIP Mashiakh is a skeet.

The final phase of the project is a reincarnation in Ru. Khalamees (dreams), an alternative 'sleepy' site. Jewish hoolem (Mnozh. - XaloMES ) [Dream, Sleep], which sets the theme of sleep and dreamer, was presented initially in the texts about the river. Yoine. And in the end, a farewell party of Ru.stetl, a swan song of the town, and here is its text , was announced. Among the projects of the Halamees conference, the project of Iza Katsman was declared - the virtual spiritualistic session of Crowley - to the answer ...

This and other projects as a result turned out to be perfect mystification and virtual - in the sense that they have never been implemented. However, the word halaymes in the Yiddish can mean empty ventures and pipe dreams. Well, in any case, the plug completely disappeared.

But it was - and that means that it is. I love him - and not for the fact that I was in him. We tried to overcome the modern crisis of consciousness with the help of cunning cultural practice, playing a sect. Or maybe not games? Please, what was the plug? Who, who will tell me?

I think it was a song.