Fragment of the book “The Artist’s Book [+]” The blurry space of postmodernism has almost completely exhausted its possibilities. And today, most artists and other cultural figures show interest in the synthesis of arts. And within these trends, the role of such a unique tool as the Artist’s Book is growing. Today, the artist needs to highlight the Book as a separate cultural phenomenon along with literature, art, music and science.

On November 20, the New Stage of the Alexandria Theater hosted a poetry evening by Michael Palmer and a presentation of the book “Under the Sign of the Alphabet” (translated by A. Skidan and A. Dragomoshchenko). In this regard, we also publish texts published in the “Baudelaire Series” #13 [Translit]: School of Language . This translation was made by S. Ogurtsov and N. Safonov (noted in the text CO and NS respectively).

Are you sure, she asked, that you are talking about ideas? The dark, devastated by touch, would be untouched, insignificant. Even on the island.

Julia Kantor's book is dedicated to one of the most closed topics in the history of international relations - secret military-political contacts between the USSR and Germany between the First and Second World Wars. How did this cooperation begin, what transformations did it undergo, why were contacts not severed after 1933? How did this rapprochement affect the military potential of the two states, and what did they come up with in 1939?

Vladimir Ivanovich Glukhov (Leonid Markov) Alexander Gordon's "Fight in the Blizzard" (1978) clearly demonstrates the broad originality of Soviet cinema. The film, released four years before Carpenter's The Thing, successfully fits into the history of world cinema and meets all the requirements for action-packed action films, where the main antagonist is a Stranger from Another World. Pacer From the other world Waiting for dawn. A.

For the Pierre Leon retrospective, which will be held this week in St. Petersburg, we are publishing a dialogue with Pavel Arsenyev, dedicated to medialogy and the pragmatics of literature/cinema, as well as the “divorce” between experimental culture and mass audiences. HISTORY (?) ART (?) CINEMA Pavel Arsenyev : Existence in a culture is determined not by what you do in it, but by the way in which you place yourself in it.

and the Spirit in the form of a dove... from the troparion She's beautiful - she will probably be resurrected. Mayakovsky A moderately well-fed gray-haired man came out of the forest. He moved along the path, from Bely's "Dove", tangentially - as if past all these Khlystov suburbs and black villages - past, but more often - through. In general, grazing, moving viscously through the text, with a pronunciation, onto the girl’s foot and - bestiary - under the skirt - he climbed.

How to explain to non-philosophers (who in reality are the majority) what is the difference between real philosophy and pseudo-, quasi- and achtung-? No way. * The following is an explanation of why not, but I’m skipping it because philosophers will understand anyway, and non-philosophers will still miss it* But it is possible to explain to a non-philosopher why he is unable to distinguish real philosophy from non-philosophy. At least to prevent self-confidence.