CAUTIONARY NOTICE / ***
Two poems
CAUTIONARY NOTICE
Information will be transmitted now
You see the letters through which information will be transmitted
They form the words for the transmission of that information
And those in turn form syntagmas and larger units
And much much larger
In this way unnoticeable to ourselves
We turn out to be absorbed in the process of reception-transmission
That judging by everything has been going on for a long time
And which does not particularly rely on us
During the time of travel we will see only a small particle
A drop extracted from the stream as if by pure chance
But in it will be reflected the remainder
Like it or not nothing else will be offered
The grains of sand move at high velocity leaving in their wake
A concise record of a vast cosmic voyage
Constricted on both sides
By the blinding photosphere and the icy darkness of night
Thereby producing
An universal history of voyages
It is unknown when this began
It is unknown when it will end
The information stream is vast
And life as usual is short
And in the struggle between the two
The information stream prevails
Over this so-called life
That the scientists assert is
Akin to a drop of water
Catching one’s attention as it plummets through a beam of light
Similar to an accidental line
From a book snatched at random
From the shelf of a limitless library
The catalogue of which is bottomless
(In this line are usually input dual calendar dates
Written in unintelligible symbols
In accordance with unknown rules
In a language known to no one)
Turn your attention to how easily information is transmitted
To the speed at which the stream passes through us
How the innumerable mistakes of transmission spark in the darkness
It is not worth it to try to divide the useful from the useless
To prefer the good news to the miscellaneous
To employ corrective filters
It is recommended to let in as a whole
Life pierced every second
By the solar wind dancing on shuttered lids
It is what stirs in the sails
It is what scatters ships
It is what makes us transparent and light
Like it does that very same drop
The grain of rice
The particle of quartz
The accidental line
(Dual dates)
***
Here is conducted an analysis of a poetic text
Which emerges simultaneously with this very same analysis
So that it seems impossible to separate them
In terms of form or content
The word “analysis” has appeared in the poem twice already
Which can’t possibly not raise alarm
Look it’s already three times
Such statistics give one the idea
That we will not find any kind of analysis here
Despite the fact that the term itself has come up for the fourth time already
From the scientific perspective the text does not present any interest
Just like from the perspective of art
Just like from the perspective of jurisprudence
Just like from the perspective of national security
Just like from the perspective of sac fungi (ascomycota)
Just like from all other perspectives
Due to its rootedness in everyday language
Its protocol-like dryness
Its lack of conceptual rigor, phonetic resonances
And other expressive idiosyncrasies
The present text risks becoming one of the less memorable
Within an array of poems composed at approximately the same time in the Russian language
Succeeding each other via this or that degree
of conceptual alignment with self-referentiality
It’s possible that we are dealing with the latest attempt to draw attention
To the problem of representation
To the question of signs
Not referring to anything but themselves
That’s not too curious of an idiosyncrasy
Rather it’s a kind a commonplace spot
And it hardly makes sense to stop on it
Furthermore
To the strengths of this text can be attributed its
Transparency
Suchness
Otherwiseness
And relative conciseness
Translated from the Russian by LeiAnna X. Hamel.
RUTHIA JENRBEKOVA is an interdisciplinary artist/researcher from Central Asia, born in Almaty, Kazakhstan. She holds an MA in ecology from the Kazakh State University. Since 1997 she has been involved in various artistic and curatorial projects. She is a performance artist, writer, and transgender activist. Since 2012 she has worked as an employee at the imaginary para-institution named Krёlex Zentre. She often works in tandem with her artistic partner Maria Vilkovisky. Her fields of interest are the following: ecology of practices, material semiotics, arts-based research methodologies, and performance art. She splits her time between Almaty and Vienna.