Two poems

Mera CM 7209, Pripyat, Ukraine, 2010. Photo posted by Jean Chris Andersen on Flickr.

Computer in ruins.


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


To the strengths of this text can be attributed its

  1. Transparency

  2. Suchness

  3. 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.