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Velimir Khlebnikov (1855 - 1922) Velimir Khlebnikov - Don't Be Naughty Read by Kirsanov, 1963 Velimir Khlebnikov - Grasshopper Read by Jakobson, 1954 Velimir Khlebnikov - He Said Read by Jakobson, 1954 Velimir Khlebnikov - Laughing Charm Read by Jakobson, 1954 Velimir Khlebnikov - Russian 10 Years Read by Kirsanov, 1963 Velimir Khlebnikov - The Sea Read by Kirsanov, 1963 Roman Jakobson reads Velimir Khlebnikov's "Incantation By Laughter" Poem, 1908-9, 0'48". Voice – Roman Jakobson Recording – Harvard (USA), 1954 The Radio of the Future Radio budušcego, radio project, 1921, 3'45" Directed By [Radiophonic Re-creation] – Leopoldo Amigo, Miguel Molina Performer [Collaboration] – Pilar Abad Voice – Ernest Peshkov Production Date – 2006 Velimir Khlebnikov, pseudonym of Viktor Vladimirovich Khlebnikov (b. Toula 1885 - d. Governorate of Novgoord 1922), was a writer, sketcher and poet, also interested in mathematics, history, mythology and ornithology (he wrote an article about the cuckoo). A key artist in Russian cubo-futurism, he was constantly searching by way of verbal experimentation, writing toward the utopia of a "stellar" universal language. "The Radio of the Future" is an essay written at the end of his life anticipating the possibilities of the new radiophonic medium (radio first started broadcasting in Russia in 1922). He conceives radio as a "central tree consciousness" or "a great wizard and sorcerer" which, with its waves, would "unite all mankind". He saw the radio station as "a spider's web of lines" or "the flight of birds in springtime" which reveal the "news from the life of the spirit". In the hands of artists, this new medium would transport and project ideas instantly to the "unknown shores" of all humanity. Khlebnikov imagined that they could make "Radio-Books", "Radio Reading-Walls", "Radio-auditoriums" ("a concert stretching from Vladivostok to the Baltic"), "Radio and Art Exhibits", "Radio Screens" and "Radio Clubs"... where you could see and hear everything from the tiniest sound of nature to major events in the "exciting life" of cities. He understood that with this there would be a communication between the artist's "soul" and the people: "the artist has cast a spell over his land; he has given his country the singing of the sea and the whistling of the wind. The poorest house in the smallest town is filled with divine whistlings and all the sweet delights of sound." This capacity of Radio led him to see it as "The Great Sorcerer", capable of transmitting even "the sense of taste"; people would drink water feeling that they were drinking wine; or smell: a Radio station "would give" the nation, for example, "the odour of snow" in the middle of spring. It would also be a "Doctor without medicine" curing from a distance by means of "hypnotic suggestion". And Radio could also transmit sounds to facilitate the work of the harvest and construction by emitting certain musical notes, "la" and "ti", which would help "increase muscular capacity" in the workers. Another of the Radio's great qualities would be the organization of popular education through radiophonic classes and lectures. But Khlebnikov also warned that all this potential could be interrupted if a Radio station were damaged. That would generate "a mental blackout over the entire country". Thus it was necessary to protect the Radio Station with the word "Danger". In this text, Khlebnikov anticipates the potential of Mass Media and its capacity for the globalization of ideas and opinion - although this "universal soul" was seen by him as positive, he already suspected some of its dangers. This text was possibly written in around 1921 in Pitigorsk, when Khlebnikov was working temporarily as a watchman in a telegraph agency, spending the long nights writing. This radiophonic re-creation was made from sound references appearing in the text of his essay "The Radio of the Future" [Radio budušcego]. [edit] 1-6 From Russian Futurists from the GLM Collection (1920-1959) 7-8 from Sound Experiments in The Russian Avant-Garde (1908-1942) RELATED RESOURCES: Russian Futurists from the GLM Collection (1920-1959) Sound Experiments in The Russian Avant-Garde (1908-1942) UbuWeb Sound | UbuWeb