This is a property of a person – to grow spiritually. This growth (an experience) is crystallizing into the buds of the individual creative schemes. These schemes objectify (organize) in one or another material by means of the potential pressure (an inner vapour); so the «content» of a person, natural and different, – is a stimulus to a materialization, the materialization, in its part, depends on the objective laws of the material and on the arbitrariness of the molder. That is why we speak only about a «form» out of the fragments of the schemes forged together – the crystals of the experiment of the growth – we speak about Art.
A potential schematical grume – an embryo of a content – by virtue of the main law of a human mentality – of a saving of powers, in every separate case of its formulation requires for itself, and for a material, in which it is organizing, the peculiar appropriate receptions. Therefore it is nesessary for the transfer of any impressions and their combinations, in the practically usefull for life devices or their creative conceptions: a preparation and resolution in the focal point (a cracking of the kernel of a scheme) by means, which functionally flow out from what was organized and what was connected with it directly.
The preparation and resolution in the focal point without sided (unintentional) instructions of an element may be reached by means of a localized method.
We denote the centripetal organization of a material a localized method.
A material, so organized, we denote a construction, the organizator – a constructivist, the princip of the organization – a constructivism.
A constructivism is a centripetal hierarchical distribution of a material, which is punctuated (brought into focus) in the beforehand determined place of the construction.
The principle of the of the constructive distribution of a material – is a maximum loading of the need of a unit of it, that is – briefly, compactly – in small – much, in the spot – all.
The construction consist of the parts we denote them as konstruemas. The konstruemas are spread along the rod of the construction, but, extracted of it, they are enclosed in themselves – they are holistic, every is the construction with a hierarchy of its konstruemas; thus every konstruema is a full-blown form, which sacrificed themselves for the stability of the whole.
Konstruemas is made in three types: the main, auxiliary and ornamental.
The main konstruema is a mission; in a cell of the konstruema the uterus of the construction settles oneself.
The auxiliary konstruemas – which pave the way for main one – are leading.
The ornamental konstrumas – as an ancient song «Anenenayki» – put into use supposedly for decoration. The aim of these konstruemas is to lead the intention – they are placed in the construction prudently-appropriate – into a blood by means of telling fortunes.
The main, or trunk, konstruema, depending on the character of the organizing material, determines the order of all construction. Obeying the natural, lawful properties of the material the magistral (core of the future uterus) have an influence on the specific gravity of the other konstruemas. The construction is held up by the support in the magistral.
The displacement of the magistral changes the order of the construction.
Commentary. The beautiful example of it may be the law of an alignment by the stressed word of the Moscow word: the moving in the construction – in this word – of the main konstruema, – of the stress on the word – changes the specific gravity of all auxiliary – articulatory and expiratory – syllables, hierarchically subordinated, and gives a new word.
The construction – is a monolith; falling out a «grain of sand» destructs all. Bad theory of the broken mind and bastard of it – the theory of the blending, having deflower the credulous little poets, aggravate in them the volitional putrefaction; as a result of the acentric ruins and landslips the collapse of the russian poetry culminated.
98% of contemporary works of art we can read pell-mell. This collapse transformed the young poets into the specialists of the narrow qualification, popping the mandates and patents on the sound, rhythm, image and zaum` etc without regard to the whole.
The build of the construction can demand the row of the variety stylistic moves, characteristic for it; to fulfil a task a constructivist had to know all, to possess all in perfection; we have no two similar works of art – the construction, we reject of the formal canon.
Constructivism as an absolutely creative (workshop) school asserts the universality of a poetic technic; if our contemporary schools separately bawl: the sound, rhythm, image, zaum etc, we, accenting AND, speak: and the sound, and the rhythm, and the image, and the zaum and any new other possible acception when the real necessity exist during the installation of the construction.
We know world is boundless, innumerable and unrepeatable. A life and the aim of a person – an unalterable achievement – the creative work; the creative work: the actuality – movement – life. The base of our creative work – the organization of life – the organization of the localizations.
The constructivism is the highest mastery, the abyssal, exhaustive knowledge of all the possibilities of a material and the skill of condensing in it.
The constructivism is the organising of Constructivist himself in the form of forms.
In a car the screw helps to the screw. Constructed on the objective, natural, opened with a science laws, the cars remind us about a necessity, naturality, at last simply about a profit of a friendly compatibility.
The constructivism – is the school, standing on the strong, scientific, machine foundation, – in its essence is communistic. By the organization of the constructions it cultivates the friendly solidarity and fraternal joint. The construction is a bright example how a «form» can contain the necessity and the force of the unity.
The masters of all centuries had the presentiments of a constructivism, and only we perceived it as a localization of a material; we through the form go to the form of forms – we grow up. The content in us is natural: the natural properties force to materialize it in the word, in it we construct the ways of our growth; we swear: to plane the unprecedented forms – that's the limit... Our deposit: a volition, slyness, fidelity and the ferroconcrete support of knowledge.
Elliy Karl Selvinsky
November 1922 – March 1923.
We know. The oath construction (Declaration) of the poets-constructivist. M., 1923. K. P.*
See more: Alexey Gan. The Constructivism. Tver, 1922; Ilya Erenburg. «And yet it moves». Gelicon Publishing. Moscow. Berlin, 1922.