Направления, течения >> Эстетические концепции 1920-х гг. >> Формлибризм >> Декларация формлибризма >> Declaration of formlibrizm

The work of art – the concrete fact.

The criterion of the valuation –  the motion by the means of technic.

The value of the work of art –  the satisfactory disposition of the materials.

The parcelling out a creative impulse, that is the arrangement of a materials, – the elementary geometry like any our perception from the concreteness.

To make the correct value is not necessary for the consciousness to participate in it, because the emotions – the first successors – did it

(the emotion – the creative work)

          the simple organs – ear-eye,
the localized consciousness of whose is called a feeling.

The feeling – the consciousness of fingers, because the fingers of an artist know, how the keys and palette will sound, whereas he does not know himself, what he will create.

The rhythm – a pregnancy of a creative work – gives a sound.

A sound, word, paint, line – are the equivalent summands, the alternation of detonations of which create a metr.

A rhythm


                       metr –
the material of an artist, the sum of parts of which create a content, poured out of the spatial summands of the synonym.

The conscious combination of materials, called sonnet, symphony, gazella – on the whole a form, demands the perception, except of the simple organs, unlocalized consciousness, true contamination of emotion.

Until the image of the material of a content is revealed  by means of the rhythm (a sound, word, paint, line), the scheme of emotions, producing a complex of this image, is created. So:

an impuls A demands of a sonority a,

      an impuls B demands of a sonority b,

              an impuls C demands of a sonority c.

The created sonorities are subdued by the rhythmic

ensuing consequences, the conception of it – metr – always creates a primitive form.

Only the correspondence of elementary materials of a creative work



(an absolute approach to a quality)
is an attainment of an artist.

Taking this formula as an axiom we inevitably come to geometry. Any creative material is embodied in its geometrical submission. So, a word iron, the harmonies of a quart-sixths-chord, in our localized conciousness inescapably are presented as

a point




                            temporary dimension
and the antagonism them (materials-moments) creates the form having possibility to be embodied.

To the formula «an impuls A – a sonority a» we add

F = A (a sonority A) + B (a sonority b) etc,

where F – a form, A and B – impulses-moments are polar.

And, as the creative work realizes in detonations, so all the rules do not employ to it, only may be an equation with many unknown quantities.

Orest Tiesenhausen.
Petersburg. October. 1922.