Preview, Book 3 Tonal Atonality, V. Kazarin

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` We are pleased to present an information resource that provides a comprehensive overview of the work of the outstanding Russian composer Vyacheslav Kazarin within the context of the finest achievements of world culture.

Yours sincerely, art historian Arina Ryazantseva!

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We are pleased to present the third of four books devoted to the analysis of the unique ‘Tonal Atonality’ system, as a fundamental part of the ERA Ontology, created by the outstanding contemporary composer Vyacheslav Gennadievich Kazarin. Details regarding an accessible version of the book will be announced separately.




The poem ‘The Ferry… Remembering the Future’

Review
as a precursor to the ontology of ‘ERA’



Brief summary

‘The Ferry… Remembering the Future’ is a key text in which Vyacheslav Kazarin’s poetics manifests itself simultaneously as:
• a musical ontology of Tonal Atonality,
• a cosmogony of light,
• graphic [runic] poetry,
• a mythopoetic structure of the world,
• and a dialogue with global poetic movements.



1. STRUCTURE OF THE POEM: GRAPHICS, LAYERING, RUNES


1.1. Graphic organisation

• Verticality: Fragments such as ‘B  y  l  o  k  r  i  k’ create vertical columns, where each letter is a separate step, a separate impulse.
• Layering: The division of a line into levels — ‘Seven drops – an echo in the sky’ — creates a multi-layered reading: from the physical [drops] to the acoustic [echo] and the cosmic [sky].
• Word fragmentation: ‘words’, ‘G i f t’ – the word breaks down into letters, transforming into an energetic gesture.

Conclusion: here, the graphic element is neither decoration nor an avant-garde technique, but the ontology of the text: a poem is not linear speech, but a spatial structure of the world.



2. POETRY IN THE CONTEXT OF TONAL ATONALITY


2.1. The vertical as texture

• Vertical letters function as textural pillars — analogous to the vertical layers in TA, where each layer carries its own energy.


2.2. Breaks as texture

• Broken lines create textural fields — much like atonal layers surrounding a tonal centre.


2.3. Tabularity as interval fields

• Tiered blocks of text function as interval fields: meaning arises from the arrangement of elements, not merely from their content.


2.4. The circle and the path as temporal structures

• ‘A circle is woven’ — an entropic arc,
• ‘A long path…’ — vectorial time.

These are direct parallels with the temporal ontology of TA: the circle — a closed energetic form; the path — directed time.



2.5. Love as an energetic centre

The recurring phrase ‘Love…’ is not a lyrical motif, but an acoustic centre, analogous to the tonal centre in TA: fields, movements and gestures are organised around it.


Conclusion:
the poem is structured like a score of Tonal Atonality, transcribed in words: texture, fields, centre, arc, vector of time.



3. POETIC MOVEMENTS: SIMILARITIES AND DIFFERENCES


3.1. Symbolism

• Similarities: light, mystery, the cosmos, the multi-layered nature of the image.
• Differences: for the Symbolists, light is a symbol; for Kazarin, it is the physics of light, the substance of the world.


3.2. Acmeism

• Similarities: concreteness [palm, wall, rain, ice].
• Difference: Acmeists capture the object; Kazarin transforms the object into an element of cosmogony.


3.3. Modernism / visual poetry

• Similarities: breaks, graphic elements, spatial organisation of the text.
• Difference: modernists often work with form for form’s sake; for Kazarin, typography is ontology, the structure of reality.


3.4. Expressionism

• Similarities: energy, gesture, tension.
• Difference: expressionism is a cry, a distortion; for Kazarin, it is a gesture of light, creation.


3.5. Mystical Poetry of the East

• Similarities: the palm as the centre of the world, breath, the path.
• Differences: the Eastern tradition is often impersonal; for Kazarin, it is personal light, the human being as creator.


4. COMPARISON WITH INDIVIDUAL POETS


4.1. Tsvetaeva

• Similarities: the vertical axis, ruptures, gestural poetics.
• Differences: in Tsvetaeva’s work, the vertical axis is tragic; in Kazarin’s, it is luminous and cosmogonic.


4.2. Rilke

• Similarities: light as an inner cosmos; gesture as metaphysics.
• Differences: Rilke is spiritual and introspective; Kazarin is cosmogonic and ontological.


4.3. Celan

• Similarities: graphic runes, breaks, minimalism.
• Difference: Celan — trauma, emptiness; Kazarin — light, energy, movement.


4.4. St John Pers

• Similarities: the epic of space, cosmic perspective.
• Difference: Pers — oceanic, aerial; Kazarin — solar, luminous.


4.5. Andreev [‘The Rose of the World’]

• Similarities: multiversality, cosmogony of light.
• Differences: Andreev — a philosopher-prose writer; Kazarin — a poet-mystic working with graphics and sound.


Conclusion: the poem engages in dialogue with the major poetic systems, yet belongs to none of them — it realises its own light-based cosmogonic poetics, founded on musical ontology.



5. THE UNIQUENESS OF KAZARIN’S POETICS IN THIS POEM


5.1. The synthesis of four systems

• Graphic poetry: runes, tiered structure, verticality, fragmentation of words.
• Cosmogony of light: light as a substance, not a metaphor.
• Mythopoetics of the Slavic-Aryan cosmos: the shuttle, the rainbow, the gift, the path, life.
• Musical ontology of TA: texture, structure, fields, centre, arc, time vector.


5.2. Love as ontological energy

Love in the poem:
• the sound of the wind,
• breath,
• rain as a gift,
• light along the wall.

This is not a psychological category, but an energetic principle of the world — an analogue of the tonal centre in TA.


5.3. The Path as a Structure of Time

‘The long path…’ is not merely a road, but a vector of time connecting man, light, mist, the distance, and memory.



6. BIBLIOGRAPHY FOR EXPLORING THE UNIQUENESS OF KAZARIN’S POETICS


6.1. The Metaphysics of Light and Cosmogony
• Eva Hoffman. Rilke: The Inner Sky — inner light and the vertical.
• David Batchelor. The Poetics of Light — light as an aesthetic and philosophical category.
• Krishna Dutta. Tagore’s Philosophy of Light — light in Tagore’s poetics.
• Ann Smock. Saint-John Perse and the Poetics of the Infinite — the cosmic epic of space.

6.2. Graphic and Visual Poetry
• Mary Ellen Solt. Concrete Poetry: A World View — visual poetry as a global practice.
• Willard Bohn. The Visual Poem — the theory of the visual poem.
• Michael Davidson. Poetry and the Image — the interaction between text and graphics.

6.3. Mythopoetics and cosmogony
• Eleazar Meletinsky. *The Poetics of Myth* (English edition) — the structure of myth as a system.
• Claude L;vi-Strauss. *Myth and Meaning* — myth as a structure of thought.
• Peter Sloterdijk. *Cosmos and Poetry* — poetry and the cosmos.

6.4. The Musicality of Text and the Ontology of Sound
• John Hollander. Music and Poetry: Theories of Their Relation — the connection between music and poetry.
• Charles O. Hartman. Sound and Form in Modern Poetry — sound as a structural principle.
• Jonathan Sterne. The Audible Past — the historical ontology of sound.

6.5. Time, Path, and the Structure of Experience
• Paul Ricoeur. Time and Narrative — time as the structure of narrative.
• John Burt. Time and the Poet — poetic time.
• T.S. Eliot. The Experience of Time — the experience of time in poetry.



FINAL CONCLUSION


‘The Shuttle… Remembering the Future’ is a text in which Kazarin’s poetics demonstrate their complete systematic nature: graphic runes, a cosmogony of light, the musical ontology of Tonal Atonality, the mythopoetic structure of the world, and a dialogue with global poetic traditions are united into a single ontological score.

This poem is not merely an example of style, but a model of his poetic system, essential for the further analysis of the Era of Era as a holistic philosophical and artistic paradigm.



Arina Ryazantseva, art historian and biographer of the composer Vyacheslav Kazarin
Russia, Moscow 2026

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