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Again before us there is a certain "deconstruction". If OPOYAZtucked away in the shadow of the semantic side, sticking out the essence of poetic language, here is the same variant is obtained by the avoidance of the orientation of the interlocutor, buton the semantic level. That is, we see almost a similar idea, but onlymore sophisticated order. Because in our time we are suspiciousworks, exploiting the topic of the day. In 1915 N. Radloff wrote: "now our art afraidthe present. We believe that topicality is a very dangerous way. Maybeso, but there are moments when "the day" becomes a "historic day" andgo past his "anger" -- cowardice. We used to see as a moderntopics nourish the surrogate of art, all the value is inactuality, and afraid to get a rapprochement with him real highart" (radloff I. Future school of painting // Apollo. -- 1915. --No 1. P. 14-15). He emphasizes the following: "the Gap between the viewer anda painter whose existence is undeniable, formed naturally, since in the process of artistic creativity to the fore madepersonality" (ibid.P.16).
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