Ideological and Stylistic Paradigmatics of the Russian Musical Avant-Garde as a Premonition of Network Freedom: From "Zaum" to Conceptualism

Abstract

The subject of the study is the ideological and stylistic paradigmatics of the Russian musical avant-garde, viewed as a cultural model that anticipated the principles of network freedom. The author traces the evolution from futuristic "zaum" to Moscow musical conceptualism of the 1970s–80s, revealing stable paradigmatic structures: the emancipation of sound, the de-hierarchization of the artistic process, the priority of concept over artifact, and the openness of the work. The aim of the article is to prove that the Russian avant-garde not only acted as a laboratory for radical artistic languages but also implicitly developed communication protocols akin to the modern digital environment. The methodology is based on U. Eco's theory of the open work, the semiotics of Yu. Lotman, the concept of the rhizome by G. Deleuze and F. Guattari, and the idea of the "death of the author" by R. Barthes. The paper demonstrates how zaum created a prototype of hypertextual space, noise symphonies – a model of an interactive flash mob, and conceptualist reduction – the algorithmic thinking of the network. It is concluded that network freedoms (anonymity, remix, crowdsourcing) were philosophically and aesthetically anticipated in the experiments of the Russian avant-garde, which sought to transform art into a total communicative environment.