The art of dark matter or the taming of adepts. Dark matter

Dark matter art

Or the taming of adepts

Prologue

Already heard the news? - the red-haired fifth-year student turned to his comrades at the stand with the schedule.

Only the deaf did not hear her, - the blond grunted in response, rewriting lectures and practice time for the first academic week. - You can see the changes in the schedule. The art of dark matter, - the gunman said mockingly, removing his long bangs from his forehead. - We used to fight it, and now we are studying it. We don't have enough undead...

So, because of the undead, we will study in order to recapture the southwestern coast from the archiliches, - another fifth-year student did not agree. - My father says, the situation is disastrous: no matter how much you kill them, they are reborn again. The king spends the treasury on maintaining the army, but to no avail.

Didn't your father say that a new principal would teach the new subject? - there was a cold, slightly mocking voice behind the guys. Everyone, as if on cue, turned around and smiled.

Dark Laner is the son of the king's advisor. He knows exactly what, where and when.

I heard the rector - a woman, - the red-haired man chuckled. Everyone looked at Dark.

Not a woman, he grimaced. - Drow. A drow is feminine, mistakenly referred to as a woman.

Drow have been serving in the royal guard for a long time, what's wrong with that? The blond disagreed. “Only, a woman can't run the Royal Academy of Magic, where most of the adepts are male, which she wasn't.

Dark Laner did not agree, but he was not going to explain to everyone that fifteen years ago, in a war between humans and drow, his mother had died.

Do you think she beagle, like the rest of the drow? - asked the fair-haired.

Hardly, - Dark shrugged indifferently. “Father didn’t say anything. Only that she made a scientific discovery in magic and subjugated dark matter.

If she is an infantile young lady, we will all have a hard time, and we may not get to the magic tournament, - the red-haired judged sensibly.

Whoever fools the rector, he dances, - the blonde suggested, grinning, sparkling with green eyes, already looking forward to fun. - The sooner we get rid of the female rector, the sooner we save the reputation of the academy, and they will return a normal man to us, - he explained.

I put a tithe on the fact that I will handle it first, - smiling, said the redhead.

I would bet on Dark, - the fair-haired did not agree. - He has more experience with skirts.

I'm not going to "cheat" her, - Laner said hostilely. - We'll get her, so she'll go away on her own.

What if he doesn't leave? - the blond-haired man asked suspiciously. Somehow he could not believe that the drow could be "brought."

We won't leave her a choice," Dark said confidently.

He said goodbye to his fellow students and went to his room to unpack things. The idea that one of the best academies would be run by a woman, and even a drow... drove him into a cold rage...

Chapter one

It all started with a scientific discovery...

I stopped at the castle gate, looking around where fate had taken me and my desire to help the Northern Kingdom. Well, well, Niana ... well done. Helped…

Get the position of rector and sign.

Tweet! Wow, wow!

The Lifurinskaya steppe owl made a turn and, putting out its claws, sat down on the outstretched hand.

A drow girl in the detachment would have sat for herself and would not stick out her sword and a half. It was good for you, Lieutenant Deif, on state-owned grubs, but in the open air, and by the night fire, on the battlefield next to the burnt bodies of the undead. But no, the drow decided to excel and turn on the clever girl. Out of boredom and, apparently, idleness, the drow made a scientific discovery. Took and subjugated the dark matter. She transformed the whole thing, and exterminated the undead in a few days.

His Majesty Asker el Kelv was very happy and the accursed, eternally stern adviser too. Both of them were very happy, they raised their glasses for me, they sang praises in unison, so harmoniously ...

And then a new appointment, sign here and here, it is not necessary to read the fine print ...

Humor and irony is good. They help in battle, temper the spirit, and give a worthy rebuff to colleagues. Let's see, Lieutenant Deif, how they will help you within the walls of the Academy of Royal Magic.

Fani squeaked out, confirming my worst fears. The Academy is not waiting for me and I am not at all welcome. I, in fact, did not expect honors and red carpets, but I would like a banal respect, which apparently has not been heard of here. And in vain ...

Having crossed the threshold of the majestic castle, consisting of several buildings and buildings, three floors high, I forgot about all sorts of irony and again turned into the stern lieutenant Dafe, who was brought up in the drow camps. By the way, the upbringing of the drow is legendary. And they scare the children with them before going to bed ...

The first thing I did not like was the lack of guards and any control at the entrance. Come in, whoever wants, take whatever you want. Adepts can be taken out in batches, no one will miss. Well, maybe just a stone gargoyle at the entrance.

Niana Deif. Arrived at the post of the new rector of the Royal Academy of Magic, - reported to the secretary, hold out a rolled document, certified by signature and seal. - Call me the caretaker, please.

She looked around the administration reception, too beautiful and young, in my opinion, the secretary.

And Mr. Tuaro ... - the girl began, but she faded under my stern army look, looking at Fani and squeaked, - I’ll find it now, - she got up and rushed to the exit.

Mo Fan returned to Guangzhou. Ping Zhoulong showed with all his appearance that he had urgent business with Mo Fan.

Mo Fan thought that he managed to get information from Xiao Ping's assistant, but the magician took him to the underground floors.

Mo Fan would never have thought that there was a magical training ground under the Guangzhou tower, and Ping Zhoulong himself turned out to be his boss. With a mysterious look, he led Mo Fan into an isolated room of white steel.

In front of Mo Fan there was a large four-layer glass, through which he saw another room. Blackened remains were laid out on what looked like an operating table.

“Old Ping, did you bring me here on purpose to show me that blackened mummy?” Your strange look makes me nervous,” Mo Fan turned to the magician.

Ping Zhoulong had a calm, good-natured personality. He was not a good martial mage, but just like Headmaster Xiao, he liked to do magic research.

"Don't you recognize him?" the mage asked.

- Your mother! Just looking at these coals makes me sick. Why should I know this?

- Oh, you little one! Weren't you the one who brought Master Bei's remains? In broad daylight he dragged this into our association and scared a bunch of people! Ping Zhoulong replied displeasedly.

“I brought him to report what happened at the Linyin Court. And you saved it...

“You and Bei Jiang have a very specific feature in common. Do you know what it is?

"Speak now, or I'll go." I need to train,” said Mo Fan.

- Yes Yes. I meant to say that your natural gifts are of a similar nature. He, too, at the very beginning awakened two elements at once. Its elements were shadow and chaos, and the most interesting thing is that the two elements had the same spiritual path! Ping Zhoulong burst out enthusiastically.

“Two elements with the same spiritual path? – Mo Fan heard about such a phenomenon for the first time in his life.

Various magical elements are compatible with each other. Many powerful magicians, upon reaching high or higher levels, can weave two elements together, but only because they can form star clouds very quickly. But no one can connect them at the same time.

The simplest example is Mu Ning Xue. She often uses the wind element and the ice element together. For example, she can create an ice hurricane. But she uses both verses separately and connects them with the developed power of control.

But, judging by the words of Ping Zhoulong, the two elements of Master Bei were so united together that they even had one spiritual path. It violates all scientific theories...

This violates the theoretical foundations of magic. The nine-year magical education course clearly states that each element has its own spiritual path. This is the immutable law of magic.

“He awakened two elements, but they merged into one. Doesn't this mean that there is another element - dark chaos? Mo Fan asked.

Ping Zhoulong shook his head and muttered:

- No no no. This is not a new item at all. All signs point to the presence of two elements - shadow and chaos. But the shadow element is stronger. His unusual talent proves that the two elements can still merge together, which can lead to completely unexpected and unusual effects. For example, his dark infestation is controlled by the shadow element. But the distortions of his shadow realm… if I can prove the possibility of merging different elements, then it will lead to a major revision of the entire elemental system!!

Well, I'm a bad student. I don’t understand your deep thoughts at all,” Mo Fan felt embarrassed.

He was a complete layman in the history of magic, the theory of magic and magical research. At school exams, he did not flash past the headlines.

— Ha-ha! It's okay, I myself was able to understand this only by delving into the question. But, the fact that you managed to catch Master Bei will probably instigate a new stage in the study of magic. Although I still cannot understand what contributed to the process of connecting the two elements, but I will continue to research in this direction. Just think, if we discover the secret of combining different elements, the power of magicians will increase significantly! And we will no longer sit behind the safe barriers of cities…” Ping Zhoulong said excitedly.

- I understand. But I'm not very good at making humanity happy. I will leave this debt to you. Well, I'm gone! Mo Fan answered.

— Where are you in a hurry? I didn't have time to say, we want to do some research on you. Our magical association has already sent people to capture you for research. They wanted to see if this property could be copied. But we immediately abandoned this idea, everyone has long known that the awakening of two elements is a property of the human body, and this cannot be copied ... - continued Ping Zhoulong.

Mo Fan rolled his eyes. It was only now that he realized that all the graceful manner of this elderly magician was due to his passion for science. When it came to the technical aspects of magic, he himself could play a whole scene of doubt, searching, inspiration and finding an answer.

If that's all, then I'll go! Mo Fan repeated meaningfully.

“Yes, yes, go,” Ping Zhoulong suddenly became absent-minded.

Mo Fan hurried to get out of this place. After all, Ping Zhoulong was the head of the research department of the Southern Association, you should not quarrel with him!

Mo Fan went to the exit, but then behind him came the mysterious voice of Ping Zhoulong:

“Well, if you don’t want to get Bay’s ability in shadow magic, then, of course, go ahead. There are a bunch of shadow mages in the association who will beg on their knees for this opportunity. I thought that since you brought him here, then if we find something, first of all we need to consider you. I didn't think you'd be completely uninterested and look down on the opportunity.

Mo Fan's hand froze over the button to open the door. His expression gradually changed from dislike to interest!

“Ah, I was just thinking that I don’t have to hurry. Old Ping, can we have dinner together? I invite. All the time I wanted to express gratitude to you from the younger generations, but there was no opportunity, - Mo Fan turned around. A wide smile was already on his face.

“Indeed, I have never met such an impatient young man! Ping Zhoulong exclaimed.

“You mean you want to extract Master Bei’s dark powers??” Mo Fan asked.

After the murder of Master Bei, Mo Fan did not even think about such things, because neither spiritual nor spiritual seeds can be extracted.

“My main element is the element of necromancy. I can keep in touch with the dead. In my opinion, all the remains are a treasure,” said the elderly magician.

— That's how! Then it’s clear why you were able to get to the bottom of the peculiarities of Bei’s magic,” Mo Fan nodded.

- Extracting energy from the bodies of the dead was the main direction of my research during my studies at the university. Death means the withering of everything, it is an urgent law. I was able to extract toxic antibodies from the siren's body, and make sailors immune to her poison. I also managed to get the summoning creatures of the dead magicians, and not let them get lost in the backyard of the summoning world due to the death of the owner. Also, I… well, wait, wait!! How impatient you are! My point is that I've already managed to extract dark matter from Bay's remains.

She did not dissipate at all after his death, but rather accumulated, absorbed all the dark energy around her and turned into something similar to the energy of an elemental seed, dependent on the spirit of Bay. Now the main difficulty remains: how to separate dark energy from Bay's spirit. The dark matter is closely intertwined with his soul, and it is quite possible that if you want to absorb his dark powers, you will also have to absorb Bay's essence. But I fear that it may have a strong negative effect on you.

“So I can use this black matter?”

“You won’t be able to take over his natural talent, but you can get his special dark magic. Through diligent training, you will be able to master his specific shadow elemental control ability, and even master the dark infestation ability. You should know that dark magic is very often closely connected with the conclusion of a contract. You can consider this dark matter as an inanimate summoning being. After the death of the owner, this matter can find a new one... But I repeat once again, this matter is closely connected with the spirit of Master Bei. And if you take into account the hatred of the killer towards you, then as soon as you absorb his dark matter, his spirit can attack you! Ping Zhoulong said.

“Shadow magic control, dark infestation, that’s enough already!” Faster! Say what to do! Mo Fan exclaimed excitedly.

Dark matter does not emit or absorb light, practically does not interact with "ordinary" matter, scientists have not yet been able to catch a single "dark" particle. But without it, the Universe familiar to us, and we ourselves, could not exist. On Dark Matter Day, which is celebrated on October 31 (physicists have decided that is just the right time to throw a holiday in honor of the dark and elusive substance), N+1 asked Andrey Doroshkevich, Head of the Department of Theoretical Astrophysics of the Astrospace Center of the Lebedev Physical Institute, about what dark matter is and why it is so important.

N+1: How confident are scientists today that dark matter really exists?

Andrei Doroshkevich: The main evidence is observations of fluctuations of the cosmic microwave background radiation, that is, the results that the WMAP and "" spacecraft have received over the past 15 years.

They measured the perturbation of the temperature of the cosmic microwave background, that is, the cosmic microwave background, with high accuracy. These perturbations have been preserved since the era of recombination, when ionized hydrogen turned into neutral atoms.

These measurements showed the presence of fluctuations, very small, about one ten-thousandth of a kelvin. But when they began to compare these data with theoretical models, they found important differences that cannot be explained in any other way than the presence of dark matter. Thanks to this, they were able to calculate the proportions of dark and ordinary matter in the Universe with an accuracy of up to a percentage.

The distribution of matter in the universe (from left to right) before and after the data from the Planck telescope

Scientists have made many attempts to get rid of the invisible and imperceptible dark matter, theories of modified gravity, such as MOND, have been created that try to explain the observed effects. Why are dark matter models preferable?

The situation is very simple: modern Einstein's theory of gravity works well on Earth scales, satellites fly in strict accordance with this theory. And it performs very well on cosmological scales. And all the modern models that change gravity cannot explain everything. They introduce new constants into Newton's law, which makes it possible to explain the effects of the presence of dark matter at the level of galaxies, but misses on the cosmological scale.

Could the discovery of gravitational waves help here? Maybe it will help to discard some of the theories?

What gravitational waves have now measured is a huge technical, not scientific, success. That they exist was known 40 years ago when gravitational radiation from a binary pulsar was discovered (indirectly). Observations of gravitational waves once again confirmed the existence of black holes, although we did not doubt it before, but now we have more or less direct evidence here.

The form of the effect, changes in gravitational waves with power, can give us very useful information, but we need to wait another five to ten years until we have enough data to refine the theories of gravity.

How scientists learned about dark matter

The history of dark matter began in 1933, when astronomer Fritz Zwicky studied the velocity distribution of galaxies in a cluster located in the constellation Coma Berenices. He found that the galaxies in the cluster move too fast, and if only the visible matter is taken into account, the cluster could not be stable - the galaxies would simply be scattered in different directions.

In an article published on February 16, 1933, Zwicky suggested that they were held together by an invisible gravitational substance, the Dunkle Materie.

A little later, the discrepancy between the "visible" mass of galaxies and the parameters of their movement was confirmed by other astronomers.

In 1958, Soviet astrophysicist Viktor Ambartsumyan proposed his own solution to Zwicky's paradox. In his opinion, clusters of galaxies do not contain any invisible matter that would hold them gravitationally. We simply observe clusters in the process of decay. However, most astronomers did not accept this explanation, since in this case the lifetime of clusters would be no more than one billion years, and given that the lifetime of the Universe is ten times longer, there would simply be no clusters left by today.

Generally accepted ideas about dark matter say that it consists of WIMPs (WIMPs), massive particles that hardly interact with particles of ordinary matter. What can be said about their properties?

They have a fairly large mass - and that's almost everything, we can't even name the exact mass. They travel long distances without collisions, but the density perturbations in them do not decay even on relatively small scales - and this is the only thing we need for models today.

The CMB gives us the characteristics of dark matter on large scales, on the scales of galaxy clusters. But in order to "descend" to the scale of small galaxies, we are forced to use theoretical models.

The very existence of small galaxies suggests that even on relatively small scales there were inhomogeneities that arose shortly after the Big Bang. Such inhomogeneities can fade, smooth out, but we know for sure that they have not faded on the scale of small galaxies. This suggests that these dark matter particles must have properties such that these perturbations persist.

Is it correct to say that stars could only be formed due to dark matter?

Not really. Without dark matter, galaxies could not form, and stars cannot form outside galaxies. Unlike dark matter, baryons are always hot, they interact with the background radiation. Therefore, they cannot assemble into stars on their own, the gravitation of stellar-mass baryons cannot overcome their pressure.

Dark matter particles act like an invisible cement that pulls baryons into galaxies, and then the process of star formation begins in them. There is six times more dark matter than baryons, it "leads", and baryons only follow it.

Xenon Dark Matter Particle Detector XENON1T

Xenon100 collaboration

Is there a lot of dark matter around us?

It is everywhere, the only question is how much of it. It is believed that in our Galaxy the mass of dark matter is somewhat less than 10 percent.

But already in the vicinity of the Galaxy there is more dark matter, we can see signs of the presence around both ours and other star systems. Of course, we see it thanks to the baryons, we observe them, and we understand that they "hold" there only due to the presence of dark matter.

How scientists are looking for dark matter

Since the late 1980s, physicists have been conducting experiments in facilities deep underground in an attempt to capture the collision of individual particles of dark matter. Over the past 15 years, the collective sensitivity of these experiments has grown exponentially, doubling on average every year. Two major collaborations, XENON and PandaX-II, have recently launched new, even more sensitive detectors.

The first of them built the world's largest dark matter detector XENON1T. It uses a 2,000 kg liquid xenon target placed in a 10 meter high water tank. All this is underground at a depth of 1.4 kilometers in the Gran Sasso National Laboratory (Italy). The PandaX-II installation is buried at a depth of 2.4 kilometers in the Chinese province of Sichuan and contains 584 kilograms of liquid xenon.

Both experiments use xenon because it is extremely inert, which helps keep noise levels low. In addition, the nuclei of xenon atoms are relatively heavy (containing an average of 131 nucleons per nucleus), which provides a "larger" target for dark matter particles. If one of these particles collides with the nucleus of a xenon atom, this will give rise to a weak but perceptible flash of light (scintillation) and the formation of an electric charge. Observation of even a small number of such events can give us important data on the nature of dark matter.

So far, neither these nor any other experiments have been able to detect dark matter particles, but even this silence can be used to set an upper limit on the probability of collisions of dark matter particles with ordinary particles.

Can dark matter particles form clusters like normal matter particles?

They can, but the whole question is what density. From the point of view of astrophysics, galaxies are dense objects, their density is on the order of one proton per cubic centimeter, and stars are dense objects, with a density of the order of a gram per cubic centimeter. But there are 24 orders of magnitude difference between them. As a rule, clouds of dark matter have a "galactic" density.

Are there any chances for many to search for dark matter particles?

They are trying to capture the interactions of individual particles of dark matter with atoms of ordinary matter, as they do with neutrinos. But it is very difficult to catch them, and it is not a fact that this is even possible.

The CAST (CERN Axion Solar Telescope) telescope at CERN is looking for hypothetical particles - axions, of which dark matter may consist.

Maybe dark matter generally consists of the so-called "mirror" particles, which, in principle, can be observed only by their gravity. The hypothesis of the second "mirror" universe was proposed half a century ago, it is a kind of doubling of reality.

We have real observations only from cosmology.

Interviewed by Sergey Kuznetsov

Manifestation of "dark matter" (about the Samarkand esoteric community of the 19980s-90s) This article was published in Art Journal No. 98 in 2016 Where does the sky begin? Where the hawk soars is the sky? Hiding from the human eye, the fruit quietly ripens. O! The space around the fetus is already the sky. Jun Takami1 Every morning, standing by the window, I see a dense mass of trees on the other side of the road. Somewhere there, in the old Tashkent cemetery, in an unmarked grave, lies the ashes of Elizaveta Vasilyeva (Dmitrieva), who stirred up the poetic life of Russia in 1917 with poems published under the name of Cherubina de Gabriac. Its fate, in many ways indicative of the history of the Russian intelligentsia, which fell into the millstones of the global catastrophe that erupted in the first quarter of the 20th century, can also serve as an illustration of the key thesis of object-oriented ontology: things withdraw2. The process of Vasilyeva's self-elimination was multi-stage and complex. After the exposure of her poetic fake, Vasilyeva consistently withdrew herself first from secular life, and then from literature altogether. In 1926 she was exiled to Tashkent, where she died in 1928. Her grave was never found, and her name is almost forgotten. If objects, including people, retreat, eliminate themselves, then it would be natural to ask the question: where? Elizabeth Vasilyeva would have something to say about this. The reason why she was exiled to Turkestan was her active participation in the activities of the Anthroposophical Society, which was declared illegal in Soviet Russia, and which had a huge impact on the culture and art of the Silver Age. External history here interests me much less than the conclusions that follow from what might be called "anthroposophical thinking." However, the presence of historical and conceptual links between different objects allows comparing phenomena that are far from each other and coming to interesting conclusions, which I hope to demonstrate below with some examples from the Central Asian context. Alexander Frolenko. “The Chalice of Holofernes” (1998) 1 The Dark Matter of Art The hidden is often spoken of, making a distinction between metaphorical concealment, behind which there is an implicit meaning that needs to be read, and metonymic, due to the loss of information that needs to be restored. However, considering this problem both from the standpoint of object-oriented and anthroposophically-oriented thinking, one can be convinced that in reality the boundary between the loss and non-manifestation of meanings turns out to be very blurred: “an object is never reduced to a set of observable attributes”3. Timothy Morton explains this by the immanent property of an object to be and not-to-be itself at the same time. Rudolf Steiner, the founder of anthroposophy, attributes this to the inability of the physical consciousness of the average person to penetrate into the deep connections between things. In this sense, a fragment of Praxiteles' sculpture and Malevich's "Black Square" pose similar hermeneutic problems for consciousness. In both cases, what is manifest is insufficient, and although this deficiency is different, it is rooted in the eternal questions of the relation of the immanent and the phenomenal. How does the hidden, unmanifested or lost determine art and its content, the process and result of creativity? What role does the presence or absence of a real or potential viewer play here? Where does art withdraw itself, devoid of a viewer, a historical context, a part (whatever) of its material form? Modern theories of knowledge, as well as theories of the arts, for all their apparent diversity, seek to answer these questions on the basis of the default basic model of a disposable person, which can be simply called "3-5-70"4. However, the world provides enough evidence that it exists, including beyond the application of this model, and there is no need to develop clairvoyance to verify this. Thus, according to Robert Scherrer and Chu Man Ho, all matter in space consists of 85% "dark matter", which mysteriously behaves passively and does not have a visible effect on the processes occurring in the area or level of the Universe accessible to us5. It is interesting to consider possible parallels between the physical dark matter of the surrounding measure and various kinds of "dark matter" in the art world. What can they point to? Sergei Yakovlev. Bread Turns into Stones (2000) The whole theory of art of the 20th century, in one way or another, revolved around the question of the ontological definition of the work as an object recognized as such by some kind of “art world” (art world) - a definition subsequently repeatedly branded as elitist, contradictory and anthropocentric . The expansion of the definition of a work of art was later accompanied by an unprecedented expansion of the worldwide archive of works of art. 2 There have become so many artists that not only individuals who have not reached a certain degree of fame, but also entire genres and trends in art are out of reach. We have to put up with the fact that most of the work currently being created will remain unclaimed, unnoticed or misunderstood within the global paradigm of the art world. Critics are no longer able to deal with anything but randomly selected from millions of other works that illustrate, or, ideally, set certain trends, which gradually become the main object of critical consideration. This is precisely the reason for the notorious “triumph of theory”, which continues to this day6. In considering this “dark matter”, art criticism has so far mainly proceeded from the assumption that all these countless artworks in one form or another are variations on already known themes or are collective phenomena within which it is impossible, and even unnecessary , look for the one who "first said this word." Deep space is recognized as not containing fundamentally new secrets, but as a space evenly filled with countless, but fairly similar planets, stars and galaxies. Everything that we cannot create and observe now automatically falls into the category of potentially created and observed in the future - when we have an even stronger telescope to observe even more stars and galaxies. When will we have more advanced Internet tools that will allow us to post and find an infinite number of works on the Internet. When our economic life will be finally freed from the yoke of neo-liberalism. The future is thus set in retrospect. Grigory Ulko. "Dialogue with Time" The first version in the workshop (1977) It is easy to see that such mechanistic utopias completely deprive the idea of ​​art of any ontological content. Aesthesis and metaphysics are thrown overboard after the genius, the author and the mystery of creativity. The early Quentin Meillassoux performs this anti-correlationist cleansing in the name of avoiding faith in the realm of knowledge8, the late 3 Slavoj Zizek in order to maintain his own revolutionary reputation9. However, a healthy desire to get rid of the original sin of Kantianism and metaphysics once again leads modern materialistic philosophy into a dead end, on the one hand limited by the “law of consistency”, and on the other hand, by the reductionist bad infinity that arises as a result of extrapolation of the basic model of a one-time person to the world. Of course, the bleak prospects arising from this kind of philosophizing (and, accordingly, praxis) are fully recognized and give rise to various, including quite radical, alternatives. In anthroposophical terms, such processes of emasculation and hardening of consciousness are associated with the actions of the so-called. Ahrimanic forces, which in a natural and necessary way open before man the prospects of purely material development, but which need to be overcome in order to save mankind10. Timothy Morton, distinguished by remarkable philosophical intuition, speaks of realism instead of materialism, and in one fell swoop returns the aesthetic to the area of ​​legitimate consideration. Moreover, he makes the aesthetic the center of his system, identifying it with causality, which he understands as a relationship of causality not between two objects, but between an object and a non-object, or between the self-eliminated "essence" of an object and its simultaneous emanation. Morton's experience of the aesthetic principle in nature is not a resuscitation of the classical idea of ​​beauty in the spirit of Lessing, but a consequence of his intuitive insight into the nature of the creative forces of nature itself. Here he comes very close to Steiner's conviction that nature creates artistically. Grigory Ulko. The project of a monument to the victims of Khatyn (1968?) In Morton's vision, the causality emanated by the object in an aesthetic way is in the philosophical sense "before it", which obviously occurs in the course of the object's retreat into the depths (withdrawal). Morton does not explain what kind of relationship one finds if one follows the 4 disappearing object, but one can get some idea of ​​this if one turns to Steiner's description of going beyond objectivity into the realm of imagination, which he associates with the first initiation. Here one can see a direct connection with the potential role of "dark matter" that arises in the course of creative activity, unrecognized and unmanifested in the context of the art world. There are a great many examples of works of art that did not enter, or remained unnoticed within the broad context of the art world, but only a few of them can be spoken with a certain degree of certainty. Often these are lost, but subsequently found works, retrospectively recognized as masterpieces. Sometimes this function is performed by objects re-interpreted as works of art. This retrospective "acquisition" (the reverse of self-deletion) can be done in the manner described above, by expanding the archive of works, or by expanding the definition of the set of objects defined as works of art. What happens in those situations when works of art do not go beyond the "dark matter" into being manifested from the point of view of the art world? Can self-eliminated works function as means of realizing complex meanings that go beyond the limits postulated by the art world? Mirror of the World In the 1980s-1990s, Samarkand, once the largest city on the Silk Road and the capital of Tamerlane's hybrid empire, was a bizarre cultural-historical continuum that transformed from ancient pre-Islamic formations through the culture of the Muslim Renaissance to the status of a colonial outpost of the Russian Empire and one of centers of the Soviet program for the development of the socialist East. The simultaneous coexistence of various historical ways of life determined the specifics of the city’s cultural life, which mainly revolved around the university, stretching along the boulevard of the same name 15. Nevertheless, the authors who were not part of the official academic or artistic environment, although were in active dialogue with its representatives. Their activities, with minimal publicity, had a high degree of causality, although of a different nature. Albert Aganesov (1937-1997), who received a philosophical education at Moscow State University, led a circle of young film lovers in the first half of the 1980s, where he helped young film enthusiasts to shoot their first short films in 8mm and 16mm formats. He himself made only a few author's films, some of which remained unfinished, and apparently none of them survived. This activity provided him with employment and a convenient context for serious philosophical work, the purpose of which was to create an integral philosophical system based on the dialectically interpreted principle of the triad, in which key theories were correlated and explained, starting with the Christian Trinity and the Hindu Trimurti, anthroposophy, psychoanalysis , existentialism, personalism. Having worked for many years in child psychiatry, Aganesov developed his own system for classifying psychotypes and the etiology of mental disorders. He also amassed a huge samizdat library of philosophical works, copied from originals and microfilm. Being one of the most famous dissidents in Samarkand, Aganesov did not have, and did not seek, any opportunity to publicly express his ideas or showcase his films. All his social work was carried out in a narrow circle of young people interested in various issues of philosophy, psychology, religion, music and art. In the late 1980s, he moved with a small group of 5 followers to the Tula region, where he died a few years later. How much of his vast manuscript heritage survived, and where, is unknown. Although film projects were only a small part of Aganesov's creative work, they became in many ways the key elements of his, by today's standards, elitist educational program. The main relationship in the film "Memory" (1981) was the interaction between two objects: a stone split in half and a stream of water. The stone resembled the hemispheres of the brain in shape and contained a reference not only to the monuments of the Paleolithic era, but also to the consciousness, split by the schizophrenic hypertrophy of the false "Ego". The stream of water, that ancient symbol of ethereal memory, gradually erased the petrified and fragmented physical brain and the waking consciousness attached to it. The film The Crow (1982) carried a clear anti-totalitarian protest, conceived as a confrontation with the global forces of materialistic destruction. Made in the form of a music video for Pink Floyd's now-famous song Another Brick in the Wall, the film was a collage of World War II photographs, images of the various gods responsible for the destruction, and footage of a growing flock of crows. In the center of the first frame of the film was a swastika rotating to the sound of a helicopter propeller, in the center of the last frame - a globe rotating in a flock of crows. The metaphor of the rotating world itself went through a full circle of incarnation, ending its existence with the total domination of Ahrimanic forces. Avanesov's last, never finished film was supposed to be a story about the growing global crisis. Material was filmed only for the beginning of the first part, Twilight (1984), dedicated to the decline of the West16, experiencing the frustration of an exaggerated development of the false self through an existential crisis and schizophrenia. In the first static frame of the film, an old man appeared, leaving (withdrawing) deep into the old Samarkand cemetery. Formally, this image was a reference to Bergman's films and meant the disappointment of the European intelligentsia in the dead classical culture, the tragic fate of which was indicated by the paintings of Evgeny Spassky. The musical accompaniment of the first part featured the composition Deep Purple Fool, which begins and ends with a characteristic "cello" solo. The second part was to be devoted to the crisis of the East from an internal collapse in the unconscious, accompanied by depression and the decline of civilization. In the last part, it was supposed to outline the prospects for the death of the Middle Civilization (Russia) in convulsions of a manic-depressive identity gap. The work of Yevgeny Spassky17 (1900-1985), whom Aganesov met while studying in Moscow, had a great influence on his understanding of fine art as a form of higher revelation to man and at the same time a means of experiencing catharsis by a person, leading him out of submission to Ahrimanic forces. This specific attitude to the visual arts, bringing it closer to the classical perception of drama and the experience of music, had a great influence on the worldview of the members of the film lovers circle. Spassky's connection with the fate of the intelligentsia in Central Asia is by no means exhausted by this. He was acquainted with Elizaveta Vasilyeva, and was a student of another anthroposophist, Boris Leman (1882-1945)18, who also ended his days in exile, as head of the musical department and conductor at the Alma-Ata Music and Drama Theater. The interaction of historical anthroposophy as a hyperobject with the Central Asian location, which can be traced on several levels, in my opinion, is only one of the features of the 6th regional “dark matter”, which also manifested itself in a more radical appeal to the apocalyptic. It is rather difficult to characterize the activities and work of Sergei Yakovlev (1962-2014) in conventional terms, primarily because most of it took place in an area that cannot be verified by these terms. Unlike Aganesov, Yakovlev did not set himself any educational or humanitarian goals and did not seek to create an integral philosophical system or to declare ideas that could appeal to the average waking consciousness. Nevertheless, it is difficult to overestimate his influence on the Samarkand archetype precisely in connection with the obviousness with which "dark matter" appeared before representatives of the local intelligentsia and the art world in his activities. Grigory Ulko. The project of a monument in honor of the 2500th anniversary of Samarkand (1970) Yakovlev argued that humanity is responsible for the cultivation of "predatory" qualities and a profane attitude towards higher beings, which allowed this free choice until some time, after which the Law was to come into force , which, as people vainly imagined, was "withdrawn" by Gnosticism and Christianity (withdrawn). Describing the present as a period of the beginning of retribution, he believed that humanity, having received a certain amount of freedom, had passed the point of no return along the path of lawlessness and was doomed, despite the numerous and varied religious and spiritual teachings. Yakovlev destroyed all his early texts (the so-called laboratory journals) of the 1980s, and moved his paintings from Samarkand to Latvia in 1988. where he lived on his own farm until 1996, when, after a confrontation with AUM Shinrikyo, he returned to Samarkand. The fate of the works of that period, including the “infernal” portrait of Sergei Prokofiev, to whose music Yakovlev paid special attention,19 is unknown. After returning to Samarkand, he radically changes his painting style and makes a whole series of new works "in order to capture some important moments." These works are distinguished by subtle, albeit unnatural, technique and strange plots imbued with sinister humor. Yakovlev is constantly reworking many of them, and by the end of his physical life he glosses over some. However, the key work of this period, The Bread Turns into Stones (1998-2000), survives. It is a reference to Salvador Dali's The Last Supper, where the six-armed "Jesus" lays petrified hosts on a table resembling a board for an unusual game, which are watched by semi-anthropomorphic and fantastic figures of the apostles turning into fir trees. In recent years, Yakovlev has been writing several complex texts in which he analyzes the myths of Hercules20 and Edda, fragments of the Gospels, and also sets out some of his ideas about philosophy, religion, the development and fate of mankind. In 2011, he announces the impending completion of work and his intention to leave the physical body, which he realizes at the end of 2014 at the end of a long fast. Other representatives of the Samarkand circle of the 1980s-90s were Andrey Kuznetsov (b.1964), Alexander Frolenko (1968-2001), Alexander Blagonravov (1970-2009), Gennady Denisov (1971-2010). Dmitry Kostyushkin (b. 1975), other artists, including the author of these lines. The public culmination of their joint activities was the NEW NVMBER exhibition held in the autumn of 1990. in the State Museum-Reserve in Samarkand and even received a positive review in the local press21. Nevertheless, despite the occasional social manifestations, the art and philosophy created in this community turned out to be in many ways hyper-objects belonging to the “dark matter”, deliberately removed from the public context and saturated with their own internal semantic codes. They had an exceptionally strong, but not recorded by the conventional means of the art world (exhibitions, catalogues, publications, reviews, financial transactions, repeated exposures) causal impact on several generations of the intelligentsia of Samarkand and outside it, however, from the point of view of external culture, which becomes the property of its history, all this intense semantic material is lost both metonymically and metaphorically. At the end of the day Of course, there is nothing new or unusual about the existence of lost or misunderstood works of art. Publicly significant works of art are constantly being lost in the world. Analyzing the legacy of the Samarkand esoteric community of the 1980s-90s, one can trace how causality changes when the “dark matter” of art does not appear in manifestation, when it passes into a kind of twilight state, and when this manifestation takes place. The fact that both the work and the philosophy of the authors discussed above is clearly apocalyptic in nature is obvious, and there are several reasons for this. One of the contexts that distinguish this complex of meanings is, in particular, the collapse of the Russian-Soviet colonial project, an integral part of which was the orientation towards European culture, philosophical tradition and the accompanying world of art. While the post-colonial nature of the modern culture of Central Asia, and in particular Uzbekistan, is a controversial subject for discussion, primarily due to the persistence of the colonial nature of the dominant discourse, certain cultural phenomena that looked rooted in Central Asian society have rapidly lost their value and relevance without sufficient qualitative compensation. In addition to metaphorical losses, numerous buildings, museums and monuments of the 19th-20th centuries were destroyed and destroyed. Although such films as “The End of an Era” (M. Weil, 2000), the trilogy “To Live ...” (U. Akhmedova, O. Karpov, 2007-2015), publications in the magazine “East Above”, Internet projects Lenta.ru, Ferghana.Ru, “Letters about Tashkent”, numerous pages on social networks, in general, society accepts it as inevitable. 8 However, it would be an oversimplification to reduce the eschatological nature of Central Asian esoteric art to a mere nostalgic reaction of the “cultural rearguard”23 of the failed colonial project to changed social and economic relations, which are at best the consequence or correlate of deeper and hidden causes. A different quality of apocalyptic hermeneutics could be gleaned from ecological criticism, which is offered, in particular, by Timothy Morton, who defines the present as the Anthropocene epoch, the time of irreversible changes in the ecology of the Earth (Gaia), caused by such hyperobjects created by mankind as radiation, water and air pollution, global warming and so on. Central Asia has become the scene of a visible and large-scale ecological disaster - drying up during the life of one generation of the Aral Sea. Important conclusions on this topic can be drawn if we compare the information about the immediate prospects of mankind, reported by Steiner in the early 1920s in a number of his lectures on the karma of materialism and in particular on the Apocalypse of St. John, with the crisis of the last fifty years and the reaction to it of today's world intellectual elite. Of course, this is not about “predictions of the end of the world”, but about attempts to get an idea of ​​what is happening and about the current tasks facing, in particular, the world of art24. Alexey Ulko. Planet Humphrey (1989) Based on various texts and available data, it can be concluded that the danger of aggravating materialism at the very period when decisive action was required from humanity and expansion of ideas about the consciousness and connectedness of the world, humanity did not manage to avoid. By and large, none of the strategies proposed over the past 150 years has worked. The discourse of the left, fueled by a keenly perceived need to achieve social justice, degenerated into what it tried to oppose - totalitarianism and vulgar political economy. Ecological criticism also did not go beyond criticizing the political and economic decisions of world governments, and individual actions designed to draw public attention to the problems of the Anthropocene. Numerous esoteric movements have never gained sufficient depth and power to offer humanity more than the publication of horoscopes, collaborative mantra chanting, and career development training. The art world, responding to the need for decolonization and the building up of relevant horizontal ties, is locked in a love-hate relationship between the poser-like sectarianism of contemporary art and the self-righteous populism of commercial art. The failure of the dominant or alternative strategies present in public discourse seems to be due to the fact that the default model of a one-time person 9 limits his conscious activity to work with already created forms, the consequences of hidden processes, which dooms him to an ontological lag behind the passage of time. Under these conditions, any, even the most long-term planning turns out to be retrospective, since it refers to the events of the future as if they had already happened in the past. It is not possible for a person to deal with a yet-not-event, but at the same time, his activity invisibly creates this very future. Understanding the catastrophic consequences of the philosophical and moral aggravation of materialistic tendencies requires that ideas go beyond the boundaries of the sensually observable and contact with "dark matter", with hidden forces that create the world, including the new world of art. It seems that this way out lies not in the area of ​​reductionist and obscurantist immersion into the unconscious, as many followers of the new age movements believe, but in the conscious development of understanding-experience in the zone of proximal development25 beyond the average waking consciousness. Apparently, art can play an important role in this, but in the current reality one can only hypothetically guess what forms it can take in order to be able to perform these functions. In modern disposable art, there are only a few hints of how immersion in art could contribute to the actualization and revival of what everyday consciousness can only perceive as abstract metaphysical representations. This is perfectly felt by Morton, who elevates causality to the rank of aesthesis. Artists such as Wassily Kandinsky, Joseph Beuys, Anish Kapoor, Evgeny Spassky, Tony Cragg, Spencer Finch consciously proceeded in their work from a deeper understanding of man and the world than their surroundings, but their insights often remained either self-eliminated within the personal experience of the object -object interaction, or remained only hints at the actual metaphysics. But what are these clues? Many contemporary artists thematize a deepened understanding of the connections in the surrounding world26, but in the main it still concerns only material phenomena that act as consequences or metaphors of a hidden reality. Certain prospects open up in the study of various hyper-objects, as well as marginal and background phenomena, starting with deep space, radiation and ultra-small particle physics, and ending with the so-called. "ghostly voices" in recorded radio noise, and converted ultra-high-frequency or low-frequency radiation from space objects. It is obvious that one of the most important, and already quite conscious tasks is to stimulate the creative activity of people who are not included in the current definitions of the art world, turning it from the world of consumers into the world of creators. Other more or less radical futurological conceptions of art are also possible, for example, based on transhumanism, anarcho-Islam, neo-cybernetics, process theology, or any other theory, but judging by what is happening at the present time, they are one way or another will become only parts of the process of "sorting out the possibilities" with a retrospectively predictable unsuccessful outcome. A three-dimensional person, closed in the perimeter of his five senses and his waking consciousness, does not and probably should not have any future, and it is impossible to hope to find it by means of one-time art. 10 1 Jun Takami. Selected lyrics. M.: "Young Guard", 1976. 2 The phrase, formulated by one of the founders of object-oriented ontology, Graham Harman and repeatedly used by his associate Timothy Morton, can be translated as "things recede" or "remove themselves." In this way, the supporters of OOO describe the paradoxical property of objects: to exist in reality, but not to be reduced to all their visible and perceived aspects. Withdrawal is Harman's translation of the Heideggerian term Einzug. 3 Morton, Timothy. Realist Magic: Object, Ontology, Causality. OHP, 2013 4 Three is the number of dimensions of the visible, and according to many, the only real space, five is the number of sense organs of the modern average person, accepted as the only possible and sufficient to comprehend the world, seventy is the average duration of the existence of an individual human body and consciousness, measured in solar years. 5 Chui Man Ho and Robert J. Scherrer. Anapole Dark Matter, 2013 http://arxiv.org/abs/1211.0503 6 See 1986 speech by Modern Language Association President J. Hillis Miller. 7 Shatalova, Oksana. Metaphysics of Form, 2015 http://www.art-initiatives.org/?p=15268 8 Meillassoux, Quentin. After Finitude: An Essay On The Necessity Of Contingency, trans. Ray Brassier (Continuum, 2008) 9 Žižek, Slavoj. Ontological Incompleteness In Painting, Literature and Quantum Theory. 2012 https://www.youtube.com/watch?v=ddctYDCTlIA 10 Steiner, Rudolf. Apocalypse. - Evrevan: Longin, 2009 p.350 11 Morton, ibid. 12 Morton, ibid. 13 Kavtaradze, G.A. The path of knowledge in anthroposophy. http://rhga.ru/science/center/ezo/publications/Kavtaradse.pdf 14 Kavtaradze, ibid. 15 Ulko, Aleksey "Samarkand: the experience of internal stratigraphy", 2009. https://www.proza.ru/2010/07/16/243 16 The work of O. Spengler "The Decline of Europe" had a great impact on the cultural concept of Aganesov. 17 For Evgeny Spassky, see Dmitry Zhukov’s article “Seer of Other Worlds” (2015) http://www.religiopolis.org/publications/9628-tajnozritel-inykh-mirov.html. The Yevgeny Spassky Foundation http://e-spassky.ru/html.html 18 About Boris Leman and his role in the culture of the Silver Age, see Roman Bagdasarov's essay "Knowing Yourself" (2005 ) http://www.e-spassky.ru/friends/leman1.html 19 One of the fundamental categories of Yakovlev's aesthetics in the late 1980s was the concept of "classic", which he defined as the immanent quality of a work, its ability to emanate subtle vibrations " dark matter." He considered the music of Sergei Prokofiev to be the most consistent embodiment of this principle. 20 Yakovlev, Sergei. “What do some myths mean from the point of view of esoteric philosophy” in the almanac “ARC No. 5. Samarkand school”, Tashkent, 2010. 21 Tokarev, Leonard “Palette of knowledge” in the newspaper “Leninsky way” No. 170, Samarkand, September 5, 1990. 22 Of course, if we accept the existence of akasha, the “ocean of ethereal memory,” even as a hypothetical possibility, then nothing of the phenomenal is completely lost. 23 The definition of “cultural rearguard” in Pavel Kravets’ interview with Aleksey Ulko in the article “Uzbekistan: the festival of video art “Rustle of cultural rearguard” was held in Tashkent”, 2010 http://www.fergananews.com/article.php?id=6705 24 Steiner, ibid. 25 Vygotsky L.S., “Thinking and speech”, M., “Labyrinth”, 1999, p. 233-234. 26 This applies to such environmentally oriented authors as Don Krug, Taryn Simon, Lise Autogena, Uwe Martin, Naomi Klein, Kirill Preobrazhensky and others. 11