Abstract
The article examines videopoetry as a synthetic art that articulates the aesthetics of ternary harmony-sound, color, and movement-amid the transition from an industrial to an information society. It argues that the poetic language, which fuses verbal and nonverbal forms, functions as a non-articulated mode of knowing aligned with musicality and ornamentalist practice. Drawing on G. Djemal’s notion of the “non-articulated,” S. V. Saveliev’s concept of conjectural world-models, and V. Ya. Beresneva’s account of eidetic reduction, the study substantiates a shift from cognitive to incognito technologies that rely on sensuous discrimination and the work of the unconscious. Videopoetry is interpreted as a medium in which informational codes manifest through a triad of perception and shape imagery capable of influencing personal formation and collective visions of the future. The role of ornamental montage and chromodynamic design is highlighted as a means of encoding rhythms that correlate with bodily instincts, psychic reflexes, and spiritual aspirations, together with an ethical perspective grounded in responsibility and a “pure heart.” The analysis engages the idea of human ternarity (body, soul, spirit; cf. A. P. Devyatov) and a wave-based model of influence (amplitude, frequency, phase) that informs compositional parameters and axiological orientation. The article concludes that, within the emergent episteme of the twenty-first century, videopoetry integrates scientific, mythic, and symbolic languages, assuming the function of intensive knowledge and sense-making, whereby aesthetic experience becomes a navigational tool in informational flows and a means of catching the “wave” of the epoch.
Keywords
Videopoetry; poetic language; ternary harmony; eidetic reduction; information society.