The International Scientific And Social Conference
Culture. Ecology. Cosmos

The UNESCO Programme "Culture of peace and non-violence"


Conference Materials

May 26-31, 2002
Moscow, Russia












The author of the project, Yuri Kosagovsky, professionally working in different professions (art, literature, music, cinematography, writing and reading lectures in esthetics etc), and having concert and exhibition experience, has organized a private culture centre, positioned as a museum with a multipurpose programme intended to encourage interaction with the audience.

The general aim of the project is to initiate positive publicity for synthesis approach to mans activity, which is considered to be environmentally and biologically friendly as it satisfies mans natural cognitive instinct, common to ancient and primeval societies and disappearing in modern civilisation. Another aim of the project is to develop a man into a creator to whom success and ambitions will be of less importance than broadened knowledge about the world.

Report II section, 29 of May.












Project of the Museum of the new type, which forms a creative personality, with a synthetic comprehension of the encircling world. With a priority not of self-affirmation, but cognition).







In the beginning, I will say a couple of words about myself, to clarify how I came to the necessity of launching of such project. In the one hand, Im artist and my pictures are presented in the majority of the countries of the world, in another hand, Im a writer and my works are printed in Russia, France, Czechoslovakia and Baltic States. Besides, Im a pianist and composer, participant of the international festivals, and finally theorist, the author of lectures in aesthetics, which were read in the University of Russian Academy of education in 1998 etc.

And now let us depict a virtual landscape, in general, with limited facilities of the world were living in, and afterwards well probably find a place for such museum.

1. This is a civilized landscape with telegraph-post and electric cables. The houses are standing, and if well look inside, the lines with coffee-grinders, computers and refrigerators. This is a civilized landscape with the safe facades of the concert halls and conservatories, where the musicians for these halls are taught. This is a landscape with facades of universities and institutes. This is the factory of film production, for example, Hollywood and amongst them we see a happy human kind.

But the reality is a bit different.

Everything starts to be far from perfect. Lots of years ago I felt a very sad note, which was made by academician Kitay-Gorodsky. This was in the 60-s, and at that epoch I was awaiting lots of things from academicians. It seemed to me, that the experimental society should be built in some small district, but not in the scale of the whole country and according of the supervision of the academicians, because the Party activists were not quite intelligent. And so that sad note of Kitay-Gorodsky sounded (in a large article in Literaturnaya Gazeta), and he wrote: We teach student for 5 years to be a student, but not a scientific neither engineer, and in when 5 years passed, we have something, which is not needed by the society.

Afterwards thus resulted that its not the problem of our country, but of the whole world. The second sad note sounded in my soul, when I was reading a book of Arthur Onnenger. Who was that Arthur Onnenger? To the prominent people of the time was giving a task to write books: to Niles Bore was given a task to write a book Im physicist, to Norbert Winner the theme was marked as Im mathematician, and Arthur Onneger received a theme Im composer. And what was that he wrote in his book? The only thing what professors of the whole world make in conservatories, that train not to practice music.

So one of the painful moments of our life is that the specialists, who cant fulfill their work, but make an imitation, substitute, fill the society. May be this is one of the reasons that receiving inferior spiritual fare, the society is ill, the society is in depression and in total irritation and full of pessimism.

Later I heard the third note (when I lived more in this world). In this note I called instincts The civilized man has too many depressed instincts in all its external well being. It is easy to understand by observing the life of primitive people or the border zone of civilization. In the Russian, English or Swedish village etc, we see a poliprofessional human. This is a designer of clothes and dwelling, botanist and engineer, narrator and performer of the first literature performances in the life of new borne infant, astronomer and meteorologist. And all this gets into one person. And thus he lived thousands of years, may be (100-200 thousands years), that was the way he was formed, thus he satisfied his instincts of cognition and activity. But civilization created a comfort for him, putting him into the chair of dependency, dressed in clothes of the obliged ineffectiveness. And he suffers because of the non-satisfaction of his instincts.

Even if he works days and nights as engineer, or doctor or football player, he is deprived to realize himself in all spheres of the regimented society. And he lives not as he got used living for hundreds of years. And he suffers, he is in depression, he is irritated, without seeing the causes.

Its impossible totally explain the conflicts in the regions of the planet according to the territorial or religious reasons, as well as the aggressiveness of the football fans couldnt be explained by the poverty and misery, when the depression from non realized instincts is evident.

Let me introduce a bright example. The Chief of police of Liverpool dreamed that guitars for teenagers were sold and that product filled all shops, and what was the result? Thats the answer of producer of Beathles: The young persons stopped beating someone in the streets, they stroked the strings.

The two problems are combined in a very strange way; the illiteracy in art with a creation of work of art by primitive peoples on the outlying districts of civilization, in the village. But as a matter of fact it is not strange, but natural. Art is a magic thing, which couldnt be taught in conservatory or by the artistic education. But this magic is available and understandable without preparation to the human, because it was since the ancient time the source of understanding of the world. But the person does not even suspect, as he does not suspect that he is talking by prose and breath by air, without taking in to the account such small detail, he recollects it when drowned or on the verge of a tomb, when the lungs do not function.

Why such non-scientific connotation as magic emerged? It is because of a miracle, when somebody plays with a baby, sitting on the knees and therefore that baby turns to a valuable person, and if his upbringing would be lead by scientific institute with the professional childrens writers and composers, and there would be something defective. This miracle could be called as an intuitive figurative comprehending of the world and intuitive upbringing of a human child.

And one more thing, it reminds a magic and witchcraft, because of a few words, which are nothing if written separately, but transferred in a special order, produce a great impact. We could say, its a language of a prehistoric man, the language of an images and intuition, language of programming and self-programming, which was prepared for man by the evolution (during hundreds of thousands years) of its precivilized existance.

At the same time, the magic has its protecting mechanism, to prevent its using in negative purposes that scheme could be learned not in the high school, but with sympathy. Dostoevsky formulated that in a very interesting way: If a human fixes an idea, he never reaches that idea, but he reaches an opposite result, but if he aspires merely to the art problems, he reaches that idea.

During the plenary meeting we heard a very interesting report of Ms. Sudcha Rani Gupta from India which contained a marvelous idea, to fix everyone on openness and kindness. But these are aims, and what is the mechanism of reaching of those aims.

2. A pattern of reaching of these aims was precise by the evolution and history of the precivilized society of many thousands years. Charity and optimistic comprehension of the world forms in the action and figurative form. When somebody plays with a kid, he reaches that purpose not even thinking of that.

No worries, no disturbances, no thoughts, no logic, no syntheses nor analysis therefore not all those negative things and instruments of logic thought, but consent, joy of agreement, which are implemented in the words of sympathy.

As every important phenomenon, intuitive and figurative penetration in to the world is a difficult appearance, which could be compared with harp, written on the board. There are plenty of cords in the harp, these cords could be relatively called as cords of, melancholy, pessimistic relationship to the world; reminiscences, pride, haughtiness, self-affirmation the relation to the world as a conqueror, agreement, joy and tenderness the joy relation to the world.

By the way the synthetic comprehension of the world provides a polyphonic activity, which not only deprives from internal stress by the mechanism of satisfaction of complex of instincts, not only gives a harmonic participation of a creative personality in this life of society, but also could give answers for certain gerontology questions.

The cognition and death are easily linked in our comprehension, if we recall the proverb The more you know, the more you grow old. This has something familiar with the advises of ancient Chinese: if somebody becomes a famous artist- he needs to change wife, name, manner of drawing etc. It brings automatically to the continuation of comprehension and enlarges the temporary bounds of life.

But let us return back to the written on the desk harp, from all its cords only the cords of the last octave make priority according to their evolutionist nature, and others are additional. You could easily learn it by looking at the rats, learning a labyrinth, according two different schemes.


1. With punishment after making the mistake

2. With encouragement after taking a right decision.


The rats, which take positive emotions, are learned faster and remember the labyrinth better when the method of positive emotions is used.

That is why I drew a SUN on the desk, which symbolizes a figurative thinking, combined with love and coffin with a cross which symbolizes a mechanic mastering (imitation) by a figurative thinking, when everything is dying.

But does some germs of optimism exist on this sad landscape? Yes, they are. At the day of opening of the conference, as you remember, there were plenty of joyful episodes. First of all, the pianist played some interesting music. I liked it so much, and I came to him and asked, what was his creative way. And it resulted that he was a physicist, and then he became a musician. So he became a musician not only because he was taught, but also because he liked music. This is a keyword Love, because the positive emotions are a basic linchpin in evolution of living organisms. The second pleasant event occurred in the hall, where the speeches were preformed, and during the opening of the conference, the kids in the vivid clothes, symbolized Spring and sang a song Green carriage. Who is author? Some bard, and all bards were non-professional composers and poets Bulat Okudzhava was a school teacher, Visotsky was an actor, and an author of a Green carriage was probably an engineer. And the third pleasant event they sang a hymn with the words of Lucrecius and music of Chakovsky. But fortunately the singer was not Ludmila Zykina, but Lubov Gordina. Why? Because the priority is not in the professionalism and busyness, but priority is in love. We could prevent a contradiction, that a polyphonic activity could take forces, non-focused with a single profession. It is hard to count the final result and make a formula, it could probably be individual, but we cant not to take in to the account the inclination to the polyphony of human in general during the long way of its evolution, and it is more presumable to regard the world not through one window of the universe but through various windows, to have an imagination about it in peculiarities, but as a synthesis.


3. We analyzed the mechanisms of suppression (1) of human activity, marked a suppressed instincts and scholastic education, we learned the mechanisms of life-supporting image figurative thinking and polyphonic activity, and also we traces the mechanisms of realization (2) of spiritual ecological method and upbringing, and functioning of a grown up (and all questions of gerontology). And we marked on the sad schematic landscape of our word the germs of optimism and we proposed various positive examples.


4. Now we could say about the museum, this is a functioning model. As every museum it is needed in support to enlarge the sphere of the activity. A museum exists for 22 years, and almost 150 works of art, drafts and sculptures are presented in it, approximately 1000 are in the store-room, on the basis of the museum was created a cultural center, where different authors are invited for literature recitals, scientific reading, musical concerts, demonstration of authors films and different (with preference of the polyphonic authors in their activities) not only to influence by their creative work, but to create a publicity according different methods in formation of creative personality of new type with a synthetic comprehension of the world.

Some outdoors performances and exhibitions are held in Moscow (House of an Artist, House of an Architect, Tretiakov gallery, Litereture museum, Museum of Sidur[1], Library of a Foreign Literature, House of Medical personnel, Suicide center, Cardeologic center, International Institute of problems of management etc) and visits to other cities (Alma-Ata, Tashkent, Riga, Tallinn, Strasbourg, Warsaw, Dubna, Obninsk, Peredelkino etc).

And all of that was organized not by the creative unions and not the activities of an author it is hard to be an entrepreneur, possessing a lot of problems, because the leisure time is wasting not for self-realization, but for another profession (thats an example when the synthetic way of thinking brings a priority of non self-affirmation, but comprehension), and the organizers of those exhibitions were foreign scientists, writers, linguists, journalists etc and this is valuable and very important, because it says about the necessity of such activity by the society.

As a resume (if we return back once again to a dark and sad landscape of the encircling world, where we marked the germs of an optimism) well try to find a place to a museum of the new world, which forms a synthetic creative thinking. Briefly speaking, museum and cultural center, as a sailing ship, depicted by the crayon on the desk, navigates for 22 years with a help of enthusiasm of the author of the project and people of different professions, in our fatherland, as well as abroad. And the understanding that the project is needed by the society supports the author and that he finds his place with his spiritual-ecological incline to this landscape, and that he has the perspectives in future.

The new ways and forms of forming of the creative activity with a synthetic comprehension of the encircling world, could give to future society such engineers as Dostoevsky and Platonov, such doctors as Chechov and Bulgakov, such lawyers as Chaikovsky, such officials as Pushkin, and such historians as Gogol. This file of our genius-classics is interesting because it illustrates the question of polyphonic activity and about synthetic comprehension of the world through as usual scientific education and mastering of art not by the method of professional scholastic education, but through passion and love, Pushkin formulated it in general like this in the essay about Radishev: Where is no love the truth does not exist.







A R T   D I R E K T O R   O F   T H E   M U S E U M
Y U R Y   K O S S A G O V S K Y   -   R O N D I Z M

           	            	                                PH.  101 514  989 0094








:         			IN RISSIA
                        A R T   D I R E K T O R   O F   T H E   M U S E U M  
                       Y U R Y   K O S S A G O V S K Y   -   R O N D I Z M  
                  YURI PROSKURIAKOV 

           	            	                         PH.    8  095 544 70 71























1964 CREATION OF THE MUSEUM AND THE CULTURAL CENTRE (based on Marchlevsky street).

1964 exhibition-concert in cafe Molodiozhnoe

1968 cafe Sinia ptitza (blue bird) literary-musical performance

1973 The Recreation center of Union of Writers in Peredelkino. Literary-musical performance (with participation of violinist Galima Mazitova).

1980 creation of the Museum and Cultural center (Lenskaya STR.)

1981 Demonstration of the authors films Return, Christmas, The Thoughts of a fish in the cafe Tourist during the festival of Jas.

1983-1987 Creation of the experimental theatre (the staging of experimental theatre, including Mozart and Salieri and theatre of improvisation with Anatoly Vlasov in different clubs of Moscow.

Organization of cycle of recitals of pianist, laureate of international competitions Vladimir Bunin.

1985 Demonstration of the authors films Return, Christmas, The Thoughts of a fish.

1987-1988 The exhibitions-concerts in Alma-Ata (The House of scientists, Central exhibition Hall), in Tashkent (Central exhibition Hall and House of Youth).

1987 House of Recreation of Council of Ministers Voronovo Literary-musical evening with piano improvisations on the themes of spectators, demonstrations of films and exhibition of Art

- The Recreation center of Union of Writers Gurzuf, The Recreation center of Union of Writers Koktebel, City Hall of Sudak exhibition, performing of the concert for piano N 2, Crimean prelude, improvisation, demonstrations of films.

- House of a builder of city Tallinn, international institute of problems of Management and cinema center Sayany reading of poems, exhibition, authors films.

1988 Central House of arts of Riga performance of the poems.

1991 Exhibition during the International fair in Strasbourg combined with a French gallery Barbizone.

- A creative meeting in the Conservatory of Paris in the name of S. Rachmaninov.

1993 The recital on the all Russian festival of verlibre in the museum of Sidur in Moscow (Yuri Kosagovsky jouneor reading of poems, Youri Kosagovsky senior demonstration of the authors films Returning and Christmas).

1994 exhibition and literary-musical evening in the Literary Museum and Russian lyceum, (with participation of E. Kots, D. Ilyn, B. Cetlin, A. Berednikov, U. Nechipurenko, M. Vasilieva and others).

- Musical poetic performance with Alex Alechin.

- Performance on the international festival of Camera music in the Margins of program of UNESCO Phianit star, (concert for solo 2, Crimean prelude, improvisations on the themes of spectators, cinematography of authors.

1994 Performance of the musical improvisations on the themes of spectators in the museum together with participator of international festival Mathew Owens (USA, viola).

- Creation of writing of concert duet (M. Owens-U.Kosagovsky, piano).

- The exhibition in three halls and literary-musical concert in Russian State Library of foreign literature (with groups of poets).

1996 recitles in Chechov center Classics of the XXI century.

1997 The evening Evening of poetry combined with Viacheslav Kuprianov in Tretiakov gallery.

- The third exhibition and recital in the Central House of Artist.

- 2-d exhibition concert in commemoration of City Day in Gagarinsky exhibition hall Ramenky.

Exhibition-recital in Gallery Helman in Warsaw.

1998 creation and reading of lectures in aesthetics in the University of Russian Academy of Education.

1999- Exhibition-concert in the Central House of Architect.

2000 Creation and demonstration of films Three Novels (Breakfast, The Box of Dreams, and The Notes of solitaire) in the Chechov center Classics of XXI century.

2001-1994 combined with Rosa Tevosian, author of cycle Meetings in Art.

Organization of the evenings of poetry in the House of Architects of Alexy Alechin and Olga Kutchkina.

2001 International foundation of Rolan Bykoff exhibition and concert combined with chamber ensemble of the Bolshoi Theatre of Leonid Lundstrem.

Finishing of cycle of researches-articles in monograph Various essays (according to the themes Theatre, Music, Poetry, Aesthetics, Philosophy). Including the articles of Leg Chuchontsev and peculrity of work of Inna Churikova, creative words of Leonid Lundstrem in monograph Phenomenon of the talking violin.

1983-2000 Creation of Gallery of picturesque graphic portraits of prominent contemporanians (A. Alechin, V.Bunin, A. Vlasov, O. Kuchkina, A.Karpenko, B. Okudzhava, E.Pospelov, A. Solzhenitsin, B.Narbikova, E.Rein, S. Saltykov, R. Tevorsian, R. Elinin, O. Chuhontsev, A. Iakovlev and others).

2001-2002 Concerts-recitals of poets and musicians linked with a Jubilee of Museum and creative activity of poets Alexy Alechin, Olga Kuchkina, Rosa Tevosian, Olga Pachomova, Olga Panushkina (authors song), of Yuri Kosagovsky junior (songs and poems), Olga Ilnitskaya, Yuri Proskurakov, Dmitry Buraga (Ukraine), Raphael Levchin (USA), Musicians creative meeting with a composer and pianist Dimitris Arapis (Greece) creation of recording of combined improvisations, and also the notes in literary musical composition Greek notebook, recital of Leonid Lundstrem and Maria Voskresenskaya (violin and piano) and others.

2002 creation and demonstration of film The Breakfast on the grass.

Research about the faulty usage of the old terminology during the transitions to the society with market relationships in relation to the working professions.

The reports on the International scientific-social conference Perspectives of preservation and development of united civilization of planet (Culture, ecology, space): Museum of new type, which forms a harmonic personality with a synthetic comprehension of the surrounding world.

2003-4                                                                        The concerts in Moscow (The museum Marina Cvetaeva and the House of scientists)

2005 Creative and demonstration of the authors films Noch pered Rozgdestvom, Greek notebook, Spanish notebook.

[1] By the way, the Museum of Sidur should be marked as a museum of the new type, because it pursue among its cultural actions All Russia festivals of poets-verlibrists, who according to their composition are polyphonic creative personalities, but not the narrow-minded professionalists, starting with an organizer A. Alechin, who is optician according to his first education, and U. Orlitsky, who is therefore a philologist.

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