GARGANTUA(ING) (GARGANTUA [Gorgonal’nost’ refers to (Gorgonal’noe pole)] – the gaze,” which in its turns leads to action” this is the main intention in “direct “direct – Western culture. (Sergei Anufriev. 1989). Pontogruel’ bokovogo zrenie, GRAPHOMANY see FAKES – GUGUTA SYNDROME [Guguta Syndrome of complete lack of understanding sindrom] – (compare with TEDDY SYNDROME). Guguta is one of the characters of the Moldovan writer Ion Druta [translator’s in fact the writer’s name is Spiridon Vangheli]. Guguta represents note: the state of sudden and complete inability to comprehend something, as in this story for children where this boy’s huge hat often covers his eyes, obstructing his vision of the world. Term by MG; see also TEDDY, 1988. The character Guguta, Illustration by Octavia Taralunga8 Д DOUBLE [Dvoinoe refers to the representation of unattractive scenes of city life in posle] – the work of post-Soviet photographers of all of those whose has expired with regard to – “after” the unattractive which ended the Revolution. (This first is the most “before” “after” “after’ – important rhetorical ingredient of Soviet photo-production of the 1920s and 1930s). (M. Tupitsyn. as a Remedy for Stammering” in Boris Mikhailov Unfinished “Photography Zurich/New York; Scalo, 1998). Dissertation, saw no in providing an explicit critique of Soviet society, either …Mikhailov through mocking it or through unmasking its endless vices. Instead, his goal was to preserve Soviet reality’s sense of totality, but without its layer of systematically sustained external joy. This construct of from below” rather than above” “totality “from was achieved through Mikhailov’s intrinsic rather than participatory identification with all Soviet inhabitants and all Soviet routine. The roots for this kind of identification or rather this slipanie (sticking) with the object of photography were established by early Soviet photographers. For example, in the 1920s and 1930s Aleksander Rodchenko documented images of the
GARGANTUA(ING) (GARGANTUA [Gorgonal’nost’ (Gorgonal’noe pole)] – refers to the “direct gaze,” which in its turns leads to “direct action” – this is the main intention in Western culture. (Sergei Anufriev. Pontogruel’ bokovogo zrenie, 1989). GRAPHOMANY – see FAKES GUGUTA SYNDROME [Guguta sindrom] – Syndrome of complete lack of understanding (compare with TEDDY SYNDROME). Guguta is one of the characters of the Moldovan writer Ion Druta [translator’s note: in fact the writer’s name is Spiridon Vangheli]. Guguta represents the state of sudden and complete inability to comprehend something, as in this story for children where this boy’s huge hat often covers his eyes, obstructing his vision of the world. Term by MG; see also TEDDY, 1988. The character Guguta, Illustration by Octavia Taralunga8 Д DOUBLE [Dvoinoe posle] – refers to the representation of unattractive scenes of city life in the work of post-Soviet photographers – of all of those whose “after” has expired with regard to the unattractive “before” which ended “after” the Revolution. (This first “after’ – is the most important rhetorical ingredient of Soviet photo-production of the 1920s and 1930s). (M. Tupitsyn. “Photography as a Remedy for Stammering” in Boris Mikhailov Unfinished Dissertation, Zurich/New York; Scalo, 1998). …Mikhailov saw no in providing an explicit critique of Soviet society, either through mocking it or through unmasking its endless vices. Instead, his goal was to preserve Soviet reality’s sense of totality, but without its layer of systematically sustained external joy. This construct of “totality from below” rather than “from above” was achieved through Mikhailov’s intrinsic rather than participatory identification with all Soviet inhabitants and all Soviet routine. The roots for this kind of identification or rather this slipanie (sticking) with the object of photography were established by early Soviet photographers. For example, in the 1920s and 1930s Aleksander Rodchenko documented images of the
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