nearly normal objects

Imagining the future need not be an extreme activity. Klebnikov's visions of the future include 'radio clubs' and 'radio auditoriums': not bad for 1920. Wodehouse observes that imagining a remote past is no different to preserving the world of Edwardian England. Consider Orozco's pool table or sliced Citroen or Munoz' lift in Double Bind. These objects are similar but at the same time extremely different.
Orozco claims to have no interest in the engineering used to make the sliced car; this is the irony of the artist; this is serious engineering but for unfathomable purposes; dedicated engineering effort to produce objects that are nearly normal yet occupy a remote parallel universe. What if these lifts, cars and tables proliferated and outnumbered so called utility objects?

klebnikov discovers the equation...

...while sitting on the back benches at the Prolekult conference in Armavir on September 25 1920 Klebnikov, during all the inflammatory business speeches, discovers the equation for the inner zone of heavenly bodies. Who was making these inflammatory speeches that he was so easily able to ignore? Possibly Tretyakov. The key to the equation is the number 3; history and the future can be grasped through multiples of 3.For Klebnikov the Triplex principle is true, prophetic and verifiable; it is not an aspiration. If Tretyakov had been able to break off from the Prolekult business and look over Klebnikov's shoulder he could have used the Triplex approach to calculate his own death in 1937-killed by Stalin. He could also have cheered Klebnikov up by calculating for him that he (Klebnikov) would die 3 years later of natural causes and not share the same completely predictable fate as himself 15 years later. The Triplex principle is still alive and well and can be applied to Geoffrey Farmer's Zappa-centred chronology: for example the role of the number 3 within the algorithm within Farmers's computer program that controls the music within the installation reflecting Zappa's idiosyncratic compositional forms.