the work of designers, and very much so, that is, the ability to not just generate an image, but also edit it with the same text, yeah, and moreover, draw not just one picture, but a whole one, a whole collage of these pictures or a whole panel, that is, you have created a gift for designers, is it necessary, is it necessary now, some designers are afraid of this, that we are sort of automating their work, in fact, it is not so at all, because artificial intelligence is a tool that allows you to simply optimize work. it is at any any profession, design is no exception at all, there is a routine part of this work, it needs to be automated as quickly as possible in my opinion, as efficiently as possible, this will only save people's time, in fact, it will also improve the quality of the content, and animation, for example, how many routines are there, animation is generally the creation of video - this is generally how many films are shot there, but there they can do it for years, now everything can happen faster, that is, from well, for now to...

yes, yes, i will comment, this is still animation, this is not a full-fledged video, this is kandinsky did it, yes, kandinsky did it, like how he does it, he draws the first frame according to the text, and then you choose, that is , how, how does animation differ from video, in that animation is a camera flyby around a static object, well, or some kind of camera movement, and video is a full-fledged movement of everything, here it is animation, after all, because there is a first frame, and then we choose...

with complex tasks, well, that is, telegrambod - the current task was, in my opinion, very complex, i honestly don’t remember what kind of the prompts were exactly, that is, you don't need a lot of memory, it's all created in the cloud somewhere, yes, it's all created on a supercomputer, oh, a supercomputer is an interesting topic, the training of the model itself and the application of the model, well, it's called inference, it requires computing power, the model is huge, after all, on an iphone, roughly speaking , it won't run on your smartphone. although

progress is also going towards this, so that it can run on a smartphone, but at the moment, kandinsky is running on the christophorus supercomputer, this is our supercomputer, on which we model we learn both language and these generative ones, which turn text into a picture and video, well, and that's where we actually use them, when you make a request, it flies off to a supercomputer, it's processed there, that's where kandinsky lives, yeah, that's where he makes a picture out of text and... the picture comes back, where you use a telegram bot or - well, in a bot - it's a certain number of iterations, that is , i go into the bot and talk about what kind of picture i want to create, a picture comes, then the next stage i say what i want see for movement, and it gives me animation, and i stand in line and wait for it all to happen, because millions of people in a supercomputer, hop, that's right, yes, but we actually have ways of scaling, after all, a supercomputer contains not one calculator, but many and... of course, if

a million people come, then there will be a queue, this is inevitable, in this sense, like doing inference on a device, that is, a smartphone, as much better, because you do not stand in line there, but we try to keep a lot of resources on a supercomputer, so to satisfy the queue after all, so that there aren't, say, too many people in the queue at the same time, i wonder why, do you feel that your competitors are spying on you, i feel it, that is... you feel this attention on yourself, yes, and since they are spying on you, it means that you are doing something that apparently causes them, i don't know, it seems to me that everyone who is engaged in creativity and creates something is spied on by competitors, to be honest, and this is not artificial intelligence - this is not an exception, of course, but simply how much you are ahead of them competitors, this is also a competitive struggle, so to speak, you read the news in the morning or in the evening in any

case and you probably also note to yourself, and hasn't something happened that will affect who overtook whom, so to speak, at the turn, uh, that 's true, of course, yes, like... let's say, the area of ​​creating large models, although it requires a huge number of computing resources, data, uh, and specialists who will actually train all this, but in principle, large bits certainly have such teams they are developing these models, for example, yandex has a masterpiece, and the guys are doing a fairly similar technology, the only thing is that they don’t have video generation, but today we only watched animation, it’s not a video, yeah. a full-fledged video is the movement of everything in a row, i have a question that concerns copyright, intellectual property, it’s clear that leo tolstoy, here roman said at the beginning, there everything there is leo tolstoy, he didn’t pass it on to anyone as an inheritance, he is an open history,

yes, when you load data into supercomputer, and you license them or they are like public domain, or it is not necessary, well, they are not like public domain, that is. they are most likely public domain on the internet, yeah, when we uploaded them, after all, like we have their whole dtset in a folder, we do not upload it anywhere, of course, yeah, it is stored there as a kind of base, as a kind of base, yes, why, actually we cannot do it differently, because the models need to be shown, at the training stage, it really needs to be shown pictures, well, that is, it is like a training, really educational material for intellectual. a related question, this is the first 28,000 picture, who is its author, artificial intelligence or a person who generated all this, all this in the end, oh, this is, this is a very good question, in fact, who owns the copyright, as if

, including at the legislative level, all this is being developed and, let's say, at some point, this will probably be enshrined, although this is a very difficult question, you know, as they used to say. i have an angel on my shoulder, the angel was sitting and he told me, that's when the creators of someone something what's the difficulty here in fact of determining who the author is, there is data, of course behind each photograph there is some author who took this photograph, that is, there is an author of the photograph, another thing is when there are one and a half billion of them, then as if these authors are all somehow mixed up, and most likely the author, the author of one and a half billion photographs is not, that is, this is a huge number of people, there are millions of people, on the other hand there is a company... which bought a supercomputer with its own money, this is very super expensive event, in fact, all the calculations took place on this supercomputer, that is, she can declare on on on on the rights of ownership, on the other hand there are developers, who people who sat,

their knowledge as if converted into here in this network, that is, they can say that in fact they have the right to the picture, on the other hand there is a person. one person who sits prompt writes, in the end, and he can say, in fact i am the author, that is, there are four sides, maybe even more, which in general, well, some participation in the creation of the final picture, they made their contribution, but so far the story is that if a person, most likely, if a person, well, as if by logic, each company does it in its own way in the end, if a person, as it were, pays for the fact that he used neurosector. and received a picture, then he is the author, after all, well, most likely so, and if motives are guessed there, usually, if something is created, a license is still issued, i just want to say that such disputes arise only then, when the picture starts to bring huge money to the author, then

a large number of other people appear who claim authorship, here in fact there is still a moment that the neural network itself can be, as if on its... this is a model that is not posted and is not in the public domain, kandinsky is the opposite story, since one of our first missions, i have already spoken about this, is to move the community as a whole and move science forward, then we post the model in the public domain, you can use the model you take advantage of it, absolutely not for like

if i generated a masterpiece, then when i have his masterpiece, i always want, no, you always have to mark it in a masterpiece, here you create something good , then you can. creates pictures, i can even tell you on my fingers, just imagine how a person

creates a picture, any, any image , any painting, he has some white canvas, well, not necessarily white, well, just white paper, some empty, napkin, napkin, yes, there is a tablet screen, he has some idea, necessarily, he starts sketch out some details, with a pen, uh, a stylus, whatever, adds details, maybe removes something, well, a person also has patterns in his head, so step by step he simply creates a picture, like kandinsky creates a model, in principle, you can draw an analogy, he begins to draw a picture with the so -called white noise, what is it, well , this is when there is no signal on the tv, such interference, just some kind of matrix, naturally there is your request, this is the same idea, as if in a person, it is expressed like this these signals from neurons... step by step in

the process of removing noise in the right direction , an image is created, that is, the creation of images from this white this white noise from this matrix can be simply visualized, that is, there are 100 steps or a thousand steps, during which from any of this noise the final picture is created and visualized, manifested, so to speak, for example, you want... in space, yeah, you always have white noise at the beginning, and step by step you get a pug in space at the end of this process, if the noise is a little bit another, it is clear that noise can be any way you like, swap two pixels there, it will be different, but also a mob in space, this matrix, in some sense it is responsible for the model's imagination, this can be visualized, but this process, it is called denoising or noise reduction, just so that it... happens correctly, we need to show this neural network one and a half billion pairs of picture text, that is, so that

it learns to connect text and image, in principle there is an analogy with a person in this i mean, and you do all this every day, and we do all this, well , the neural network does all this every day, we do all this, and we improve the neural network every day so that it is better . this process, let's talk about the horrors of the future, this is exactly what you just said. is it possible to assume that in the future, yes, a person will do without this intermediary, directly from his head generate his images, well , let's say on some canvas, i don't know, well, in the sense of digital, of course, in fact there is research, i wouldn't say that it's just super, there's a lot of practice there and that it's actively used there, but there are studies that allow you to decode brain signals, well, that is, you know, they put there - that is, a reader of electrical signals in the head and, for example, you can there, so that without words

you, roughly speaking, understand what you want, or you close your eyes, imagine something, i don't know, for example, a palm tree, something like that and you can decode a picture from pure brain signals at the moment you imagine it, that is, what you, what you really imagined, in general, neural networks do this too, others, they don’t make a picture based on text, but based on these time series of brain signals. the same, in general, like, if you connect to such and such an electrode , you can really train a model that understands you without words and draws a picture, if you need to draw a picture, but the limitation of these models is that for each person, for now you still need to train your own model, that is, for each person, when he imagines a palm tree, the signals are slightly different, that is, like one model for all people for now. it is not possible to train, and it is expensive to train a model for each person, and a supercomputer is needed for

each person, a supercomputer is needed, so far there will be no universal thing that understands everyone, in general, i hope, i hope that not soon, and moreover, it will still remain, that is, there is no need to be afraid of this, although it sounds futuristic somehow, but there is no need to be afraid of this either, because in general, people who will use it for some reason they probably can't write, and if you can write, then you won't be putting electrodes on your head, you 'll... it will be easier for you to write, were there moments when you realized that the neural network you created, it does something that you didn't predict, secondly, do you need to think about me... to somehow limit it, generally speaking, in fact , all the generative models that are being created so far, well, and those that will be created, they tend to hallucinate at some point, this is just the official term, it means that if a neural network doesn't know something, but you still asked it to create it, it can't create, let's say, that is, it creates something, well, not what you want and something

wrong, but it creates it anyway, and this is probably the best. you can see it with and, as it were , you can trace it over with language models, you know, when gpt came out, these problems were especially visible and they asked what is heavier, a kilogram of fluff or a kilogram of lead, well , it is clear that the neural network is in the training data i saw the word fluff with the word light, she saw it much more often than fluff with the word heavy, well, on the contrary, which is logical, and of course she answers that a kilogram of lead means heavier, a kilogram of fluff is lighter, yeah, and explains why, a schoolchild, for example, who looks at this model in response, he will believe it, then he will go on to convey this idea to his peers, well, and so on, and what can you do, you need to fight hallucinations, in principle, this is the area that is now developing most actively, like this large linguistic

model, generative model, teach to hallucinate less, well, here we are... we started with the fact that we are generally warm, so to speak, so if, if our digital images were created by artificial intelligence, it would be interesting to look at them, of course, speaking, here our model, here lena thought, how we could look, just like we have on this occasion, oh, yoshkin, who is this, no, well, it's such and such. that's exactly how you look too and i really see in the form of a prompt in my head you i'll tell you how photorealistic portraits are obtained, we have a team that

deals with fake detection, well, you know, right now this is a particularly relevant problem, this is with development. and for companies and states and all sorts of reputational costs , that is, we need to learn to distinguish what is created by a neural network, what is not, so in fact , within the framework of fake detection, we decided to make a model that generates fakes, why? then, so that on that dataset, which generates a generative model for creating fakes, we can finish training the detection model, that's it we kind of made a fake generation model within the framework of this work on fake detection and applied it here, that is, like the kanzinsky model creates your face, first there is a model that describes you, then kandinsky creates your image with a tiger, for example, you can enter anything, there at the sea, there i don’t know, in winter on alpine skis, and then the fake generation model, this one of ours, which helped the fake detection model,

simply transfers the face, that is, this is the real you, in principle, that’s it, yes, dear ones friends, denis dimitrov. our guest on the creative industry podcast on channel one is the man who created the kandinsky neural network, a wonderful team, and the main conclusion, even if we didn't quite understand everything, in general, in the end, there is nothing to be afraid of, look at these nice, smart people, they are doing the things that we may be afraid of for some reason, there is no need to be afraid, because this is the competitiveness of our country, and... it is in the safe hands of people like denis. denis, thank you very much. thank you very much, we are waiting next stage. antennas on your head, with you still analog, analog versions, hosts, elena kiper, producer , video director, and roman karmanov, ceo of the presidential fund for cultural initiatives. it was a podcast of the creative industry on channel one. see you.

hello, dear friends, this is the podcast life of the remarkable, with you i, its host, writer alexey varlamov. today in this studio i am alone, and my heroine will be a wonderful one of the most fantastic russian women of the silver age nina ivanovna petrovskaya. i don’t know how familiar this name is to you, but i assure you that her fate is extremely curious and instructive. sometimes she was compared to nastasya filippovna from dostoevsky’s novel the idiot. sometimes scarman. well , or scarman, but it seems to me that the most accurate parallel that could be drawn here would be to recall her namesake, nina zarechnaya from chekhov’s the seagull, and that is precisely

the fate of this remarkable, sensitive girl who decided to become an actress, who fell in love with an elderly, talented writer, and whose life in general turned out to be broken, did not work out, to some extent. it was this chekhov play that predicted the fate of nina petrovskaya herself, and in general the fact that in this play chekhov carefully looks at this new phenomenon that arose in russian culture, in russian history, russian decadence, russian modernism, all this is deeply not accidental. so, nina petrovskaya, we know very little about her origin. in the spring of 1879 in moscow. a girl was born into the family of an official, who was named nina, she was very pretty, with big eyes that

looked at the world around them with delight, anxiety, curiosity, probably very attractively, because in her youth she had many suitors, one of them turned out to be a future very prominent figure on the political scene of russia, it was vasily alekseevich maklakov. yes, later he was one of the politicians, public figures, who headed the cadet movement in russia, after the revolution, emigrated, became such a prominent mason, lived a very long life, so he was in love with nina, made her an offer, but she refused him and married another man, which later, by the way, had a rather sad effect on her fate, in general, there is a lot in her fate, in childhood, one can say so, in youth in childhood. some missed opportunities, about some wrong, probably, paths that she took, if only it is possible now, after more than 100 years, to talk about these wrong choices

that she made in life. but nevertheless, she married sergei alekseevich sokolov, he was a young lawyer who decided to become a poet. silver age, all everyone around was creating, everyone around was writing poetry, everyone understood that creativity is the highest, the most beautiful thing in life, here is nina petrovskaya's future husband also decided to take up poetry, but the lord did not give him much talent, he was not successful with poetry, then he found a very correct, very correct move: if no one wants to publish you, take up publishing yourself, of course, this was not yet a word in the part, but nevertheless he had the financial opportunities to create his own publishing house, here is sergei sokolov creates a publishing house. which he called griff, takes the pseudonym sergei krechitov, this is the man, sergei krechitov, who becomes nina petrovskaya's husband, from the very beginning, in

general, their union did not work out, perhaps because she was such a maximalist by nature, she was drawn to what was truly talented, to what was truly bright, she herself was engaged in literature, she herself wrote poetry, she herself wrote prose, but obviously, later on this is remarkable... women who mixed two too many it turned out that she didn't have much of these concepts, literary talent, but the talent to live in

a literary environment, to communicate with poets, to communicate with writers, to eagerly respond to everything that happens in literature, to make personal acquaintances, to play a role in the literary life of that time, to directly participate in it and, as it were, to sunbathe in this fire, in this bonfire. this is where she saw, she felt her calling, and the first poet who had a very great personal impact on her was konstantin balmont. balmont was at that time really such a literary star, he was very popular, fans, admirers of his work crowded around him, at some point our heroine turned out to be one of them. she fell in love with balmont. balmont reciprocated her feelings, if you can put it that way, but this was clearly not what nina was counting on. nina wanted to be exclusive, but for balmont she was

just one of his... fans, this definitely did not satisfy her, they soon broke up, but as khodosevich later wrote, this ecstasy, well, let it not first love, but first falling in love with a great russian poet, this first love affair that arose in her life, it left a very bitter aftertaste, a kind of hangover, later she spoke mockingly about balbont, spoke badly, she really, of course... did not know how to forgive and did not want to forgive men for the offenses that they inflicted on her, but she was very attractive, all the same, life was ahead, and this mistake taught her, did not teach her, was it a mistake or not a mistake, you can talk about this endlessly argue, but one way or another in her female destiny, in her poetic destiny, in her life-creation, the next hero appears, and

her next from... the early one turned out to be the legendary poet of the silver age, one of the key figures of the literary process of that time, the son of the professor of mathematics nikolai bugaev, boris nikolaevich bugaev, who is much better, of course, known to everyone as andrei bely, he took this pseudonym, andrei bely, it was with this name that he entered russian literature as a poet, prose writer. and a publicist and intellectual and theorist symbolism, which is very important. andrei bely, unlike balmont, was not only simply talented as a poet, but he was a person for whom poetry was his everything, it was his philosophy, it was his religion, it was his form of life, nina petrovskaya wrote about this, that balmont could be divided, balmont was a man, balmont was a poet, in some sense they

absolutely did not coincide, it was difficult even in terms of... consumer and understandable, what he wanted from her, then in what concerns andrei bely, then he perceived her not just as an admirer, not just as a fan, he in some sense perceived her as his student, as his adept, and here the situation in a certain sense turned upside down, now nina rather wanted love, wanted some ordinary human happiness, and the white man in general was not ready for this, the white man for this...

strove, the white man had generally different views on the nature of man, on the nature of the relationship between man and the talent of man and god, a different view of the relationship between man and woman, therefore nina, who it turned out, well, if i may say so, with all its unusualness and fantasticness, it turned out to be too ordinary for bely, too earthly, their correspondence, and in general, people of the silver age loved to write letters and pistoles of the silver... age, everything that we know about it, there is the correspondence of blok, and bely, the correspondence of rozenov and florentsky, and many other correspondences can be named, so, nina petrovskaya and andrei bely also wrote letters to each other, but later nina ivanovna solemnly drowned in lake saimaa in finland, so if we draw this parallel between nina petrovskaya and nina zarechnaya and, accordingly

, between andrei bely, with whom nina petrovskaya was in love, and the writer trigorin, with whom nina zarechnaya fell in love, then trigorin is shown by chekhov as a completely cynical, pragmatic person, who understands perfectly well what he expects from a young beautiful woman, then andrei bely in this sense was absolutely not like trigorin, and andrei bely had his own ideas about life, so he writes "such a long, instructive letter in which he talks about symbolism, talks about theory, talks about some intricate, clever things that might be interesting to a graduate student, a master's student, at some university who is writing a dissertation with him, but would hardly be of interest to a young girl who was simply in love and was ready to give herself to this wonderful poet, one way or another, at

some point he simply got tired of her, one can assume that her passionarity, she was obviously such a clot not only of beauty charm, but a clot of energy, and the energies... the most varied, yes, femininity was overflowing in her, one can assume that she would have been simply charged with this femininity, like an electric current, when bely was hit by this current, then in general he preferred to withdraw from this plot, and as she later wrote ironically, that andrei bely's mother ordered him to leave me for nizhny novgorod during holy week, and bely really left her, although later they still continue...

bryusov was also not only a poet, but if bely, andrei bely rather deviated towards theory, then bryusov, despite the fact that he was not alien to theory, and bryusov was in many ways one of the creators, and such intellectual creators of russian symbolism and russian savagery in general, and bryusov , as it were, from childhood decided for himself that he would be precisely the leader of russian symbolism, in some sense the leader... of literature, but bryusov was probably not by chance born into a merchant family and all these theoretical ideas of his, all these utopian dreams of his, they were often clothed in very specific form, and bryusov, in addition to being

a poet, he was a publisher, and he was a very good publisher, and he really published very important magazines of the symbolism era, in particular the magazine scorpio, which was very difficult. to get into. bryusov was very strict about literature in general. he was a real meteor, and he really believed that serving literature is the highest thing that can be in life, it is work, it is not even work, but it is a way of human existence that requires everything from him. and therefore to be published by bryusov, it was such a supreme dream, it was the highest level of initiation. for the young authors of that time, and nina petrovskaya's husband, that same sergei sokolov sergei krechitov, with whom i began our story, he, of course, did not pass these bryusov standards, but the fact

that krechitov created his own publishing house, the publishing house was called grif, which began to compete with bryusov's scorpio, this really outraged valery yakovich. no one likes competition, that's why his attitude to this house to this family initially it was, well, at best wary, or rather even negative, at first he generally did not pay attention to nina petrovskaya, and bryusov had his own complicated personal life, but when bryusov, who treated bely with a feeling of respect, curiosity and rivalry, when bryusov found out... that nina petrovskaya was rejected by bely, and nina petrovskaya was offended by bely, angry, indignant. that's exactly when bryusov begins to feel an interest in her, not only the interest of a man in a woman,

but a literary interest, because bryusov never did anything just like that. why was bryusov interested in this unusual woman, because he had been writing a novel for a long time, or rather, was preparing to write a novel, he was composing a novel. and in order to write this novel, he, of course, had to rely on some realities of life, on some destinies, on some facts, yes, just like if a house is being built, scaffolding is needed, and he needed these very scaffolding that would surround the construction of his novel, and one can assume that the fate of nina petrovskaya inspired him very much as a creator, as a writer, it was then that he conceived the novel, which subsequently brought him great fame. and which is still considered one of the best russian novels of the silver age, it has been translated into many languages, prokofiev wrote an opera based on this novel, the novel is called the fiery angel, here is the love

triangle that lies at the heart of this novel, the action takes place in the middle ages in europe, brus generally loved history to mix times, to transfer some modern events in the middle ages or vice versa in... to summon the spirits of the middle ages from the depths of centuries to place them in modern scenery, all this was a very typical thing for the silver age... accepted, here - bryusov, inspired by this story of nina petrovskaya by andrei bely, as if in a human way intervenes in it, lives it, and then he needs all this in order to write a novel, that is, in fact, nina petrovskaya initially appears on bryusov's horizon, as, well, if i may say so, as a muse of sorts, but a muse is not in such a high sense of the word, as it was with pushkin, no, it is such a more

consumer, yes, more pragmatic attitude towards the person who will inspire him to create an artistic image. at the same time , it should be noted that, in general, nina petrovskaya was not some kind of fool, it cannot be said that she was just a naive victim, in the hands of all these poetic geniuses of that time who surrounded her, she actually wanted this, she strove for this, she can... live intuitively feeling that, in fact, if she lacks this direct literary talent for composing artistic texts, then let her feminine, her human talent manifest itself in order to become, well, if we speak roughly, literary material for writing artistic works, that is why her union with bryusov initially turned out to be so ugly harmonious, i will allow myself... such a combination, such an axiomaron, but

it seems to me that it can very accurately reflect what was happening then, this is how this novel began: bryusov unexpectedly began to visit the family of krechchatov sokolov and nina petrovskaya, who were very keen on spiritualistic sessions, this was also a common phenomenon for the silver age, everyone loved to indulge in spiritualism, they called up some spirits, sometimes some very funny hoaxes were arranged. then nothing came of it and bryusov treated the matter, that is, they sat around the table, bryusov was very dissatisfied with this, they took each other by the hand, began to call up some spirits, but the spirits did not want to appear, and bryusov sternly said that apparently someone from those present here counteracts what is happening and looked sternly at nina petrovskaya, perhaps it was nina herself, then... then a version arose that nothing is working out

because there is a bad house here, somewhere there is some house in a district in the moscow region, in this house, then a newlywed family lives, who constantly hear some sounds at night, some voices, some, in general, something incomprehensible is happening in this house, they begged, help us get rid of this, then bryusov said, bryusov he considered himself a black magician, a magician, but the owner of this house simply wanted to throw these

newlyweds out, they didn’t suit him there for some reason, and for this he played out this whole thing, this fact, when some serious, tragic funny, hand in hand walked through life in literature, this is also very typical for the silver age, but the result of all these dates, all these visits of bryusov to the house of princess petrovskaya was that they began to correspond, and then they began... to meet, they began to love, the most real love in all meanings of this word, in the fullness of this word, which is actually what nina wanted, later she did so, a little pretentiously, i do not vouch for the sharpness of the quote, but its meaning was that she later recalled that bryusov poured her a tart glass of wine, in which his passion was dissolved, she drank this... glass poisoned herself with this glass for 7

years, so in the summer of 1905, in this fateful summer for russia, yes, the summer when the first russian revolution was taking place, when the events of the russo-japanese war were developing so tragically, that's when their romance begins, they leave for finland to lake saimaa, yes finland, as we remember, was then part of the russian empire, it was there at the request of bryusov on the lake... they return to moscow, well, in general, bryusov got everything he wanted to get, basically, reasoning like this a little cynically, nina was no longer needed by him, and here she in some sense stepped on

the same rake for the second or third time, when these great poets, these great masters of love, with whom she so strove, broke up with her, but with bryusov she failed to break up or bryusov failed to break up with her as easily and as quickly as balmont or andrei bely managed to do. bryusov, like all people of the silver age, they were very attentive to themselves, to their lives, to all the events of their lives, they took care of everything that they related to each day they lived. bryusov had what is called the don juan list, in this list he divided all the women who fell into the field of his attention by ranking, yes, i was in love with this one, and this one was in love with me, and i just paid attention to this one, he wrote about only one woman: i loved her, this

woman was nina petrovskaya, that is , finland, lake saimaa, this crazy summer, june 1905. the years still did not pass without a trace for him, after all, she launched these roots of hers, she launched them into his heart, and he could not part with her so easily, of course she wanted more, of course she wanted a continuation of this love, and the passion that flared up there, well, as, probably, in the life of any woman, demanded, probably, she i assumed that some other steps would follow, but... but bryusov himself was no longer ready for these other steps, here a whole volume of letters has been preserved, it was recently published, fully published in our country, and with these letters there is also such a very curious story, when you read this correspondence, then in general a feeling of awkwardness arises, because this

is a very intimate correspondence, because in this correspondence nina petrovskaya simply really bares, tears the soul in the most direct sense of this. and this is undoubtedly the best, what she wrote, all her literary, all her human, all her feminine talent is in these letters, well, it's like marina tsvitaeva's poems, maybe too bold a comparison, but here, my dear, what i did to you, here 's this, that i unclenched both my little hands at once, and yesterday i compared you with the chinese state, this is what she expressed in prose, and poetic prose, absolutely remarkable prose, she didn't want these letters to be about...

that same one, they later divorced, by the way, yes, and bryusov, you could say, took her away from her husband, but nevertheless, the husband should join the editorial board, of course balmont, of course andrei bely, yes, all these people should definitely be involved in editing , well, not editing, in any case , making sure that this correspondence was published competently, bryusov could not have imagined that 10 years after his death, and her death, this would already be... in the thirties in stalin's soviet union , no one was interested in nina petrovskaya, in general, these letters lay in the archive for a long, long time , only in the 2000s were they published, by the way, very well published with very deep, serious comments and a wonderful introductory article.