Arteanity is the digital archive of Viktor Genel’s continuing creative inquiry into what things possess beneath—or before—the identities assigned to them.
Since 1981, this inquiry has moved through spatial mechanisms, literature, objectry, Deutilization, and Somacentric Trajectilery. These names identify distinct working passages within the inquiry. They do not divide it into separate careers, nor do they define its originator through professional categories.
A mechanism, a novel, a transformed object, and a bodily trace may appear to belong to different disciplines. Within Arteanity, they are successive means of approaching the same underlying question: what becomes perceptible when an imposed identity is removed, interrupted, or prevented from taking possession in the first place?
For public understanding, particular passages have acquired names that make them legible within familiar fields. Primordial Mechanisms, Literary Interruption, Deutilization, and Somacentric Trajectilery identify methods, conditions, and historical phases. They are entrances into the work—not professional labels attached to its originator.
Arteanity therefore does not organize Viktor Genel’s lineage around whether he should be called an artist, inventor, writer, engineer, or designer. Such classifications may help locate a particular manifestation, but none describes the continuing pursuit that produced them.
Genel’s formal education crossed fields that are usually kept apart: engineering at the Leningrad Institute of Technology, completed in 1977, and black-and-white drawing at the Leningrad Academy of Arts, completed in 1984. The archive records these as conditions within the inquiry, not as competing professional identities.
The encounter with a Rubik’s Cube initiated an inquiry into internal spatial mechanism. The object was approached not primarily as a puzzle, but as a structure capable of transformation through geometry.
The inquiry entered physical and legally documented form through a Soviet Certificate of Invention for the Puzzle of Puzzles—a metamorphic mechanism capable of moving among distinct spatial configurations.
The Star and the Sphere, published under the name Viktor Nel, carried the structural inquiry into literature. Its initial publication in 2001 and later republication in 2023 extended the exploration of dimensional transition, regulation, and liberation through narrative.
Deutilization brought the inquiry into existing objects and materials. It removes or defeats assigned function so that deeper foundational traits—structural, geometric, relational, or material—can become active.
Somacentric Trajectilery established a more immediate route. Bodily motion reaches medium and substrate before an image, function, style, or predetermined trait can be conceived. The resulting artifact preserves the irreversible material event.
Across the current lineage, liberation occurs at different moments.
Deutilization begins after a thing has already been assigned a function or identity. It removes or defeats that assignment so deeper foundational traits can become active.
Somacentric Trajectilery begins earlier. It allows bodily action to reach material before a predetermined identity can take possession of the event.
One proceeds through release after assignment; the other through arrival before assignment. The difference is temporal and procedural, not philosophical. Both belong to the same continuing inquiry.
Arteanity does not present these developments as disconnected changes of medium. It preserves the continuity among spatial mechanism, literature, objectry, Deutilization, and bodily trace while maintaining the distinctions among them.
The archive brings together artifacts, mechanisms, writings, protocols, critical commentaries, and documentary records. Its purpose is not to force them under a single disciplinary label, but to preserve their relationships and their positions within the developing lineage.
Arteanity is being published in stages. Its first public state centers on Somacentric Trajectilery and its individual artifact records. Earlier and parallel bodies will enter the archive as their documentation is prepared.
The archive follows the work itself: what it encounters, what it releases, and what it permits to emerge.