6 October 1998 Yuri Rydkin attempted to commit a suicide jumping from a railway bridge in Gomel, as a result he got injured and disabled.[5][6] The consequences of the trauma were reflected in the author's work.[7][2]
The poet has had an artistic dialogue with COVID-19 on Facebook, the screenshots of his fb-posts are published under the title of «COVID-POETRY» in a literary almanac.[15]
Rydkin is the founder of cyberzaum[8][16] and hyperlink poetry,[17][18][19][20][21][12][22][8][23] its concept and method of creation was expressed in the manifesto.[24] Critics see author's hypertext works as aesthetic indicators that are consistent with "writing degree zero" — a language free from the signs of ideology.[19] These works are fully covered by markup language, each verse block is associated with a certain media, texts and Internet resources are equal participants in poetic communication. This creates a specific structure at the level of associations and subtext.[17][20][18]
The poet's works were shown at the exhibition "Poetry by any means" — it was devoted to new readymade-technologies in poetry, created with the help of Internet search engines, various objects, newspaper articles and more.[31] The author's photographs are presented in virtual galleries of various media projects.[32][33][34][35][36]
"Modernity requires from the author not only philosophical reflection and creative use of digital developments, but also a willingness to entrust himself to them".
Rydkin's stanza lyrics have a mark of futurology. He is interested in the feelings of people who have become programs,[23] he is interested in the physicality of the bot.[25] The poet shows the katabasis of a man, his fall into the world of bots.[8] The author speaks on behalf of a bot in the afterlife, and such a poetic speech is recognized as unique. In his poems, Rydkin demonstrates the absence of the Other, and this absence has a female gender.[2]Doctor of ScienceJana Kostincová writes that in multimodal poetry he uses artificial intelligence and develops intertext play.[12] The poem "Вверх тормашками стул рогат" is written in the genre of modern metarealism.[1] The author also writes prose that has many synchronized worlds.[52] Despite Rydkin's statements about the need to emancipate the machine, about the need to biocybernetics, something very human is felt in his texts. Rydkin's dialogues with bots contain pragmatics and a behavioral study of contemporary Russian poetry.[8] Music criticism notes Rydkin's transition from poetry and visual arts to music, where he pays particular attention to psychedelicrap and hip-hop. "Pocket" is not just a song, but an innovative artistic statement that illustrates the evolution of an artist who has taken his unique experience and self-expression to new heights in the music world.[47]
Recognition
Yuri Rydkin's publication "Between the living and the artificial. Merging digital technologies with human, writer and literature" was recognized by the professionals of the Журнальный зал as the best in August 2021.[53] In the journal Znamya, the author was ranked among the new literary generation, which is changing something in literature.[9] The poet has been widely quoted by his contemporaries.[54][55][56][57][58][59][60] The author's creations have attracted much attention from literary critics; according to their opinion, his works of art are close to the works by Fyodor Svarovsky,[23]Dmitri Prigov and Lev Rubinstein.[8] Critics call the Belarusian[61] poet — a bot of Russian literature.[8][1][62] In 2024, according to the European Indie Music Network rating, Rydkin entered the Top Indie Music with the song "Pocket".[63] French music criticism calls Rydkin a pioneer in the study of the interaction of fine arts, poetry and music.[39]
