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The article discusses modern poetic practices that actualize the surrealistic code through a sound medium. Vadim Bannikov with the help of spontaneous sampling of material (figurative and verbal) brings sound and auditory constants to surrealisticediting and metamorphosis. His “asemantic poetry” reveals the collaged polyphony of the Sprechgesang, forcing to reconsider the non-musicality of classical surrealism. Vasiliy Borodin’s auditory asemic letter becomes a solution to the poetry task of “moving away from words” formulated by the poet himself, but in a surrealist context; this turns out to be a new stage in objectification of the code. If Vadim Bannikov’s automatism frees the subject, the surrealisation of Vasiliy Borodin frees the very musicality and audial culture (possibly “to the detriment” of poetry). The third  alternative way to work with sound is offered by Nikita Safonov’s poetic practice. A general deterritorialisation of sound takes place in it, the sounding is freed through the objectification of sound, freed from the human as well. The sound landscape on equal terms includes silence (zero state of sound), the sounds themselves in their materiality and noise. The noise, understood as an empty sign, actualises the mathematical in sound. In the surrealist code, therefore, mathematics and abstraction become an important condition for further private implementations of surrealistic thought and aesthetics.

SURREALISATION OF SOUND: MUSICALITY, AUDIAL CULTURE AND SOUND IN THE MODERN RUSSIAN POETRY (VADIM BANNIKOV, VASILIY BORODIN, NIKITA SAFONOV)