The Sverlian civilization is in a parallel universe, and is to spring into being in the near future as an offshoot from the development of new technologies. Once it emerged, the Sverlian civilization took up residence, is residing, and will take up residence, in the Earth's past, present, and future.

As is customary for the neo-processual that I develop in my mystery play projects, I deal here with a temporal reality, which leads me to a universal gesture of integration. Such practices lend a certain kind of progressive evolution to the project. The Sverlian project absorbs its own evolution to transform the concept of new processuality into the image of the Sverlian civilization (See my text of Sverlia).

For the time being, my project has the following embodiments: it is alive as an “Art Object”. The opera novel The Sverlians, where the images and the text, a novel and an opera, are inseparable, form the book’s nexus. We expose the sybaritic side of the Sverlian civilization via the images on the bag chairs. And we refer to the purposely elaborate style, which soaks up the playful aspects of the Sverlian civilization like a solvent, as “Fundamental Infantilism.” This is the style of the live opera The Sverlian Overture, which serves as the basis for the opera film The Sverlians.

Two strategies for integration have been elaborated in connection with the Sverlian opera. The first one, being an integral part of the opera performance, is manifested in the Sverlian Gondola Carrier which presents the Sverlian Civilization to a potential earthly audience.

The second strategy is in the Sverlian Dome, which offers an opportunity to find oneself, for a few minutes, under the Sverlian firmament. The Sverlian Project is going on, for Sverlia has been, is, and will be perishing till the end of time.

Boris Yukhananov The last Sverlian Child