Zaum (Russian: заумь) is a word used to describe the linguistic experiments in sound symbolism and language creation of Russian Futurist poets such as Velimir Khlebnikov and Aleksei Kruchenykh.

Coined by Kruchenykh in 1913, the word zaum is made up of the Russian prefix за "beyond, behind" and noun ум "the mind, nous" and has been translated as "transreason", "transration" or "beyonsense" (Paul Schmidt). According to scholar Gerald Janecek, zaum can be defined as experimental poetic language characterized by indeterminacy in meaning.

As Kruchenykh has it, zaum is a transrational language, "wild, flaming, explosive (wild paradise, fiery languages, blazing coal)," which awakens creative imagination from the manacles of everyday speech. Zaum "can provide a universal poetic language, born organically, and not artificially like Esperanto."

Examples of zaum include Kruchenykh's poem "dyr bul schyl" and his libretto for the Futurist opera Victory over the Sun, and Khlebnikov's so-called "language of the birds", "language of the gods" and "language of the stars". The poetic output is perhaps comparable to that of the contemporary Dadaism but the linguistic theory or metaphysics behind zaum was entirely devoid of the gentle self-irony of that movement and in all seriousness intended to recover the sound symbolism of a lost aboriginal tongue. Exhibiting traits of a Slavic national mysticism, Kruchenykh aimed at recovering the primeval Slavic mother-tongue in particular.

Daniel Edwin "Danny" Carey (born May 10, 1961 in Lawrence, Kansas) is an American drummer best known for his work in American Grammy Award-winning progressive metal band Tool. He has also contributed to albums by artists such as ZAUM, Green Jellÿ, Pigface, Skinny Puppy, Adrian Belew of King Crimson, Carole King, Collide, The Wild Blue Yonder, Lusk, and the Melvins.

Carey's first encounter with the drums began at the age of ten by joining the school band and taking private lessons on the snare drum. Two years later, Carey began to practice on a drum set. In his senior year of high school in Paola, Kansas, Carey joined the high school jazz band and began to study under drumming great Ben Kelso specifically for jazz drumming training. Jazz would later play a huge role in his signature approach to the drum set in a rock setting. As Carey progressed through high school and later college at the University of Missouri–Kansas City, he began expanding his studies in percussion with theory into the principles of geometry, science, and metaphysics as well as delving into Sacred Geometry and certain hidden aspects of life and the occult. Carey also played jazz while attending college and got to experience the jazz scene in Kansas City.