Thursday, October 31, 2019

Из прошлой жизни/ 90%

Дубайское, ФБ напомнил.

Теперь смотрится подтверждением лаконичного закона Старджона: «90 % чего угодно – дерьмо». Люди везде одинаковые, процентное соотношение универсально.

Saturday, October 26, 2019

Язык развивается сам, по своим законам/ linguistic

В главном новогоднем фильме «Ирония судьбы, или С легким паром» есть забавный ляп, связанный с русским языком. По сюжету Надя — учительница русского языка и литературы. Но она допускает ошибку, говоря: «Я забыла одеть праздничное платье». Надо было сказать: «Я забыла надеть праздничное платье».

Слово «кофе» мужского рода в образцовой речи и среднего рода в разговорной.

«Слово из трех букв» восходит к тому же корню, что и «хвоя». Буквально: что-то острое, колкое. И кстати, мат нам не привезли татаро-монголы; все корни наши, родные, славянские.

Реформ языка не бывает. Язык нельзя реформировать, как нельзя реформировать закон всемирного тяготения. Язык развивается сам, по своим законам.

Говорить «присаживайтесь» вместо «садитесь» невежливо. Потому что приставка при- указывает на неполноту действия. Предлагая присесть, вы предлагаете сесть на краешке стула или сесть ненадолго и быстренько уйти.

Написание иноязычных слов может отличаться от языка-источника. Например, по-русски правильно «офис» и «офлайн», хотя в английском две f. В русском языке нет удвоенных согласных в таких словах, как «блогер», «шопинг», «капучино».

Уже давно стало можно говорить гре́нки, тефте́ли, фольга́, подростко́вый.

Маленькая буква называется строчна́я (ударение — на а).

В современном русском языке действительно одинаково правильно говорить тво́рог и творо́г, хотя когда-то тво́рог запрещалось. Но именно в эту сторону движется язык, творо́г постепенно уходит.

Имеет место быть — это не умное книжное выражение, а довольно грубая ошибка. Правильно: «имеет место».

Слово «волнительный» не современная безграмотная замена слову «волнующий». Оно давно в русском языке, и всегда было характерно для речи актеров.

Правильно говорить: во́зрасты, во́зрастов, неправильно: возрасто́в. Запомнить ударение поможет Пушкин: Любви все во́зрасты покорны.

Отрывки, источник

* * *
Безобидная с виду фраза «Я тебя услышал» способна вызвать раздражение со стороны того, кому она адресована. Вас услышали, поняли. И что? Дальше-то что? Неплохо, конечно, что ваш собеседник вас услышал, но что это значит? Фраза абсолютно бессмысленна, своего рода дежурный «кивок», когда сказать вроде как что-то нужно, но ещё не придумал что. Это даже хуже, чем аналогичное «я тебя понял». По мнению уже упомянутой Марины Королёвой, это калька с английского языка, где во время разговора нередко показывают свою заинтересованность фразой «Got it». Но культуры у нас всё-таки разные, и русскому человеку в бытовом общении требуется больше эмоциональной отдачи, например: «Ох, как я тебя понимаю!». Впечатление другое, и уже не кажется, что твой собеседник пытается от тебя отделаться.

«Человечек», «печалька», «вкусняшки», «винишко», «днюшечка» — интернет-сленг, давно вышедший за пределы сети. Вот лингвист Максим Кронгауз замечает, что «интернет пошёл в массы, а массы пошли в интернет, и пришли девочки», которые любят использовать уменьшительно-ласкательные слова.

источник

* * *
Куда — в Москву, откуда — из Москвы. То есть приезжаем мы всегда «из» каких-либо стран, городов, сёл и других населённых пунктов. Как возник вариант с предлогом «с» — загадка.

«Извините» — это нейтральная общеупотребительная форма вежливого извинения, а [дико] «извиняюсь» — просторечный вариант, не вписывающийся в литературную речь.

Пожарный — член пожарной команды, именно он тушит пожары. А пожарник — это такой жук, о котором вам наверняка рассказывали на уроках природоведения в начальной школе.

Если вы хотите попросить у кого-то дать вам деньги в долг, нужно говорить: «Одолжи мне» или «Можно занять у тебя?» Никак нельзя просить другого человека «занять» вам денег, поскольку «занять» — это, наоборот, взять в долг (да!).

- источник

* * *
Еще здесь

Friday, October 25, 2019

Air pollution in Kyiv - much worse than in China's Beijing

Сентябрьское, про загрязнение воздуха в Киеве

Oct. 23 2019:
Air pollution in Kyiv has reached its highest levels with the Air Quality Index (AQI) being 180 on the city's Nauky Avenue, which is 15 points higher than in China's Beijing.

In October, Kyiv has been suffering from an autumn smog. High levels of air pollution were recorded in the past several days.
Residents of private houses inside and outside the city burn tree leaves and garbage, which also affects the quality of the air.
Kyiv City State Administration says it is not smog, but the so-called "temperature inversion."

- source

* * *
On Oct. 21, Boryspil International Airport halted flights for 30 minutes amid poor visibility and reports of nearby fields burning.

On Oct. 22, the World Air Quality Index listed air pollution in Kyiv as higher than in Beijing, with a hazardous 196 PM2.5 (a measure of atmospheric particulates) compared to Beijing’s moderate 61 PM2.5.

The government has stayed silent and not offered a clear explanation of what exactly is going on. In Ukraine, that is hardly a reassuring sign. Many Ukrainians have memories of the Soviet government’s deafening silence during the first few days after Chornobyl.

The first official explanation of the poor air quality came from the Kyiv City State Administration (KSCA): peat, a soil-like accumulation of decaying vegetation and organic matter was burning in nearby fields.
Weather also plays a role: Increased humidity and a lack of wind affect where smoke rises and spreads.

The smoke releases particulate matter and dust into the air. Some particles are able to penetrate into the lungs and bloodstream, causing or worsening lung diseases such as asthma and bronchitis and heart diseases such as arrhythmia and heart attacks. Larger particles can cause irritation of the eyes and throat – something some Kyiv residents have noticed this week.

Unfortunately, there is little people can do to avoid breathing the polluted air. The best option is to leave the contaminated area, but outside of that, the most practical option is to filter the air through gauze or respiratory masks.
Ukraine has no shortage of ecological problems, and the country has not been particularly effective at identifying and improving them.
With the collapse of the Soviet Union, the country inherited an army of large-scale, energy inefficient industrial enterprises. Today, equipment and technologies in these factories remain outdated and generate enormous amounts of emissions.

"Ecoaction" suggests that the Ukrainian authorities should collect enterprise emissions information round-the-clock by installing air quality sensors at enterprises and make the available to the public. The organization also believes there should be fines and penalties for air pollution that are high enough to make it cheaper for enterprises to upgrade their equipment than to continue to polluting for cheap.

- Extracts; source

Thursday, October 24, 2019

И хором бабушки твердят: «Как наши годы-то летят!»/ fleeting

Пугают эти «мемориз», которые подбрасывает ФБ. Искренне изумляешься: что, уже год прошел? два?! Вчера же было, ну вот только что же...
Неизбежно возвращаешься к оскоминному трюизму про «как наши годы-то летят». Это уже не «вчера была среда, сегодня – понедельник», а «что раздражает, так это деревья, то зеленые, то желтые...»

В воскресенье, когда выезжали из дому, видела на пустой (по случаю выходного утра) Липской скамейку – на ней ссутулился... не старик, а так, некто траченный жизнью, пожилой. Классическое воплощение скоротечности и бессмысленности жизни – сидит, оцепенев, среди вечно суматошно-голодных голубей...

Wednesday, October 16, 2019

The Brahms Code - DW documentary

At the beginning of the Symphony No. 1 by Johannes Brahms, the timpani sound out relentlessly. With the composer having worked on the symphony for 14 years, it's as though the rhythm is saying, "This is exactly as it must be."

"This music is magnificent. Not only because it reflects the time it was written in. It's also a soundtrack of our own time. There are little hidden codes, which is up to us to figure out what they mean," says conductor Paavo Järvi in the first few minutes of the film The Brahms Code, promising an intriguing 90-minute journey into the depths of the symphonic art of this composer.

With Paavo Järvi, one of the world's busiest conductors, the Kammerphilharmonie performed its way into the top echelons of the world's orchestras roughly 15 years ago and has stayed there. The complete recording of Beethoven's symphonies set standards. That was followed by the Schumann symphony cycle — and now the Brahms.

"In the past few years I have performed mostly Brahms with the Kammerphilharmonie," says Paavo Järvi. "It's almost a religious ritual for the orchestra to rehearse intensively before every concert, regardless of how often they've already played the piece. It's about discovering new colors, nuances and facets each time."
At the end of the film, one feels one has made new acquaintances, orchestral musicians who will never be perceived as a mass phenomenon again. And of having taken a step closer to Brahms — even though, to quote Paavo Järvi, he "remains a sort of divine figure."

- source; source





Tuesday, October 15, 2019

Indian summer

Упругий слой палых листьев – оглушительно хрустит под шагами.
Попискивание мелких пташек.
Стрекот-перебранка сорок.
Пёсий лай вдалеке.

Поблёскивание паутинок тут и там.
Ожившая, благодаря краткому и кроткому бабьему лету, мошкара.
С сухим стуком то здесь, то там нечасто падают на пухлый слой опавшей листвы – всё новые...

Dead leaves desert in thousands, outwards, upwards,
Numerous as birds; but the birds fly away... 
(Philip Larkin)

И запах – неописуемый дар, этот запах зрелой, роскошной осени. Предчувствие близкого конца, неминуемого похолодания, безжалостного опустошения – добавляет острой прелести этим усталым красотам, напоследок так ярко одетым.
До рёберной ломоты, до звона в ушах – снова и снова набираешь в легкие, сколько возможно, этого дивного прозрачно-пряного воздуха.
Обыкновенное чудо.

Ну, и проза жизни тут как тут. Как всегда во время таких прогулок, собираю и выношу из любимого лесопарка пластиково-стеклянные отходы, оставленные там двуногими. Чистой воды донкихотство, конечно: навстречу движутся новые отдыхающие с объемными пакетами, набитыми снедью и питьём – многие оставят после себя свежий слой мусорной дряни...

* * *
An unseasonably warm, dry and calm weather, usually following a period of colder weather or frost in the late Autumn.

The origin of other 'Indian' phrases, like Indian giver, Indian sign, are well-known as referring to North American Indians - who prefer to be called Native Americans or, in Canada, First Nations.

The term Indian summer reached England in the 19th century, during the heyday of the British Raj in India. This led to the mistaken belief that the term referred to the Indian subcontinent. In fact, the Indians in question were the Native Americans, and the term began use there in the late 18th century.

Indian summer is first recorded in Letters From an American Farmer, a 1778 work by the French-American soldier turned farmer J. H. St. John de Crèvecoeur (a.k.a. Michel-Guillaume-Jean de Crèvecoeur):
"Then a severe frost succeeds which prepares it to receive the voluminous coat of snow which is soon to follow; though it is often preceded by a short interval of smoke and mildness, called the Indian Summer."

The English already had names for the phenomenon - St. Luke’s Summer, St. Martin’s Summer or All-Hallown Summer, but these have now all but disappeared and, like the rest of the world, the term Indian summer has been used in the UK for at least a century.

The incidence of Indian summers has increased significantly over the past decade or so (in the UK at least) as one symptom of the unstable weather caused by global warming. The Native Americans espoused, and lived, a life of harmony with nature. It is ironic and sad that they should have given their name to something that has now become associated with global warming.

- source

Monday, October 14, 2019

‘It’s good that you are alive.’/ HONY

October 2019
“When my grandmother died, there was a feeling that I’m all alone in this world. Her favorite saying was: ‘I’m always here for you, whenever you need me.’ Without asking questions. Without judging. My parents were different. They wanted things from me. They wanted me to be a good person, and graduate, and get a job, and do well. But I kept failing. I questioned everything. I was bad at school. I didn’t follow the rules. I had purple hair. And a nose ring. And to make things worse — I had this perfect, beautiful little sister who did everything right.

But every time I messed up, I could go to Oma. And she’d tell me: ‘Don’t worry so much. These things aren’t important.’ And ‘I love you darling.’ And ‘You’re not a bad person.’ And ‘You’ll find a way to be happy.’ It could be so hard growing up. It felt like the world wanted so much from me. But my grandmother was different. She just loved me.”

(Berlin, Germany)

* * *
“My patients tell me about their experiences. But I can’t tell them about mine. It’s frustrating. Like the connection is so close. Like we could be friends in different circumstances. But it’s impossible. I have a role to fill. The therapist’s role is to hear. To listen. To help without asking. To understand my patients’ problems, but to control my emotional response. So I can’t tell them what I’ve been through. I can’t tell them that I have no close relationships. I can’t tell them that my mother didn’t want me. That she abused me with hands and words. That she was never happy that I existed. As a child I was kept hidden from the outside world. I couldn’t speak of my experiences. I couldn’t express my emotions. If it wasn’t for the church, I would not have survived. The Bible was the first place I ever heard: ‘It’s good that you are alive.’ These are words that every child needs to hear. If you go too long without hearing them, things get very dark. And I didn’t hear them until I was seventeen.
Even today I’m constantly fighting the temptation to be alone. It’s so difficult for me to form friendships. I must challenge myself to trust people: that they won’t hurt me, that they won’t make fun of me, that they like spending time with me. Because if I don’t keep fighting, I’ll spend all my time alone. It’s so comfortable to be alone. To become lost. And to lose the will to live.”

(Berlin, Germany)

* * *
“I haven’t spoken to my Mom in two years. I don’t even remember what started it. It was on Christmas. We were arguing about something stupid and it just escalated. Then we started fighting about the past. She’s at this age where she isn’t making many new memories, so she just lives in the past and glorifies the old ones. Which isn’t a bad thing, I guess. But she refuses to remember the hard times. And it’s extremely frustrating. Both my parents were always so stuck in their own stories. Their own problems. It was never about me.
I know that sounds selfish -- but children are selfish. You have to be selfish to survive. I was never acknowledged. Never encouraged. Never had the feeling they were proud. They didn’t even show up to my graduation. It took me so long to get over that shit. It took me so long to feel worthy. And now, all these years later, my mother’s story is this: ‘I did everything for you, I sacrificed everything, and your childhood was beautiful.’ She says it in a way that implies I should be thankful. And grateful. And what’s most triggering-- she says it in a way that implies I should pay her back.”

(Berlin, Germany)

Sivan Bennet comments: Your mum had probably difficult childhood and lack of love. The only thing she got are past good memories. It's her life. It's how she manages to survive. Your task is to grow up and make your own story.

HONY

Monday, October 07, 2019

Gideon Mendel: "Photography gave me an ability to act.”

Gideon Mendel (born 31 August 1959) is a photojournalist and documentary-maker.
Born in Johannesburg in 1959, Mendel studied psychology and African history at the University of Cape Town:
“I never trained as a photographer. I majored in African economic history and psychology at the University of Cape Town”.
He began photographing in the 1980s during the final years of apartheid and produced a number of bodies of work documenting the resultant societal conditions and political climate in South Africa.
In the early 1990s he moved to London.

Mendel can speak from deep, personal experience on the power of photography to affect change locally and beyond. After all, his roots as a “struggle photographer” began with his coming of age in apartheid South Africa. In his words,
"this had an indelible impact on my being. Growing up as a white South African, I felt powerless and carried a lot of guilt and anguish. The voice that the camera gave me was key; the images were an essential part of the struggle. Photography gave me an ability to act.”

* * *
Gideon Mendel:
“Drowning World is my attempt to explore the effects of climate change in an intimate way, taking us beyond faceless statistics and into the individual experiences of its victims.

Portraits rest at the heart of the project. I often follow my subjects as they return through deep waters, working with them to create an image in their flooded homes. While their pose may be conventional, their environment is disconcertingly altered.
The flood is an ancient metaphor, found within the myths and legends of many cultures. It represents an overwhelming, destructive force that renders humanity powerless in its wake and leaves us seeking refuge. As global warming drives an increasing number of extreme flooding events each year, this message continues to resonate.
I began work on 'Drowning World' in 2007 when I photographed two floods that occurred within weeks of each other, one in the UK and the other in India. I was deeply struck by the contrasting impacts of these floods, and the shared vulnerability that seemed to unite their victims.

[When the project first began in 2007, Mendel had two young kids (Eli, b.1998, & Jonah, b.2001) and was imagining what their world would be like in 30 to 40 years. - source]
Since then I have endeavored to visit flood zones around the world, travelling to Haiti, Pakistan, Australia, Thailand, Nigeria, Germany and the Philippines, in search of these commonalities and differences.
In a flooded landscape, life is suddenly turned upside down and normality is suspended. With an almost ‘tracing paper’ effect on the societies in which they occur, flood waters often reveal underlying tensions and difficulties as they recede. It is these elements that continue to draw me to flood zones, evoking many questions about our sense of stability in the world.
This journey has led to two further, related, bodies of work: ‘Flood Lines’ documents the impact of floodwaters on interior landscapes and surfaces.
‘Water Marks’ records the curious changes that are left by floodwaters on personal photographs caught in the maelstrom.

A series of video pieces, ‘The Water Chapters’, has also grown organically from this process. These have become an increasingly significant part of the project: the moving images contrasting with the stillness of the photographic portraits.

http://gideonmendel.com/drowning-world-introduction/;
http://gideonmendel.com/submerged-portraits/

March 2015 - via gideonmendel
Francisco Chavas on the balcony of her son's home in Rio Branco. I had been busy shooting the portrait of her son, inside the house and then found her relaxing outside like this - having a cigarette while she waited for him. They had been busy using the floodwater to wash down their walls.

* * *
Mendel wants to emphasize the connection he has with his subjects. These aren’t just figures on the wall: they are human beings. His subjects in “Drowning World”—lacking any other autonomy—want to be photographed; they want to witness and be witnessed, want to remember this moment before they must face the facts of their situation.
Mendel knows he can’t do much on his own to change their situation, but he feels they appreciate the power and voice that the camera and portrait affords them.
While some are surprised to see Mendel carefully planning and conceptualizing his photographs rather than shooting groundbreaking images in the heat of the moment, in every photographic endeavor his process is carefully considered and sensitive to the visual potency that arises from a world in peril. In the case of flooding, Mendel discovered an unusual chronology, far different than the “breaking news” situations he once frequented.
At the start, of course, is the period that traditionally motivates photojournalistic pursuits, filled with fleeing, chaos and death. Later, the water recedes. But prior to that, there comes a very particular period consisting of an extended spell of stillness. Much as the world is paralyzed during a flood, so are his subjects. At this time, the world lies in a state of limbo.

Amidst the interminable wait for the waters to recede, there is numbness and disbelief. It’s a surreal, protracted instant, and one that offers immense visual power—reflections everywhere, the world turned upside down. It is at these times that Mendel makes his work, traveling to people’s homes and spending time with them to find out their story. After making his portraits, the water slowly drains away and the nightmare begins—people are forced to return to their muddy, ruined homes and start the long process of cleaning and rebuilding. But Mendel captures a singular moment, which evidences his awareness of the unique subject he is capturing and his ability (and sensitivity) to capture the chaos with poetry and empathy.

Extracts; full text

* * *
November 2012:
One of his current projects, Drowning World, looks at the impact of flooding. On a recent assignment to Nigeria, Mendel released a number of pictures via the photography app, Instagram, alongside his more traditional work.

Gideon Mendel writes:

“My Visual Diary (trying to come up with a better name for it) Instagram project began as an attempt to deal with and respond to the world of social media which people of my age are sometimes reluctantly dragged into. It started with an initial "manifesto" to send out in a daily feed at least one interesting image every day with no post production, no filters, no distressed borders - just simply as it was taken.

I was trying to see if the medium, which is often used in a frivolous way could be used very seriously, and if it could become a meaningful part of my practice.

My followers (I'm @gideonmendel) get to follow my journey and see a mix of images taken in all the dimensions of my photographic experience. This ranges from my professional assignments (recently cows in Denmark and Holland) or when I am working on a serious personal project (such as ‘Drowning World’ in Nigeria) to the more personal images of my home life or observational moments in the daily flux of my life as I cycle in London or travel from assignments.
I will be travelling to Mumbai in India on 9 December for the next chapter of the ‘Through Positive Eyes’ collaborative project. I am one of the directors of the two-week collaborative workshops and we are busy discussing right now how my Instagram feed could be part of it, and hopefully work to draw a greater audience to the project.

You can see the whole back history of the Instgram project which is now two months old at: http://instagram.com/gideonmendel

* * *
Gideonmendel
This remarkable self-portrait (with her goat) was taken by Priya, one of the 14 HIV positive participants in the Through Positive Eyes workshop held in #Mumbai in 2013.
Today I heard the sad news that she has passed away. Of all the brave and inspiring HIV positive individuals I have met during our 9 year journey of working on this project her circumstances were some of the most difficult and isolated. This haunting image so directly addresses the key issue of stigma which so many positive people face every day and these are some of her words:
"When I told my husband that the hospital informed me I am HIV-positive .....he left me. As soon as my parents heard about my illness, they abandoned me. I have four children, and they have left me as well......Now I have three animals with me.....I take care of them and play with them.... The four of us, we live like a family. My animals are my human beings.....My family, my husband, my children, they have all betrayed me, but these animals have not."

* * *
12-10-2018 - via
This is Tom, who I cycled past last week. I was struck by his sleeping position, amidst the faded architecture of #Shoreditch. I met him again that evening, to get his permission to use his pic here, and he told me the long, sad story of the various tough circumstances that brought him to living on the streets. He had such a kind and gracious manner, talking to me and others from his position on that pavement. #homeless #austerity #gideonmendel #poverty — at City of London.

* * *

* * *
Gideon Mendel's best photograph: a mother carries her HIV-infected son

Gideon Mendel: My own first encounter with the disease had been in 1993, photographing on the Aids wards in Middlesex hospital, London. That experience set me a journey to photograph the disease and responses to it. By the time I took this picture, I had gone with home-care teams into people’s homes; I’d photographed in hospitals, I’d shot drama projects, educational projects, activists campaigning. This image put it all together. It’s a classic image of a mother’s care – even just things like seeing all the plants in their rusty buckets, the sense of nurturing.
The picture was used many times to represent the disease in Africa, and I felt proud to have taken it. There were not enough images of HIV showing care and compassion.

That said, people did criticise my work, and justifiably. Many photojournalists are labelled victimologists, portraying people as victims without agency. And here Joseph is indeed a helpless, ill person being carried by his mother.

Beyond that I’m part of a long line of South African white, mostly male, frequently Jewish, photographers who have had at different points a deep fascination with black poverty, and because of power relations, have had very easy access to black poverty. That’s something I’ve been thinking about a lot recently. To what extent are the images you make a result of your privilege?

At the time, though, I was sincere, maybe naive, but certainly fired up about the disease. I’ve always been drawn to make work about the important things going on in the world, and that idea of photography as more than documentation, that it could be political. - source
* * *
Gideon Mendel’s top tip: “Make work that is important to you and uncompromising: don’t wait for people to employ you.”

См. также: Животные в фотоисториях Гидеона Менделя

Related Posts Plugin for WordPress, Blogger...