Дубайское, ФБ напомнил.
Thursday, October 31, 2019
Saturday, October 26, 2019
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.
«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.
«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!).
Friday, October 25, 2019
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."
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.
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
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...»
Wednesday, October 16, 2019
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."
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."
- source; source
Tuesday, October 15, 2019
Упругий слой палых листьев – оглушительно хрустит под шагами.
Попискивание мелких пташек.
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...
Numerous as birds; but the birds fly away...
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.
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...
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.
Monday, October 14, 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.
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.
Friday, October 11, 2019
11-10-2019 - Deutsche Welle
“Battle for Visibility” - a new exhibition at Berlin's Alte Nationalgalerie puts forgotten female artists in the spotlight.
See also: https://www.facebook.com/altenationalgalerie/
Sabine Lepsius’s (1864-1942) self-conscious self-portrait (1885), Maria Slavona’s (1865-1931) impressionistic view of the houses of Montmartre (see above), and Caroline Bardua’s spectacular paintings.
Caroline Bardua (also Karoline Bardua; 1781 – 1864) was a German painter. She was one of the first middle-class women who was able to create an existence for herself as an independent artist (beneath is her self-portrait, 1822).
Even more than the painters, the sculptors encountered opposition to their artistic activities. The powerful works of the German-American sculptor Elisabeth Ney and the Berlin artists Käthe Kollwitz and Renée Sintenis gave the lie to such prejudices.
Alte Nationalgalerie for the first time.
Runtime: Fri, 11/10/2019 to Sun, 08/03/2020 - source
Vilma Parlaghy - Princess Elisabeth Vilma Lwoff-Parlaghy (15 April 1863 - 28 August 1923) was a Hungarian-born portrait painter who worked in Germany and the United States.
Anna Maria Elisabeth Lisinska Jerichau-Baumann (1819 – 1881; beneath to the left her self-portrait, c. 1850) was a Polish-Danish painter. She was married to Danish sculptor Jens Adolf Jerichau.
Women were not admitted to Berlin's Academy of Fine Arts until 1919. "But we have a lot of items from the time before that," museum director Ralph Gleis said.
This posed the question: "What did female artists do in order to become artists?"
Gleis sees the exhibition as a revision of his own collection from the aspect of the current discussion on equal rights.
Nevertheless, several individual women succeeded in doing just that, struggling to find a place of their own in a world dominated by men and managing to gain recognition for their work. The Museum Island’s Alte Nationalgalerie has now given these artists their own exhibition: Fighting for Visibility – Women Artists in the Nationalgalerie before 1919.
From 1919 onward, women gradually achieved full access to the Academy of Arts, as well as scholarships, grants and important commissions. They had finally arrived on the art scene.
Yet the Berlin exhibition is dedicated to those women who, even in the face of mountains of resistance, asserted their artistic selves and forged their own rocky paths prior to the breakthrough year of 1919. They joined and created art associations, vied for exhibition appearances and made themselves increasingly visible and attractive to important patrons, all of which helped lead to prestigious commissions and sales. These few extraordinary and diverse artists would go on to make a critical contribution to the art scene of their day.
Dora Hitz (1856-1924) as well as portraits and historical tableaus by Friederike O’Connell (1823-1885) and Paula Monjè (1849-1919).
Also on display are several successful women artists who have been mostly forgotten over time, such as the Norwegian sculptress Ambrosia Tønnesen (1859 – 1948) who is regarded as the first professional female sculptor in Norway,
Alte Nationalgalerie on Museum Island, 11/10/2019 to 03/08/2020
Monday, October 07, 2019
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.
"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.”
“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.
[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]
‘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.
March 2015 - via gideonmendel
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.
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
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.
“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.
You can see the whole back history of the Instgram project which is now two months old at: http://instagram.com/gideonmendel
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."
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.
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
См. также: Животные в фотоисториях Гидеона Менделя