Перуница

Крестьянская одежда населения Европейской России (XIX - начало ХХ вв.). Определитель. Москва, 1971 (Wed, 14 Nov 2018)
Настоящее издание посвящено одежде сельского населения европейской части РСФСР XIX и начала XX в. В собраниях краеведческих музеев Российской Федерации часто встречается много предметов одежды крестьянства плохо датированных, поэтому установить территориальную принадлежность и время бытования их весьма затруднительно. Данный определитель, составленный рядом специалистов, знатоков одежды населения отдельных частей РСФСР, издается с целью оказать помощь музейным работникам при разборе и научной обработке таких материалов.
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Женщины-шахтёры. Там на шахтах угольных: «Эх, крепка бабья сила»! (Tue, 13 Nov 2018)
Трудно оценить вклад шахтерок в массу военной угледобычи. Еще целое десятилетие после победы СССР в ВОВ, женщины играли значительную роль в рабочем процессе на шахтах. Однако с восстановлением народного хозяйства, женщины-шахтеры постепенно выводились с основных профессий связанных с особым риском и тяжелым физическим трудом. По сей день, страницы истории советского тыла, и в частности некоторые аспекты женского труда, изучены не в полной мере.
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Как делают витражи (Sun, 11 Nov 2018)
Так уж вышло, что у меня сложились отношения с Церквями. Ну а я совсем не против) На очереди церковь в Барнауле. Но это уже не Спаситель в Алтарь, а двери главного входа. После отрисовки форэскизов, заказчиком выбран эскиз, который взят из интернета, такое бывает. Выбор заказчика закон! Для него было важно, чтобы витраж был сдержан в цветовой гамме и был не сильно сложный и вычурный. Однако не сложность и не вычурность витража, ни как не влияет на большое количество деталей!
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«Не сумел я сердцем целовать красный лик стального Октябрища», или Как не надо писать о России (Sat, 10 Nov 2018)
К годовщине революции вспоминаем, как советские люди учились не только строить новую жизнь, но и воспевать ее. Вдохновленные великими преобразованиями, жители городов и деревень старались выразить свои чувства к родине в поэзии и прозе и безостановочно слали свои опыты в редакции журналов, а редакторы в печати объясняли, почему не могут их опубликовать. Мы изучили комментарии редакторов за первые десять лет и составили памятку о том, как не надо писать. Многие пункты актуальны и сегодня.
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Прописи для каллиграфии (скачать и распечатать) + пособия и рекомендации по чистописанию (Thu, 08 Nov 2018)
Выработка хорошего почерка у учащихся — одна из основных задач школы при обучении письму. Для осуществления этой задачи программы рекомендуют строить обучение письму на систематически подобранном материале, доступном возрасту учащихся, соблюдать последовательность в развитии навыков написания букв, входящих в состав слов и путем специальных упражнений устранять индивидуальные отклонения и недостатки, нарушающие четкость и разборчивость письма.
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Калейдоскоп - история непростой игрушки (Wed, 07 Nov 2018)
Калейдоскоп возник гораздо раньше, чем серьезный инструмент для исследования небесных светил телескоп. Хотя природа у них одна и та же. Калейдоскоп - это оптический прибор в виде трубки, содержащей внутри три продольных, сложенных под углом зеркальных стекла. При поворачивании трубки продольной оси цветные элементы (осколки цветного стекла), находящиеся между зеркалами, отражаются и создают меняющиеся симметричные узоры.
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Колхозный город (Сталинский проект города-сада) (Wed, 07 Nov 2018)
Создание крупного социалистического сельского хозяйства на базе колхозов и совхозов —это одно из величайших завоеваний партии Ленина—Сталина и всего советского народа. Каждый день приносит нам новые и новые подтверждения гениального предвидения товарища Сталина, указавшего, что «только крупное производство общественного типа способно использовать во-всю данные науки и новую технику и двинуть вперед семимильными шагами развитие нашего сельского хозяйства».
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Про школьные отметки. ШКОЛА РАССЛАБОНА (Tue, 06 Nov 2018)
В ЛГ всплыла древняя идея об отмене школьных оценок. Ещё в начальной школе нам рассказывали, что автор Чиполлино, Джанни Родари предлагает это сделать. Говорят, они унижают (того, у кого они плохие, ясное дело), понижают самооценку, ведут к стрессу, подрывают веру в свои силы. А раз так – долой отметки! В первом классе уже отменили, хотя учительница моей дочки тайком раздавала детям вырезанные из бархатной бумаги пятёрки. Они их очень любили. Одна девочка даже стишок сочинила с такими словами: «Очень любят детки получать отметки».
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Воспитание воли / А. Л. Мендельсон (1931 г.) (Sun, 04 Nov 2018)
В государстве капиталистическом ценность человека определяется не только его даровитостью и трудоспособностью, но также его родовитостью, а всего больше — богатством. В Америке о крупных капиталистах прямо говорят: «этот банкир стоит 50 миллионов долларов, а тот стоит 2 миллиарда».
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Птицы мира в фотографиях (198 фото) (Sat, 03 Nov 2018)
Птицы населяют все экосистемы земного шара, включая внутренние части Антарктиды. Согласно данным Международного союза орнитологов, на июнь 2018 года науке известно 10 711 видов ныне живущих птиц (20 055 подвидов), а также 158 видов, вымерших в современное историческое время. Это делает птиц наиболее разнообразной группой надкласса четвероногих. На территории России отмечено 789 видов, включая 657 гнездящихся видов; 125 видов, гнездование которых не показано, и 7 вымерших видов.
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La Truffe (Fri, 16 Nov 2018)
La Truffe In his sprawling 1725 gastronomic compendium The Physiology of Taste, French author Brillat-Savarin didn’t hold back when it came to his treatment of the notorious truffle: “Whosoever pronounces the word la truffe… gives voice to erotic and gastronomical dreams.” Prized for their rich and unparalleled flavor, truffles grace the menus of the world’s most prestigious eateries and restaurants. However, these pungent tubers are infamously difficult to farm and, as a result, extremely scarce, as director Jack Laurance discovered with this, his latest film. While shooting in Périgord, in the South West of France, Laurance uncovered an "intense paranoia and fear [that] seems to permeate" the tight-knit community whose livelihoods depend on the black 'diamond' truffle. The discovery of a body, and the kidnap of a prized truffle-hunting dog, shed light on the dark reality of a foodstuff whose delicious flavor hides a bitterness that goes right to the core of the trade. Appropriately enough, the bulbous, soot-black ingredient known as the truffle grows only in the shadow of Hazelnut trees, and must be sniffed-out by specially trained dogs under careful observation from human cultivators. Due to their scarcity—and immense value—the black truffle has encouraged a nefarious trade to blossom around it, as mysterious as the aromatic fungi themselves. And in this way, Brillat-Savarin's truffle dreams can easily become truffle nightmares. Laurance, whose film unearths the dark underbelly of rural truffle farming, quickly discovered that an air of reverential mystery pervades its cultivation. “The film is actually the product of a recce me and my producer Marie-Cecile went on a few months back,” explains the London-based director. Participants were often reluctant to appear on film, for fear their identity would be given away—and their precious crop raided in the depths of night. “I’d been reading stories about the darker side of truffle farming, where their scarcity and value has sadly compelled some people to do terrible things."  Laurance’s time in Périgord served up an enigmatic experience: “From the local gendarmerie, to paranoid farmers and secretive wholesalers, the world of the truffle is shrouded in mystery.” The murder of a local man, Ernest Prado, during an alleged truffle raid, was just the beginning: "As we started exploring the backdrop of truffle culture against which this tragedy was set, everything seemed to be underscored by a curious tension.”
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Telfar X FAKA: Not For You, For Everyone (Thu, 15 Nov 2018)
Telfar X FAKA: Not For You, For Everyone "Rarely do I get approached to be part of something where the planets align so well," explains photographer and director Akinola Davies of his latest film—which captures a powerful a capella performance orchestrated by South African musicians Fela Gucci and Desire Marea, who collaborate as FAKA. The choir's song unfolds within Mexican architect Frida Escobedo's Serpentine Pavilion: a soot black structure using hundreds of thin concrete tiles, forming an interpretation of the traditional Mexican celosia—a type of building that uses perforations to enable better air circulation. Working through and against the building's design, the choir—dressed in pieces from menswear label Telfar's SS19 collection—took a different tack, using these sight-giving slits in the building's face as a frame to address issues relating to power, race, and spectatorship. The pavilion "became a framework for a subversive performance about the empathy of power—disciplining the viewer, [about] presence versus representation, the body, spectatorship, and ultimately subjugating the white gaze," continues Davies. "I think that framework and the care with which it was curated permeated through the performance we witnessed." Part of the Park Nights series, which takes place at the Serpentine throughout the summer, the performers moved through the assembled audience before entering the red-lit structure. Guests could only peer through the cracks, as if looking into a cage—or into a space to which they were not permitted. "It was something akin to an ancestral service," explains Davies. "The voice and movement immersed us in a trance which felt like the divine emotional therapy we all need. To be honest I'm just super glad to have been part of something that makes me open to beauty and the resilience of the human experience and the making of life powerful and beautiful everyday."
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Leap (Mon, 12 Nov 2018)
Leap The potent connection between art and intimacy is the subject of a new film from London-based director Stephen Isaac-Wilson. A contemporary response to Barbican's Modern Couples: Art, Intimacy and the Avant-garde exhibition, exploring the relationship between famous creative duos including Frida Kahlo and Diego Rivera, Dora Maar and Pablo Picasso, and Salvador Dali and Federico García Lorca, Isaac-Wilson's film picks up on the show's themes of liberation, transgression and collaboration. Speaking about this lyrical ode to the creative act, Isaac-Wilson explains: "Leap explores the power and beauty of artistic queer relationships, their contribution to and influence on the world of art."   "This film is about the wonderful people who enter your world, both fleeting and long-term, those who leave a lasting impression on you," he continues. "It's about the act of being vulnerable with someone, and the power and influence that has over our art— but, more importantly, over our lives." Modern Couples: Art, Intimacy, and the Avant-garde is showing at Barbican, in London, until 27 January 2019. More information here.
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Constructed Views: Bauta (Sun, 11 Nov 2018)
Constructed Views: Bauta The second part of Paul Tunge and Egil Håskjold Larsen's meditative filmic portrait of modernist architecture, Bauta is the successor to last year's Ad Astra. Whereas the first film took Norway's brutalist churches as its theme, Bauta takes a lingering glance at government and administrative buildings—as well as public spaces—both inside and outside of the country; celebrating the poetics of everyday architectures, and the beauty to be found in buildings made by and for the people. Cast in stone and concrete, these buildings share an uncertain disregard in the public eye—considered 'ugly' and worthy of demolition, Tunge and Larsen (the film's writer and director, respectively) make the case for preserving rather than neglecting these buildings. Stripping these structures down to what Bachelard once called the 'poetics of space'—removing human actors, and focusing almost exclusively on their structure and materials, the Norwegian duo argue that the film is sending love to buildings we might look over, that might be torn down, and those that may be allowed to rot; forgotten.  —Special thanks to Julia Kidder for translation support
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The Joy of Slime (Fri, 09 Nov 2018)
The Joy of Slime In a new editorial collaboration between NOWNESS and Dazed Beauty, filmmaker Amy Gwatkin presents this satisfyingly sensual study of slime. "We wanted to steer away from Nickelodeon-style sliming, and towards a more close up—but not too serious—exploration of a physical sensation that skirts between disgust and ecstasy," explains the London-based director. In order to achieve this sublime result, Gwatkin recruited Ami Evelyn Hughes, editor of GUT Magazine, to immerse herself in a sloppy and unlit vat—where the act of being slimed is transformed into a gratifying visual and sonic experience that edges between grossness and greatness. "Casting Ami was really important because she went that extra mile to actually be fully submerged," explains Gwatkin. "Slime has associations with procreation, protection, putrefaction and the alien, so it was good to work with a palette of greys and beiges as well as pink and green slimes. "I’m a fan of messy things," Gwatkin continues. "But I came up against my own boundaries shooting this: even the smallest shift towards the ‘wrong’ colour or texture, and the associations become more strongly disgusting than alluring. But disgust can be exciting too." This is the second episode of Dazed Beauty's Pretty Ugly series, which is dedicated to the beautiful and the gross, and a celebration of what is sublime in the ordinary. You can watch more here.
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Centerstage: Precious Adams (Thu, 08 Nov 2018)
Centerstage: Precious Adams For her latest film, Irish director Leonn Ward wanted to push the conventional ballet film outside of its comfort zone. Featuring Precious Adams, a rising star of the English National Ballet, Ward's dynamic portrait of the young First Artist presents a youthful take on the rule-bound etiquette of ballet. Rich in color, the film empowers Adams to tell her own story through dress and movement, while deploying dance in unconventional scenes and spaces. "When Nowness and the English National Ballet approached me asking if I would like to create a film with Precious Adams, one of the few black rising stars in the world of ballet, I was honoured," explains Ward. "I wanted to create a piece of work that pushes beyond the traditional limitations of ballet. I loved that Precious was a tap dancer before she went onto ballet, so I really wanted to incorporate that into the film and sound. I wanted the film to feel real and honest and reveal Precious in her truest form." English National Ballet's production of Swan Lake will be in Liverpool Empire November 21-24 2018, The Bristol Hippodrome November 27 - December 1 2018, and London Coliseum January 3-13, 2019.
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Photographers In Focus: Eroticism (Wed, 07 Nov 2018)
Photographers In Focus: Eroticism Coinciding with the first edition of Curiosa—a new thematic section of international art fair Paris Photo, which focuses on the body, gender politics, and the question of eroticism—this new film from London-based director Stroma Cairns takes a sultry glance at the works on display, while getting the low-down from curator Martha Kirszenbaum. Rather than offering a straight-forward display of arousing snaps, the exhibition seeks to challenge our gaze around the fantasized and fetishicized body, tackling relations of power, domination, and gender. Archival and vernacular photographs share the walls with self-portraits, photomontage, and mise-en-scèneare from a truly historical sweep of image-makers, including the work of avant-garde feminist artists Natalia LL and Renate Bertimann. Cairns' film suggests that while photography has the capacity to empower—as with the homo-erotic portraits of Robert Mapplethorpe—it is also an inherently voyeuristic medium, where the lens and dark-room present naturally erotic metaphors for the making of images, which can also be easily disrupted. In this way, photography is about exposure. But then, so is sex itself.  Susan Sontag, oft cited when we talk about the art of images, saw photographers as "voyeuristic strollers who discover the city as a landscape of voluptuous extremes." Many of the artists featured here lay claim to this sense of photography as being spatial; in so far as sexuality must always happen somewhere; from New York cold water apartments to the alleyways of Tokyo, the images remind us that the erotic always occurs amid the seemingly un-erotic, humdrum world around us, amplifying what is both risque and risky about capturing sexuality on film. As Kirszenbaum explains, the film and exhibition challenge and disrupt what we think we know, and come to expect, about sexualized imagery. "Some male artists disclose a fragmented masculinity and a weakened male body, as in the works of Antoine d’Agata or Karoly Halasz [while others] redefine the presence of the body through the prism of gender and race. The work of British artist and musician Genesis P-Orridge, for instance, projects us in the representation of a sexually modified body and pandrogeny, while the practice of Paul Mpagi Sepuya brings together performance and homo-erotic aesthetics related to the body of color."
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Rosa (Tue, 06 Nov 2018)
Rosa The pink rose—or rosa in Spanish—provides the central theme of architect Lluís Alexandre Casanovas Blanco's The Real Estate House, which is the star of this new film from Barcelona-based director Joana Colomar. Blanco's unconventional design considers the architectural legacy of the Spanish real estate bubble, which burst almost exactly a decade ago. Also known as the 'boom' house, the refurbished property is located in Cardedeu, a suburban village located 45 km from the centre of Barcelona.  During the 1990s the area experienced heavy suburban development, followed—after the 2008 crash—by much of this industry grinding to a halt. The Real Estate House was, before Blanco's recent refurbishment of the property, a paradigm of bubble-era aesthetics: where its central stairway was located inside a crowned tower with lancet windows, while also featuring pre-fabricated Doric columns that supported its gaudy verandah. Blanco has elsewhere described the 'imaginaries of opulence' that influenced the house's original construction; cheap, fast, yet pointing toward a desirable, near fantastical, luxury. Blanco's refurbishment weaves together tradition and modernity, alongside notions of high and low technology—attempting to make sense of the fantasies (economic and architectural) that fuelled its original design.  Colomar's film explores "the dichotomies that configure daily life in the house," as she explains, and the irregularly regular ways we use domestic space. The film, which liltingly scours the spaces and elements of Blanco's design, refers explicitly to the central stairwell which has been turned into a pink (rosa) space, connecting with the daily routine of Maria Lluïsa (the owner of the house) who trims a rose from her garden as a religious offering each and every morning. And in this way, while the house represents a symbol of economic shock, it also points toward the possibility of re-growth.
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Matera Art Residency: Austin Lee x Gina Beavers (Mon, 05 Nov 2018)
Matera Art Residency: Austin Lee x Gina Beavers "My visit to the artist residency at Masseria Fontana di Vite was completely by chance," explains filmmaker Dustin Lynn of his new film concerning the historic country house in southern Italy and the role it plays, under the Matera residency programme, of supporting and inspiring contemporary art and artists. "I was aware of it, mainly because of the inspiration it had on poet and filmmaker Pier Paolo Pasolini, who in turn is a substantial inspiration for myself. The film, in lingering and sun-soaked shots of house's grounds, explores the work of New York-based artists Austin Lee and Gina Beavers, who work across painting, illustration, and installation. "Once at the residency, I found that the environment of Masseria was reflecting the palette of the artists' work, from the walls of the building's immense art studio (which were once used for drying out tobacco plants after harvest), to the runways of spare wild garden, all of the colors seemed to work with each other. Also, I'd be remiss if I didn't mention the focaccia."
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Drama (Fri, 02 Nov 2018)
Drama British director Saam Farahmand's latest film, which premiered this year during Frieze London, continues the acclaimed video artist's disruption of gender-specific iconography that has occupied much of his practice to date. Featuring four isolated women drummers who Farahmand encouraged to connect with one another through freeform abstract patterns, the film depicts a succession of ferocious and accelerating beats, as the performances surge into a synchronised wall of discordant noise. “Something I attempt to do is create conditions where the male gaze is hijacked, and stared out. Where elevated femininity mutates” says Farahmand of the piece. "Their stares begin as part of their attempt to connect, but evolve into defiance against my control." The drummers, exquisitely dressed in Simone Rocha clothing, are seemingly obedient subjects who first sit—without moving—like artistic models, before subverting the viewer's expectations about their roles, as the action reaches a crescendo that escapes the artist’s own scrupulous designs. Farahmand's earlier work includes 2009's Ghost, a balletic collaboration between Puma and Alexander McQueen, which is also featured on NOWNESS.
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Blue Frame (Thu, 01 Nov 2018)
Blue Frame In the midst of the Australian outback, a strange yellow machine scratches at the earth. There is no operator; no engineer in a plastic helmet. The object—more a sculpture than a machine—is the product of British artist James Capper, who joins filmmaker Alexander George in this hybrid art film; a project from Edward Campbell, founder of Forth Arts, which organized the residency. As Campbell explains, the project "aims to bring artists working in different disciplines and from different places together and enable to collaborate with each other, alongside a local community." Capper's works are, properly, mechanical sculptures that walk and crawl across the earth. Alexander George, with whom he collaborated on the project, is well known for creating surreal and emotional filmic worlds. "These two artists had never met one another before," explains Campbell. "I had good creative feelings from the outset of their collaboration, because James' work immediately resonated with Alexander." The ultimate brief of the residency was to create a film that explored the relationship between people, machines and landscape. "We had an idea of the type of film we wanted to make but, as with all great expeditions, you never know what will happen until you get out there. We had to work in a very agile, collaborative and flexible way." Shooting in unfamiliar and raw light, on 35mm film, in the heat and dust of the desert, was an acute challenge. "There were some very tense moments—it was incredibly exciting." Beyond the mechanical, it was important for Campbell to cast among the local community—"to represent the human element." And so, the crew "cast members of the local community and they each added their own character to the film. The film is their's. It belongs to Broken Hill." Capper—whose work has been exhibited around the world, from Hannah Barry Gallery, London, to the Frieze Sculpture Park—explains that "the work I create spans drawing, software engineering, hydraulics, and performance to radically push the boundaries that exist between art, sculpture, and engineering. Having been interested in the site of Broken Hill for years, due to its legacy as an inaugural mining colony, an invite from Edward saw me finally able to venture there. Blue Frame is a record of our expedition, a film that concerns the sociology and landscapes of communities affected by the history of mineral extraction in the remote towns of the Australian outback." George, in a similar vein, has long been interested in what he describes as the "lore of Australian cinema and communities that have seen mining booms come and go." Not only was carrying Capper's two art machines to the site a great feat, but the shoot itself also carried many risks: "We brought a battered Arriflex 35mm motion picture camera with us, and only eighteen minutes of film stock." Blue Frame will be screening on 1 November at Peckhamplex Cinema, London, as part of the Serpentine Gallery's 'Serpentine Cinema: earth, structure, and sadness' programme. The screening series is part of the gallery's wider General Ecology project, on the occasion of Pierre Huyghe's ongoing exhibition at the central London art space.  The making of a mystery—behind-the-scenes of Blue Frame
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Rambling: Charlie Fox (Wed, 31 Oct 2018)
Rambling: Charlie Fox London-based writer Charlie Fox, author of the hallucinatory and darkly comedic grimoire of modern monstrosity This Young Monster, took to his home city's iconic Nunhead cemetery with filmmaker Joseph Delaney in tow, for this Halloween-inspired episode of our returning literary series, Rambling. Fox's book relocates monstrosity beyond the cul-de-sac of primal fear, instead placing it within the minds, and hands, of outsider artists who have found beauty within the dark and the disturbing. Celebrating the likes of Stranger Things, David Lynch, and Leigh Bowery, Fox paints portraits that veer between the fictional and the factual, digging into the creative minds of artistic vagrants who "rebel against a reality that's too cruel or boring for them to inhabit."  Nunhead cemetery, originally consecrated in 1840, is the resting place of many of London's Victorian notables, and features a host of elaborate tombs and mausoleums that best represent the 19th century's grandiloquent approach to death—where Gothic arches and monumental slabs of stone spread out across the lichen-smeared grounds. A reality too cruel—an excerpt from Charlie Fox's This Young Monster 'What i wanted to celebrate is that my monsters, like some radical opposition force, are embodiments of everything such toxic ideologies wish to exclude: they embody otherness and make into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own inventions—that’s heroic. And, yup, no little amount of ‘zoning out’ or trying to invent some other private world where the imagination can go wild is also crucial to their art. That’s how they rebel against a reality that’s too cruel or boring for them to inhabit. I mean, I really think of them as an antidote to all this ghastliness and bullshit, even if sometimes i feel guilty for wanting to be left in peace inside my imagination and not reckoning enough with all the horror going on outside. what’s it like inside a monster’s head? that’s the other question i kept on asking myself.'
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Helter Skelter (Tue, 30 Oct 2018)
Helter Skelter Inspired by Martin Scorsese's 1967 shocking short The Big Shave—an unflinching body-horror that metaphorically criticized America's involvement in the Vietnam War—London-born directors Noah Lee and Danny Lee set out to create their own interpretation of the scene, enlisting Palo Alto star Jack Kilmer to play the role of the 'shaver.' The young man's self-mutilation draws creatively on Scorsese's original bloodbath, while pushing the act in a wholly new direction. "The self mutilation depicted in The Big Shave was more or less always seen as a metaphor for the self-destructive involvement of the US in Vietnam," explains now LA-based filmmaker Noah Lee. "Instead, we wanted to avoid any sort of political statement and focus more on one specific character's very extreme attempt to conform to the pervasive disturbing societal and religious beliefs around him. "We were also just desperate to see the legend, Jack Kilmer (one of People magazines 50 under 50 sexiest people alive) shave his beautiful, angelic face off. Jack did a scary job at bringing a level of humanity and innocence to this lonely character and we're forever in debt to him and the other legends that were a part of this skeleton crew, including: maestro cinematographer Chris Ripley, Jason Collins and his legend effects team at Autonomous FX, and always Duke Nicholson for his love, shelter and affection."
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