This video from Russia is about an Eurasian bittern.
This video from Russia is about an Eurasian bittern.
This video says about itself:
13 August 2015
The Spektr-R (or RadioAstron) is a Russian scientific satellite with a 10 m (33 ft) radio telescope on board. It rivals the U.S Hubble space telescope. It was launched on the 18th of July 2011. Uses in astrophysics, cosmology, studies of black holes and exoplanets etc.
From Space Fellowship:
Earth-Space Telescope System Produces Hot Surprise
Published by Klaus Schmidt on Tue Mar 29, 2016 8:43 pm
Astronomers using an orbiting radio telescope in conjunction with four ground-based radio telescopes have achieved the highest resolution, or ability to discern fine detail, of any astronomical observation ever made. Their achievement produced a pair of scientific surprises that promise to advance the understanding of quasars, supermassive black holes at the cores of galaxies.
The scientists combined the Russian RadioAstron satellite with the ground-based telescopes to produce a virtual radio telescope more than 100,000 miles across. They pointed this system at a quasar called 3C 273, more than 2 billion light-years from Earth. Quasars like 3C 273 propel huge jets of material outward at speeds nearly that of light. These powerful jets emit radio waves.
Just how bright such emission could be, however, was thought to be limited by physical processes. That limit, scientists thought, was about 100 billion degrees. The researchers were surprised when their Earth-space system revealed a temperature hotter then 10 trillion degrees.
“Only this space-Earth system could reveal this temperature, and now we have to figure out how that environment can reach such temperatures,” said Yuri Kovalev, the RadioAstron project scientist. “This result is a significant challenge to our current understanding of quasar jets,” he added.
The observations also showed, for the first time, substructure caused by scattering of the radio waves by the tenuous interstellar material in our own Milky Way Galaxy.
“This is like looking through the hot, turbulent air above a candle flame,” said Michael Johnson, of the Harvard-Smithsonian Center for Astrophysics. “We had never been able to see such distortion of an extragalactic object before,” he added.
“The amazing resolution we get from RadioAstron working with the ground-based telescopes gives us a powerful new tool to explore not only the extreme physics near the distant supermassive black holes, but also the diffuse material in our home Galaxy,” Johnson said.
The RadioAstron satellite was combined with the Green Bank Telescope in West Virginia, The Very Large Array in New Mexico, the Effelsberg Telescope in Germany, and the Arecibo Observatory in Puerto Rico. Signals received by the orbiting radio telescope were transmitted to an antenna in Green Bank where they were recorded and then sent over the internet to Russia where they were combined with the data received by the ground-based radio telescopes to form the high resolution image of 3C 273.
The astronomers reported their results in the Astrophysical Journal Letters.
In 1963, astronomer Maarten Schmidt of Caltech recognized that a visible-light spectrum of 3C 273 indicated its great distance, resolving what had been a mystery about quasars. His discovery showed that the objects are emitting tremendous amounts of energy and led to the current model of powerful emission driven by the tremendous gravitational energy of a supermassive black hole.
The RadioAstron project is led by the Astro Space Center of the Lebedev Physical Institute of the Russian Academy of Sciences and the Lavochkin Scientific and Production Association under a contract with the Russian Federal Space Agency, in collaboration with partner organizations in Russia and other countries. The National Radio Astronomy Observatory is a facility of the National Science Foundation, operated under cooperative agreement by Associated Universities, Inc.
See also here.
This video series says about itself:
The BBC’s War & Peace
Twenty part drama of Leo Tolstoy’s classic novel. The Rostov family prepares to celebrate the name-day of Countess Rostova and her younger daughter, Natalia, nicknamed Natasha.
First broadcast in 1972/3 this was one of the BBC’s earliest historical drama series for colour television. Stretching into a mammoth 26 episodes if memory serves, it received only a luke-warm reception and never really garnered much interest from the viewing public. The original series was heavily edited into 20 parts and re-broadcast a few years later, but it never really caught on.
This upload is the 20 episodes version. Very much a novelty at the time, colour TV across our measly three television channels in the UK was all the rage. The broadcast of episode 1 coincided with the arrival of our first colour TV at home. War & Peace became something of an obsession with me at the time and I could never understand why it had such a dismal reception. The modern viewer might spot a few familiar faces and wonder what ever happened to them. There might be one or two faces that went on to find greater fame and fortune.
By Joanne Laurier in the USA:
11 February 2016
Leo Tolstoy’s titanic novel War and Peace has received a new adaptation by the BBC and is now airing globally. Directed by British filmmaker Tom Harper, the serialized television production stars American actor Paul Dano and British actors Lily James, James Norton, Jim Broadbent and Stephen Rea in leading roles as part of a large, predominantly UK cast.
This video from Britain says about itself:
Lily James: New BBC drama the best adaptation of War and Peace
14 December 2015
Former Downton Abbey star Lily James has swapped one period drama for another, as she plays Natasha Rostova in what the Cinderella actress describes as the most truthful and faithful adaptation of Leo Tolstoy’s War and Peace. Lily stars alongside James Norton and Jim Broadbent in the six part drama of the Russian writer’s depiction of the Napoelonic wars.
The Joanne Laurier article continues:
Tolstoy, one of the greatest of the great Russian fiction writers of the 19th century, was born in 1828, three years after the Decembrist Revolt in which a group of officers rose up in one of the first open struggles against tsarism. He died November 20, 1910, five years after the 1905 Revolution in Russia and seven years before the October Revolution. Tolstoy’s other great works include Anna Karenina (1877) and Resurrection (1899).
His epic War and Peace, first published in its entirety in 1869, is set during the period of the Napoleonic wars (1803-1815) and the French invasion of Russia. It follows the members of several Russian aristocratic families as they seek to survive the confusing, frenzied, bloody times.
The eight-hour miniseries opens in 1805 in St. Petersburg, as Napoleon’s victories and his army’s conquest of significant portions of western Europe are having an increasing impact on Russian life. Many of the central characters are introduced at an upper crust social gathering. Among them is Pierre Bezukhov (Dano), awkward but amiable, and initially a supporter of the French leader: “Napoleon’s a great man! He stood above the revolution, he put an end to its abuses and kept all that was good about it! You see good in revolution, sir? The equality of all citizens, freedom of speech, liberty, equality, fraternity, these are ideas we could learn from in Russia.”
Pierre looks on with disgust at the room’s “overfed aristocrats.” The illegitimate son of a wealthy count, he will soon become the object of intrigue for the sinister Prince Vassily Kuragin (Rea), who makes an unsuccessful attempt to suppress the will that names Pierre the inheritor of his father’s vast estate.
Another guest at the party is Pierre’s friend Andrei Bolkonsky (Norton), the intelligent and ambitious son of retired military commander Prince Nikolai Bolkonsky (Broadbent). Also present are the Rostovs, a noble, but down-on-their-luck Moscow family that includes a vivacious daughter Natasha (James), a quiet niece Sonya (Aisling Loftus) and a son Nikolai (Jack Lowden), who has just joined the army commanded by the veteran General Kutuzov (Brian Cox) (“He’s about the only man in Russia who knows what the war’s about and that includes our glorious Emperor.”). Nikolai’s parents (Greta Scacchi and Adrian Edmondson) are depending on their son to reverse the family fortunes.
Russia is in alliance with the Austrian Empire at this point (in the Third Coalition against Napoleon) and a restless, unhappy Andrei (“I can’t bear this life”)––whose young wife is pregnant––and Nikolai set off for the front. Meanwhile, Kuragin maneuvers Pierre into marrying his morally loose but beautiful daughter Helene (Tuppence Middleton). Her incestuous relationship with her dissolute brother Anatole (Callum Turner) is one indication of her manipulative, deceitful character.
Thus the stage is set for the various personal and political stratagems, unions and disunions, as the epoch of war heads toward its denouement following Napoleon’s fateful invasion of Russia in 1812 and the declaration of war by a reluctant Tsar Alexander I (Ben Lloyd-Hughes). On the eve of the invasion, Napoleon (Mathieu Kassovitz) brags that he has 600,000 men while the Russian army has only one-third that number and lies in shambles.
War and Peace has been adapted by Andrew Davies, best known for his reworking for television of such classics as Pride and Prejudice (1995), Vanity Fair (1998) and Sense and Sensibility (2008). He also wrote the popular British political thriller serial House of Cards (1990). His work on the current production results in a credible condensation of Tolstoy’s massive, complex story, some 1,400 pages and more than half a million words long.
Visually graceful and aided by numerous accomplished performances, this large-scale, high-quality production is, on the whole, a gripping experience.
The series paints a picture of a Russian aristocracy in which petty and selfish motives predominate. Andrei Bolkonsky goes off to war primarily to escape a vapid, stuffy life. Nikolai Rostov has other motives: his gambling debts have nearly bankrupted his family. He considers it more honorable to turn soldier than remain in the clutches of a nasty, egotistical mother and kindly, but ineffectual, father. In the end, under pressure from his parents, Nikolai breaks his engagement to the impecunious Sonya in favor of a more advantageous liaison.
Andrei Bolkonsky’s sister, the modest Marya (Jessie Buckley), shows her spiteful landlord coloring when she deals with the serfs on the family estate who refuse to help the household escape from the invading French army. Bellows one angry peasant: “The French will set us free and give us land! What have you ever done for us?”
Unfortunately, the production seems to side with Marya and her self-centered concerns. She is soon rescued from the legitimate wrath of the peasants by the timely appearance of Nikolai and his regiment. It is the one major scene that points to the fact that this parasitical social layer lives off the exploitation and enslavement of the peasantry.
Pierre, the moral conscience of War and Peace, tries to be honest when he sadly admits that “my life is one mistake after another … I wanted to change the world for the better, help my fellow men and look at me a fat, drunken aristocrat who makes a bungle out of everything.” To make amends for what he considers his mistakes, Pierre becomes obsessed with assassinating Napoleon.
In a relatively modest way, the mini-series does provide some sense of the great events that shaped the Tolstoy novel—namely, the aftermath of the world-altering French revolution. The depiction of the Battle of Borodino in September 1812, the bloodiest single day of the Napoleonic wars, with some 70,000 Russian and French casualties, is one of the series’ strongest sequences. Here, at least for a moment, the aristocratic lifestyle is left behind and we see something of the horror of war: men cut in half, doctors sawing off legs, the misery of the wounded and dying. And later there are the horrific consequences for Moscow’s population.
A duality exists in Tolstoy’s work between sharp condemnations of the aristocratic life and his acceptance of the inevitability of that life. In his remarkable 1908 tribute to the novelist, Leon Trotsky observed that, despite everything, Tolstoy continued to place in the center of his artistic attention “the one and the same wealthy and well-born Russian landlord” as though outside this universe “there were nothing of importance or of beauty.”
The mini-series tends to adopt the same standpoint, which is far less defensible given the subsequent course of Russian and world history. Trotsky noted that at the end of the novel, Tolstoy showed Pierre Bezukhov, “the restless seeker of truth,” as “a smug family man,” and “Natasha Rostova, so touching in her semi-childlike sensitivity,” as “a shallow breeding female, untidy diapers in hand.” The present series does the same, only more so. The final scene grates with its complacency and suggestion that contented family life offers some consolation for the massive destruction and loss of life.
That being said, Davies is genuinely skilled at choosing and adapting enduring, classic works. True, his genre of intelligent costume drama is not the be-all and end-all of artistic effort. One might even say that stylish adaptations like War and Peace have a certain soothing effect on an audience (with the exception of the battle scenes). If we were currently flooded with challenging artistic evaluations of the status quo, it is unlikely that such series would receive quite the attention they do. However, given the actual state of cultural affairs, this version of the Tolstoy epic attracts attention for its general intelligence and pleasing aesthetic qualities.
To their credit, the makers of the miniseries have tried to capture certain crucial features of the novel. A naturalness and elegance underscore and heighten the emotional intensity. As in Tolstoy’s narrative, there is truthfulness, a lack of pretension and artificiality: the viewer is engaging with real people, who have real, complex lives and feelings.
In dozens of essays the leading Russian Marxists, Plekhanov, Lenin, Trotsky and others, pointed to the great contrast between the immortality of Tolstoy’s artistic achievement and the poverty of his philosophical and social ideas. …
Nonetheless, as an indefatigable social critic, an enemy of cruelty and oppression, Tolstoy played an enormous role in undermining the tsarist regime and the entire Russian social order. Reactionary forces in the former Soviet Union have not forgiven him to this day.
In an obituary, Trotsky magnificently paid tribute to the great writer: “Truth in and of itself possesses a terrible, explosive power: once proclaimed, it irresistibly gives rise to revolutionary conclusions in the consciousness of the masses. Everything that Tolstoy stated publicly… seeped into the minds of the laboring masses … And the word became deed. Although not a revolutionary, Tolstoy nurtured the revolutionary element with his words of genius. In the book about the great storm of 1905 an honorable chapter will be dedicated to Tolstoy.”
It would be misleading to suggest that Tolstoy’s fierce indictment of Russia’s institutions is sufficiently present in the War and Peace mini-series. However, its honest presentation inevitably communicates elements of the social critique, and also may lead the viewer to investigate Tolstoy’s work further. That would be all to the good.
This video from Russia says about itself:
10 December 2015
Zolushka (‘Cinderella’ in Russian) had been found as a cub, almost dead, after poachers had probably killed her mother. She had been freed in 2013.
See also here.
This Associated Press video says about itself:
Raw: Russian Tiger Befriends its “Breakfast”
4 December 2015
More about this is here.
This video says about Turkey says about itself:
28 November 2015
The president of the bar association in southeastern Diyarbakir province has been shot dead by unidentified gunmen while giving a public speech.
A campaigner for Kurdish rights, Tahir Elci had been criticized for challenging Turkey’s official stance of calling the Kurdistan Workers Party (PKK) a terrorist organization. A curfew has been put in place.
Translated from NOS TV in the Netherlands today:
A Russian plane has penetrated Israeli airspace. According to the defense minister in Israel that was a mistake and the pilot turned back immediately when he was told that he flew over Israel. This is reported by various Israeli media.
Russia and Israel have recently opened a line of communication to “prevent misunderstandings”, said Minister Ya’alon. “Russia is not going to attack us, so we do not have to shoot automatically when such a mistake is being made,” he said.
Did you hear that, President Erdogan of Turkey? THERE ARE OTHER SOLUTIONS THAN YOUR VIOLENT WAY IN CASES LIKE THIS! Maybe you know already: Turkish warplanes have violated the airspace of its NATO ally Greece thousands of times. This, fortunately, did not lead to any planes being shot down, and escalation towards bloody war.
Greek Prime Minister Tsipras wrote on Twitter about this to his Turkish colleague:
We’re spending billions on weapons. You—to violate our airspace, we—to intercept you. … Tsipras said the two countries should focus on saving refugees, not on weapons.
Or, maybe again, you, President Erdogan, are unable to hear there are other solutions than violence, as the thick walls of your new, taxpayer-paid palace completely shut out the real world outside.
Though there are many very bad sides to the government of Netanyahu in Israel (and of Putin in Russia), at least in this case they have not sunk to the bloody level of the Erdogan regime in Turkey (and its Grey Wolves neo-nazi proxies in the Syrian war).
Putin accuses US of colluding in downing of Russian plane: here.
French President Hollande proposes anti-ISIS alliance in Syria to Russia: here.
Britain: Cameron hopes to be able to hold a vote on intervention next week. But to do so with an expectation of winning, he has to be sure that he has the backing of at least 30 Labour MPs, who would be voting in defiance of Labour leader Jeremy Corbyn’s stated opposition to military involvement: here.
The decision of the German government to participate in the war in Syria marks a new stage in the resurgence of German militarism. A bloody adventure is being prepared behind the backs of the population: here.
Not one Muslim I know thinks war in Syria is justified. Promises come in thick and fast, as unreliable as all those made before – on Iraq, Libya and the ‘war on terror’: here.